Lead editorial  
Eighteenth-Century Music
4 (2007): 187–189.  
  
“The Psychology of Music” in Thomas Christensen, ed. The Cambridge History  
of Western Music Theory
, pp. 956–981 (Cambridge: Cambridge University Press, 2002).  
  
“An Experimental Music Theory?” in N. Cook and M. Everest, eds. Rethinking Music, 
vol. 2, pp. 161–170, (Oxford: Oxford Univ. Press, 1999).  
  
“Courtly Behaviors,”
Music perception 13 (1996): 365–382.  
  
“Apparent Motion in Music?,”
Music perception 11 (1994): 335–370.  
  
“Smooth” Rhythms as Probes of Entrainment,”
Music Perception 10 (1993): 503–508.  
  
“Learning Syntactically Significant Temporal Patterns of Chords,”
Neural Networks 5 (1992): 551–564.  
  
“Defining a Prototypical Utterance,”
Psychomusicology 10 (1991): 127–139.  
  
“A Guide to the Terminology of German Harmony,” in Studies on the Origin  
of Harmonic Tonality
, pp. xi–xv (Princeton: Princeton Univ. Press, 1990).   
  
“Categorization of Musical Patterns by Self-Organizing Neuronlike Networks,”
Music Perception 7 (1990): 339–370.  
  
“Meter as a Mode of Attending: A Network Simulation of Attentional Rhythmicity in Music,”
Integral 3 (1989): 67–92.  
  
“Using Connectionist Models to Explore Complex Musical Patterns,”
Computer Music Journal 13 (1989): 67–75.  
  
“Shape and Motion in the Microstructure of Song,”
Music Perception 6 (1988): 35–64.  
  
“The Formation and Deformation of Classic/Romantic Phrase Schemata: A Theoretical Model  
and Historical Study,” Music Theory Spectrum 8 (1986): 25–43.