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