Scarlet & Grey
Ohio State University
School of Music


Music 829D: Harmony and Voice-Leading

General References

Aarden, B. (2001). An empirical study of chord-tone doubling in common era music. Masters Thesis, School of Music, Ohio State University.

Aldwell, E. & Schachter, C. (1989). Harmony and Voice Leading 1. Orlando: Harcourt, Brace, Jovanovich; 2nd edition.

Fétis, F.-J. (1840). Esquisse de l'histoire de l'harmonie. Paris: Revue et gazette musicale de Paris. English trans. by M. Arlin, Stuyvesant, NY: Pendragon Press, 1994.

Forte, A. (1962). Tonal Harmony in Concept and Practice. New York: Holt, Rinehardt and Winston.

Fux, J. J. (1725). Gradus ad Parnassum. Vienna, 1725.

Hindemith, P. (1944). A Concentrated Course in Traditional Harmony. [2 vols.] Associated Music Publishers (New York) 2nd edition.

Landau, V. (1961). Hindemith the system builder: A critique of his theory of harmony. Music Review, Vol. 22, pp. 136-151.

Horwood, F. J. (1948). The Basis of Harmony. Toronto: Gordon V. Thompson.

Lerdahl, F. & Jackendoff, R. (1983). A Generative Theory of Tonal Music. Cambridge, Massachusetts: MIT Press.

Piston, Walter. (1978). Harmony. 4th edition; New York: W.W. Norton.

Rameau, J.-P. (1722). Traité de l'harmonie. Paris: Jean Baptiste Christophe Ballard. Facsimile reprint, New York: Broude Bros., 1965.

Root, D. L. (1980). Barbershop harmony. In S. Sadie (ed.), New Grove Dictionary of Music and Musicians, London: Macmillan, Vol. 2, p. 137.

Schoenberg, Arnold. (1911). (English trans. by R.E. Carter, 1978) Theory of Harmony. London: Faber.

Cognitive Research

Bharucha, J. & Krumhansl, C.L. (1983). The representation of harmonic structure in music: Hierarchies of stability as a function of context. Cognition, Vol. 13, pp. 63-102.

Bharucha, J. J. (1984). Anchoring effects in music: The resolution of dissonance. Cognitive Psychology, Vol. 16, pp. 485-518.

Bharucha, J.J. & Stoeckig, K. (1987). Priming of chords: Spreading activation of overlapping frequency spectra? Perception & Psychophysics, Vol. 41, pp. 519-524.

Bigand, E. (1997). The musical timespace: A theory of music listening, vol 1-2 - Christensen,E. Music Perception, Vol. 15, No. 1, pp. 112-118.

Bigand, E. (1997). Perceiving musical stability: The effect of tonal structure, rhythm, and musical expertise. Journal of Experimental Psychology-Human Perception and Performance, Vol. 23, No. 3, pp. 808-822.

Bigand, E., Madurell, F., Tillmann, B. & Pineau, M. (1999). Effect of global structure and temporal organization on chord processing. Journal of Experimental Psychology-Human Perception and Performance, Vol. 25, No. 1, pp. 184-197.

Bigand, E. & Parncutt, R. (1999). Perceiving musical tension in long chord sequences. Psychological Research-Psychologische Forschung, Vol. 62, No. 4, pp. 237-254.

Bigand, E. & Pineau, M. (1996). Context effects on melody recognition: A dynamic interpretation. Cahiers de Psychologie Cognitive-Current Psychology of Cognition, Vol. 15, No. 1, pp. 121-134.

Bigand, E. & Pineau, M. (1997). Global context effects on musical expectancy. Perception & Psychophysics, Vol. 59, No. 7, pp. 1098-1107.

Bigand, E., Parncutt, R. & Lerdahl, F. (1996). Perception of musical tension in short chord sequences: The influence of harmonic function, sensory dissonance, horizontal motion, and musical training. Perception & Psychophysics, Vol. 58, No. 1, pp. 125-141.

Bigand, E. & Tillmann, B. (2000). Harmonic and semantic priming: Some comparisons. International Journal of Psychology, Vol. 35, Nos. 3-4, pp. 207-207, Sp. Iss. SI.

Boomsliter, P. & Creel, W. (1961). The long pattern hypothesis in harmony and hearing. Journal of Music Theory, Vol. 5, pp. 2-31.

Bregman, A. S. (1990). Auditory scene analysis; The perceptual organization of sound. Cambridge, MA: M.I.T. Press

Brown, H. (1988). The interplay of set content and temporal context in a functional theory of tonality perception. Music Perception, Vol. 5, No. 3, pp. 219-250.

Butler, D. (1979). A further study of melodic channeling. Perception & Psychophysics, Vol. 25, pp. 264-268.

Butler, David & Brown, Helen. (1984). Tonal structure versus function: Studies in the recognition of harmonic motion. Music Perception, Vol. 1, pp. 6-24.

Crowder, R. G. (1986). Perception of the major/minor distinction II: Experimental investigations. Psychomusicology, Vol. 5, pp. 3-24.

Deutsch, Diana. (1982). The processing of pitch combinations. In: D. Deutsch (ed.) The Psychology of Music. New York: Academic Press.

Dowling, W. J. (1973). The perception of interleaved melodies. Cognitive Psychology, Vol. 5, pp. 322-337.

Francés, R. (1958/1988). La perception de la musique. Translated by W.J. Dowling as The Perception of Music. Hillsdale, N.J.: Lawrence Erlbaum Associates, 1988.

Hartmann, W. M., & Johnson, D. (1991). Stream segregation and peripheral channeling. Music Perception, Vol. 9, No. 2, pp. 155-183.

von Hippel, P. (2000). Redefining pitch proximity: Tessitura and mobility as constraints on melodic interval size. Music Perception, Vol. 17, No. 3, pp. 315-327.

von Hippel, P. & Huron, D. (2000). Why do skips precede reversals? The effect of tessitura on melodic structure. Music Perception, Vol. 18, No. 1, pp. 59-85.

Houtgast, T. (1976). Subharmonic pitches of a pure tone at low S/N ratio. Journal of the Acoustical Society of America, Vol. 60, pp. 405-409.

Huron, D. (1989b). Voice denumerability in polyphonic music of homogeneous timbres. Music Perception, Vol. 6, No. 4, pp. 361-382.

Huron, D. (1989c). Characterizing musical textures. Proceedings of the 1989 International Computer Music Conference, San Francisco: Computer Music Association, pp. 131-134.

Huron, D. (1991a). The avoidance of part-crossing in polyphonic music; perceptual evidence and musical practice. Music Perception, Vol. 9, No. 1, pp. 93-104.

Huron, D. (1991b). Tonal consonance versus tonal fusion in polyphonic sonorities. Music Perception, Vol. 9, No. 2, pp. 135-154.

Huron, D. (1991c). Albert S. Bregman: Auditory scene analysis; The perceptual organization of sound [review of]. Psychology of Music, Vol. 19, No. 1, pp. 77-82.

Huron, D. (1991d). Richard Parncutt: "Harmony: A Psychoacoustical Approach [review of]." Psychology of Music, Vol. 19, No. 2 (1991) pp. 173-177.

Huron, D. (1993). A derivation of the rules of voice-leading from perceptual principles. Journal of the Acoustical Society of America, Vol. 93, No. 4, p. S2362.

Huron, D. (1993a). Note-onset asynchrony in J.S. Bach's two-part Inventions. Music Perception, Vol. 10, No. 4, pp. 435-443.

Huron, D. (1993b). Chordal-tone doubling and the enhancement of key perception. Psychomusicology, Vol. 12, No. 1, pp. 73-83.

Huron, D. (1994). Interval-class content in equally-tempered pitch-class sets: Common scales exhibit optimum tonal consonance. Music Perception, Vol. 11, No. 3, pp. 289-305.

Huron, D. (1997). Stream segregation in polyphonic music: Asynchronous preparation of tonally fused intervals in J.S. Bach. Unpublished MS.

Huron, D. (2001). Tone and voice: A derivation of the rules of voice-leading from perceptual principles. Music Perception, Vol. 19, No. 1, pp. 1-64.

Huron, D., & Fantini, D. (1989). The avoidance of inner-voice entries: Perceptual evidence and musical practice. Music Perception, Vol. 7, No. 1, pp. 43-47.

Huron, D., & Mondor, T. (1994). Melodic line, melodic motion, and Fitts' law. Unpublished MS.

Huron, D., & Parncutt, R. (1992). How `middle' is middle C? Terhardt's virtual pitch weight and the distribution of pitches in music. Unpublished MS.

Huron, D., & Parncutt, R. (1993). An improved model of tonality perception incorporating pitch salience and echoic memory. Psychomusicology, 12, No. 2, pp. 154-171.

Huron, D. (2001). Tone and Voice: A derivation of the rules of voice-leading from perceptual principles. Music Perception, in press.

Huron, D. & Sellmer, P. (1992). Critical bands and the spelling of vertical sonorities. Music Perception, Vol. 10, No. 2, pp. 129-149.

Kameoka, A. & Kuriyagawa, M. (1969a). Consonance theory, part I: Consonance of dyads. Journal of the Acoustical Society of America, Vol. 45, No. 6, pp. 1451-1459.

Kameoka, A. & Kuriyagawa, M. (1969b). Consonance theory, part II: Consonance of complex tones and its computation method. Journal of the Acoustical Society of America, Vol. 45, No. 6, pp. 1460-1469.

Krumhansl, Carol L. (1979). The psychological representation of musical pitch in a tonal context. Cognitive Psychology, Vol. 11, pp. 346-374.

Krumhansl, Carol L., Bharucha, Jamshed J. & Kessler, Edward J. (1982). Perceived harmonic structure of chords in three related musical keys. Experimental Psychology: Perception and Performance Vol. ?, No. 1, pp. 24-36.

Krumhansl, Carol L. (1983). Perceptual structures for tonal music. Music Perception, Vol. 1, pp. 28-62.

Krumhansl, Carol L. & Castellano, M.A. (1983). Dynamic processes in music perception. Memory Cognition, Vol. 11, pp. 325-334.

Krumhansl, Carol L. & Kessler, E.J. (1982). Tracing the dynamic changes in perceived tonal organization in a spatial representation of musical keys. Psychological Review, Vol. 89, pp. 579-594.

Krumhansl, Carol L. Bharucha, J.J. & Kessler, E.J. (1982). Perceived harmonic structure of chords in three related musical keys. Journal of Experimental Psychology; Human Perception and Performance, Vol. 8, pp. 24-36.

Mashinter, Keith (1995). Discrepancies in theories of sensory dissonance arising from the models of Kameoka & Kuriyagawa and Hutchinson & Knopoff. Bachelor of Applied Mathematics and Bachelor of Music joint thesis, University of Waterloo.

McAdams, S., & Bregman, A. S. (1979). Hearing musical streams. Computer Music Journal, Vol. 3, No. 4, pp. 26-43,60,63.

Parncutt, Richard. (1987). Sensory bases of harmony in Western music. PhD dissertation, University of New England, Armidale, New South Wales, Australia.

Parncutt, Richard. (1989). Harmony: A Psychoacoustical Approach. Berlin: Springer-Verlag.

Parncutt, Richard. (1995). Survey of recent research on the perception of harmony and tonality. Musikpsychologie: Jahrbuch der Deutschen Gesellschaft für Musikpsychologie, Vol. 12, pp. 56-65.

Pierce, John R. (1968). Attaining consonance in arbitrary scales. Journal of the Acoustical Society of America, p. 249.

Pineau, M. & Bigand, E. (1997). Effect of global structures on harmonic priming in music.. Annee Psychologique, Vol. 97, No. 3, pp. 385-408.

Regnault, P., Bigand, E. & Besson, M. (1999). Sensory and cognitive influences on musical expectancy revealed by event-related potentials. Psychophysiology, Vol. 36, S17-S17, Suppl. 1.

Regnault, P., Bigand, E. & Besson, M. (2001). Different brain mechanisms mediate sensitivity to sensory consonance and harmonic context: Evidence from auditory event-related brain potentials. Journal of Cognitive Neuroscience, Vol. 13, No. 2, pp. 241-255.

Roberts, L.A. (1986). Consonance judgements of musical chords by musicians and untrained listeners. Acustica, Vol. 62, pp. 163-171.

Roberts, L.A. & Matthews, M.V. (1985). Intonation sensitivity for traditional and nontraditional chords. Journal of the Acoustical Society of America, Vol. 75, pp. 952-959.

Simpson, Jasba (1994). Cochlear modeling of sensory dissonance and chord roots. Master of Applied Science thesis, University of Waterloo.

Terhardt, E., Stoll, G. and Seewann, M. (1982). Algorithm for extraction of pitch and pitch salience from complex tonal signals. Journal of the Acoustical Society of America, Vol. 71, pp. 679-688.

Tillmann, B., Bharucha, J.J. & Bigand, E. (2000). Implicit learning of tonality: A self-organizing approach. Psychological Review, Vol. 107, No. 4, pp. 885-913.

Tillmann, B. & Bigand, E. (2001). Global context effect in normal and scrambled musical sequences. Journal of Experimental Psychology-Human Perception and Performance, Vol. 27, No. 5, pp. 1185-1196.

Tillmann, B., Bigand, E. & Madurell, F. (1998). Local versus global processing of harmonic cadences in the solution of musical puzzles. Psychological Research-Psychologische Forschung, Vol. 61, No. 3, pp. 157-174.

Tillmann, B., Bigand, E. & Pineau, M. (1998). Effects of global and local contexts on harmonic expectancy. Music Perception, Vol. 16, No. 1, pp. 99-117.

Wright, J. K. (1986). Auditory object perception: Counterpoint in a new context. Unpublished masters thesis, McGill University, Montréal, PQ.

Wright, J. K. & Bregman, A. S. (1987). Auditory stream segregation and the control of dissonance in polyphonic music. Contemporary Music Review, Vol. 2, pp. 63-93.



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