Literature Music: Rhythm, Meter and Tempo

Agawu, V. Kofi (1987). The Rhythmic Structure of West African Music. The journal of
musicology: a quarterly review of music history, criticism, analysis, and performance practice,
Vol. 5 (Issue 3).
Alette, C. (1951). Theories of Rhythm. Dissertation, U. of Rochester, NY.
Allen, P. & R. Dannenberg (1990). Tracking musical beats in real time. Proceedings of the 1990
ICMC, 140-143.
Arom, Simha (1989). Time Structure in the Music of Central Africa: Periodicity, Meter, Rhythm
and Polyrhythmics. Leonardo: international journal of the contemporary artist, Vol. 22 (Issue 1):
91.
Babitz, S. (1952). A Problem of Rhythm in Baroque Music. MQ, xxxviii: 533-565.
Barnes, R. & Jones, M. R. (2000). Expectancy, attention, and time. Cognitive Psychology, 41: 254311.
Barry, B. (1990). Musical Time: the Sense of Order. Stuyvesant, NY.
Benjamin, W.E. (1983). A Theory of Musical Meter. Music Perception, I (4): 355-413.
Berry, W. (1985). Metric and Rhythmic Articulation in Music. Music Theory Spectrum, vii: 7-33.
Boltz, M., Marshburn, E., Jones, M. R., & Johnson, W. (1985). Serial pattern structure and
temporal order recognition. Perception & Psychophysics, 37: 209-217.
Boltz, M.G. (1998). Tempo discrimination of musical patterns: effects due to pitch and rhythmic
structure. Perception and Psychophysics, 60: 1357-1373.
Borchgrevink, Hans M. (1982). Prosody and Musical Rhythm are Controlled by the Speech
Hemisphere, in: Clynes, Manfred (ed.), Music, Mind and Brain: The Neuropsychology of Music,
Plenum Press, New York.
Brown, P. (1979). An enquiry into the origins and nature of tempo behaviour. Psychology of Music
7(1).
Brown, H., Butler, D., & Jones, M. R. (1994). Tonal hierarchies and temporal order. Music
Perception. 11: 371 - 407.
Caplin, W. (1983). Tonal Function and Metrical Accent: a Historical Perspective. Music Theory
Spectrum, v: 1-14.
Clarke, E. (1985). Structure and Expression in Rhythmic Performance. In: Howell, P.; Cross, I. &
R. West (eds., 1985). Musical Structure and Cognition. New York : 209-236.
Clarke, E.F. (1985). Some Aspects of Rhythm and Expression in Performances of Erik Satie's
"Gnossienne No.5". Music Perception, 2(3).
Clarke, E. (1987). Levels of structure in the organization of musical time. Contemporary Music
Review. Vol. 2.
Clayton, Martin R.L. (1996). Free rhythm: Ethnomusicology and the study of music without metre
Bulletin of the School of Oriental and African Studies, University of London, Vol. 59 (Issue 2):
323-332.
Cohen, J., C.E.M. Hansell, & J.D. Sylvester. (1954). Interdependence of temporal and auditory
judgements. Nature, 174 .
Cooper, G. & L. Meyer (1960). The Rhythmic Structure of Music. Chicago: University Press.
Dannenberg, R. B. & B. Mont-Reynaud (1987). Following an Improvisation in Real Time.
Proceedings of the 1987 ICMC.
Dannenberg, R. B., Desain, P., & Honing, H. (in press). Programming language design for music.
In: G. De Poli, A. Picialli, S. T. Pope, & C. Roads (eds.), Musical Signal Processing. Cambridge,
Mass.: MIT Press.
Darwin, C.J. & A. Donovan (1980). Perceptual studies of speech rhythm: isochrony and
intonation. In: Simon, J.C. (ed., 1980). Proceedings of NATO ASI on Spoken Lnaguage Generation
and Understanding. Dordrecht: Reidel.
Dauer, A.M.D. (1988). Derler 1: Ein system zur klassifikation von rhythmen. Jazzforschung/Jazz
research, 20.
Davidson, J. (1991). The Perception of Expressive Movement in Music Performance. Ph.D. thesis,
City University, London.
Dawe, L. & others (1993). Harmonic Accents in Inference of Metrical Structure and Perception of
Rhythm Patterns. Perception and Psychophysics, liv: 194-207.

Desain, P. (1992a). A (de)composable theory of rhythm perception. Music Perception, 9(4): 439454.
Desain, P. (1992b). Can computer music benefit from cognitive models of rhythm perception? In:
Proceedings of the 1992 International Computer Music Conference: 42-45. San Francisco:
International Computer Music Association.
* ! Desain, Peter (1993). A connectionist and a traditional AI quantizer, synbolic versus subsymbolic models of rhythm perception. Contemporary Music Review, 9: 239-254.
* ! Desain, Peter & Henkjan Honing (1991a). Quantization of musical time: a connectionist
approach. In: Todd, P.M. & D.G. Loy (eds.), Music and Connectionism. Cambridge: MIT Press.
Desain, P., & Honing, H. (1991b). Towards a calculus for expressive timing in music. Computers
in Music Research, 3: 43-120.
Desain, Peter & Henkjan Honing (1992a). Music, Mind and Machine. Studies in Computer Music,
Music Cognition and Artificial Intelligence. Amsterdam: Thesis Publishers.
Desain, P., & H. Honing (1992b). Musical machines: can there be? are we? Some observations onand a possible approach to- the computational modelling of music cognition. In: C. Auxiette, C.
Drake, & C. Grard (eds.), Proceedings of the Fourth International Workshop on Rhythm
Perception and Production: 129-140. Bourges.
* ! Desain, Peter & Henkjan Honing (1992c). The quantization problem: traditional and
connectionist approaches. In: Balaban, M.; Ebcioglu, K. & O. Laske (eds.), Understanding Music
with AI: Perspectives on Music Cognition: 448-463. Cambridge: MIT Press.
Desain, Peter & Henkjan Honing (1992d). A (de)composable theory of rhythm perception. Music
Perception, 9(4): 439-454.
* ! Desain, Peter & Henkjan Honing (1993). Tempo curves considered harmful. Time in
contemporary musical thought. In: D. Kramer (ed.), Contemporary Music Review, 7: 123-138.
Desain, P., & Honing, H. (1993d). On Continuous Musical Control of Discrete Musical Objects.
Proceedings of the 1993 International Computer Music Conference. San Francisco: International
Computer Music Association.
Desain, P., & Honing, H. (1994a). Advanced issues in beat induction modeling: syncopation,
tempo and timing. Proceedings of the 1994 International Computer Music Conference: 92-94. San
Francisco: International Computer Music Association.
* ! Desain, P., & Honing, H. (1994b). Does expressive timing in music performance scale
proportionally with tempo? Psychological Research, 56: 285-292.
* ! Desain, Peter & Henkjan Honing (1994c). Foot-tapping: a brief introduction to beat induction.
Proceedings of the 1994 International Computer Music Conference: 78-79. San Francisco:
International Computer Music Association.
* ! Desain, Peter & Henkjan Honing (1994d). Can music cognition benefit from computer music
research? From foot-tapper systems to beat induction models. Proceedings of the 1994
International Computer Music Conference: 397-398. LiAge: ESCOM.
Desain, P., & Honing, H. (1995a). Computational models of beat induction: the rule-based
approach. Proceedings of IJCAI 1995. Montreal: IJCAI.
* ! Desain, Peter & Henkjan Honing (1995b?). Computationeel modelleren van beat-induction.
In: Van frictie tot wetenschap. Jaarboek 1994-1995. Amsterdam: Vereniging van Academieonderzoekers.
* ! Desain, Peter & Henkjan Honing (unpublished manuscript, 1995c). Music, Mind, Machine.
Computational Modelling of Temporal Structure in Musical Knowledge and Music Cognition.
* ! Desain, Peter & Henkjan Honing (1997a). Structural Expression Component Theory (SECT),
and a method for decomposing expression in music performance. Proceedings of the Society for
Music Perception and Cognition Conference: 38. Cambridge: MIT.
* ! Desain, Peter & Henkjan Honing (1997b). How to evaluate generative models of expression in
music performance. Issues in AI and Music Evaluation and Assessment. International Joint
Conference on Artificicial Intelligence: 5-7. Nagoya: Japan.
Desain, P., & Vos, S. (1990). Autocorrelation and the study of musical expression. Proceedings of
the 1990 International Computer Music Conference: 357-360. San Francisco: Computer Music
Association.
* i Desain, Peter & Luke Windsor (eds., 2000a). Rhythm Perception and Production. Swets &
Zeitlinger Publishers, Lisse, Abingdon, Exton (PA), Tokyo.
* ! Desain, Peter & Luke Windsor (2000b). Introduction: multiple perspectives on rhythm

perception and production. In: Desain, Peter & Luke Windsor (eds., 2000a). Rhythm Perception
and Production. Swets & Zeitlinger Publishers, Lisse, Abingdon, Exton (PA), Tokyo: xi.
Doob, L.W. (1971). The patterning of time. Yale University Press.
Drake, C. (1993). Perceptual and Performed Accents in Musical Sequences. Bulletin of the
Psychonomic Society, xxxi: 107-110.
Drake, C. & C. Palmer (1993). Accent Structures in Music Performance. Music Perception. 10 (3):
343-378.
Drake, C., Jones, M. R., Baruch, C. (2000) The development of rhythmic attending in auditory
sequences: Attunement, Referent Period, Focal Attending. Cognition 77 (3): pp. 251-288.
* ! Drake, Carolyn; Penel, Amandine & Emmanuel Bigand (2000). Why musicians tap slower
than nonmusicians. In: Desain, Peter & Luke Windsor (eds., 2000a). Rhythm Perception and
Production. Swets & Zeitlinger Publishers, Lisse, Abingdon, Exton (PA), Tokyo: 239-245.
Duke, R (1994). When Tempo Changes Rhythm: the Effect of Tempo on Nonmusicians
Perception of Rhythm. JRME, xlii: 27-35.
Dunk, J. (1952). The Origin and Structure of Rhythm. London.
Dunlap, K. (1916). Time and Rhythm. Psychological Bulletin, 13 (5): 206-208.
Drr, W. (1966). Rhythm in Music: a Formal Scaffolding of Time. In: Fraser, J.T. (ed., 1966). The
Voices of Time: 180-200.
Drr, W, Gerstenberg, W., & Harvey, J. (1989). Rhythm (entry). In The new Grove dictionary of
music and musicians. Stanley Sadie (Ed.). London : Macmillan, 1989.
Eibner, F. (1962). The Dotted-Quaver-and-Semiquaver Figure with Triplet Accompaniment in the
Works of Schubert. MR, xxiii: 281-284.
Erickson, R. (1970). Rhythmic Problems and Melodic Structure in Organum Purum: a ComputerAssisted Study. Dissertation, Yale U.
Essens, P. (1986). Hierarchical Organization of Temporal Patterns. Perception and Psychophysics,
xl: 69-73.
Feldman, J.; Epstein, D. & W. Richards (1992). Force Dynamics of Tempo Change in Music.
Music Perception, 10(2): 185-204.
Fraisse, Paul (1956). Les structures rythmiques. Louvain: Editions Universitaires.
Fraisse, Paul (1963). The psychology of time. NY: Harper and Row.
* Fraisse, P. (1982). Rhythm and Tempo. In: The Psychology of Music, edited by D. Deutsch.
New York: Academic Press.
Gabrielsson, Alf (1974). Performance of rhythmic patterns. Scandinavian Journal of Psychology,
15.
Gabrielsson, Alf (1987). Action and Perception in Rhythm and Music; Papers given at a
symposium in the Third International Conference on Event Perception and Action. Stockholm:
Royal Swedish Academy of Music, No. 55 (with recorded disk).
Gehrkens, Karl W. (1963). Rhythm in Music. Music educators' journal, 0027-4321, Vol. 49 (Issue
5): 45.
Geringer, J.; Madsen, C. & R. Duke (1994). Perception of Beat-note Change in Modulating
Tempos. Bulletin of the Council for Research in Music Education, cxix: 49-57.
Gillis, Aaron; Lascelles, C. F. & Nora Crone (1958). A Comparison of Rhythmic and NonRhythmic music in Chronic Schizophrenia. The American journal of psychiatry: official journal of
the American Psychiatric Association, Vol. 114: 1111.
Handel, S. (1989). Listening: an Introduction to the Perception of Auditory Events. Cambridge.
Handel, S. (1992). The differentiation of rhythmic structure. Perception & Psychophysics, 52: 497507.
Harding, R. (1938). Origins of Musical Time and Expression. London.
Hauptmann, M. (1853/1873). Die Natur der Harmonik und der Metrik. ed. O. Paul, Leipzig. Eng.
transl. 1888.
Heffernan, James (1887). Musical beats and their relation to consonance and dissonance.
Proceedings of the Musical Association: for the investigation and discussion of subjects connected
with the art and cience of music, Vol. 14: 1.
Hefling, Stephen E. (1993). Rhythmic Alteration in Seventeenth- and Eighteenth-Century Music:
Notes Ingales and Overdotting. New York.

Hefling, Stephen & Michael Collins (1994). Rhythmic Alteration in Seventeenth- and EighteenthCentury Music: Notes Ingales and Overdotting. Notes: the quarterly journal of the Music Library
Association, Vol. 50 (Issue 4): 1387.
Hirsch, I.J., R.C. Bilger & B.H. Deathrage (1956). The effect of auditory and visual background on
apparent duration. American Journal of Psychology, 69.
Hirsch, I.J. (1959). Auditory Perception of Temporal Order. JASA, xxxi: 759-767.
Holleran, S., Butler, D., & Jones, M. R. (1995). Perceiving implied harmony: The role of melodic
and harmonic context. Journal of Experimental Psychology: Learning, Memory and Cognition, 21:
737-753.
Honing, H. (1990). POCO: an environment for analysing, modifying, and generating expression in
music. Proceedings of the 1990 International Computer Music Conference: 364-368. San
Francisco: Computer Music Association.
Honing, H. (1993b). Issues in the representation of time and structure in music. Contemporary
Music Review, 9: 221-239.
Honing, H. (1995). The vibrato problem, comparing two solutions. Computer Music Journal,
19(3).
Houle, G.L. (1987). Meter in Music, 1600-1800: Performance, Perception, and Notation.
Bloomington, IN.
Hweler, C. (1952). Het rhythme in vers en muziek. The Hague.
Jagacinski, R., Marshburn, E., Klapp, S.T., and Jones, M. R. (1988). Test of streamed vs. integrated
structure in polyrhythmic tapping. Journal of Motor Behavior, 20: 416-442.
Jaques-Dalcroze, Emile (1917). The influence of eurhythmics upon the development of movement
in music. Proceedings of the Musical Association: for the investigation and discussion of subjects
connected with the art and science of music, Vol. 44: 193.
Jones, M. R. (1976). Time, our lost dimension: Toward a new theory of perception, attention, and
memory. Psychological Review, 83: 323-355.
Jones, M. R. (1981). A tutorial on some issues and methods in serial pattern research. Perception
& Psychophysics, 30: 492-504.
Jones, M. R. (1986). Attentional rhythmicity in human perception. In J. Evans & M. Clynes (Eds.),
Rhythm in language, learning and other life experiences. Springfield, IL: Charles C. Thomas.
Jones, M. R. (1987). Perspectives on musical time. In A. Gabrielsson (Ed.), Action and perception
in rhythm and music. Stockholm: The Royal Swedish Academy of Music Publications.
Jones, M. R. (1987). Dynamic pattern structure in music: Recent theory and research. Perception
& Psychophysics, 41: 621-634.
Jones, M. R. (1990). Musical events and models of musical time. In R. Block (Ed.), Cognitive
models of psychological time. Hillsdale, NJ: Lawrence Erlbaum.
Jones, M. R. (1993). Understanding melody and music. How melody and rhythm fit together. In T.
Tighe & W.J. Dowling (Eds.), Psychological approaches to understanding music. pgs 67-92.
Jones, M. R., Kidd, G., & Wetzel, R. (1981). Evidence for rhythmic attention. Journal of
Experimental Psychology: Human Perception and Performance, 7: 1059-1073.
Jones, M. R., Boltz, M., & Kidd, G. (1982). Controlled attending as a function of melodic and
temporal context. Perception & Psychophysics, 32: 211-218.
Jones, M. R. and Boltz, M. (1989). Dynamic attending and responses to time. Psychological
Review, 96: 459-491.
Jones, M. R., & Ralston, J. (1991). Some influences of accent structure on melody recognition.
Memory and Cognition, 19: 8-20.
Jones, M. R., & Yee, W. (1993). Attending to auditory events: The role of temporal organization. In
S. McAdams & E. Brigand (Eds.), Cognitive aspects of human audition. Oxford University Press.
Jones, M. R., & Skelly, J. (1993). The role of event time in attending. Time and Society.2: 107-128.
Jones, M. R., Boltz, M., & Klein, J. (1993). Duration judgments and expected endings. Memory
and Cognition, 21: 646-665.
Jones, M. R., Jagacinski, R., Yee, W., & Klapp, S. (1995). Tests of attentional flexibility in
listening to polyrhythmic patterns. Journal of Experimental Psychology: Human Perception and
Performance.
Jones, M. R. & Yee, W. (1997). Sensitivity to Time Change: The role of context and skill. Journal
of Experimental Psychology: Human Perception and Performance. 23: 693-709.

Jones, M. R. & Pfordresher, P. (1997) Tracking musical patterns using Joint Accent Structure.
Canadian Journal of Psychology. 51: 271-290.
Kamien, R. (1993). Conflicting Metrical Patterns in Accompaniment and Melody in Works by
Mozart and Beethoven: a Preliminary Study. JMT, xxvii: 311-348.
Kidd, G., Boltz, M., & Jones, M. R. (1984). Some effects of rhythmic context on melody
recognition. American Journal of Psychology, 97: 153-173.
Klages, L. (1934). Vom Wesen des Rhythmus. Kampen auf Sylt.
Klein, J. M. & Jones, M. R. (1996). Effects of attentional set and rhythmic complexity on
attending. Perception & Psychophysics, 58: 34-46.
Koffka, K. (1909). Experimentelle Untersuchungen zur Lehre von Rhythmus. Zeitschrift fr
Psychologie, 52: 1-109.
Komar, A. (1971). Theory of Suspensions. Princeton, NJ.
Kramer, J. D. (1988). The time of Music. New York: Schirmer.
Large, E. W. & J. F. Kolen (1994). Resonance and the perception of musical meter. Connection
Science, 6(2,3).
Large, E. W. & Jones, M. R. (1999) The dynamics of attending: How we track time-varying
events. Psychological Review , 106: 119-159.
Lee, H. (1981). Triple Meter and its Prevalence in Korean Music. In: Noblit, T. (ed., 1981). Music
East and West: Essays in Honor of Walter Kaufman: 101-110.
Lee, C. S. (1985). The rhythmic interpretation of simple musical sequences: towards a perceptual
model. In: R. West, P. Howell, & I. Cross (eds.) Musical Structure and Cognition. 53-69. London:
Academic Press.
Lee, C.S. (1991). The perception of metrical structure: Experimental evidence and a model. In: P.
Howell, R. West, & I. Cross (Eds.), Representing musical structure (pp. 59-127). London:
Academic.
Lester, J. (1986). The Rhythms of Tonal Music. Carbondale, IL.
Lewin, D. (1981). Some Investigations into Foreground Rhythmic and Metric Patterning. In: R.
Browne (ed., 1981), Music Theory: Special Topics, New York: 101-137.
Lissa, Z. (1968). The Temporal Nature of a Musical Work. Journal of Aesthetics and Art Criticism,
xxvi: 529-538.
Longuet-Higgins, H. & C. Lee (1982). The Perception of Musical Rhythms. Perception, xi: 115138.
Lowery, H. (1963). "The Rhythmic Structure of Music": Grosvenor W. Cooper and Leonard B.
Meyer (Book Review). The British journal of aesthetics, Vol. 3 (Issue 1): 91.
MacKenzie, Christine; VanEerd, Dwayne; Graham, Edward; David Huron & Wills, Barry (1986).
The effect of tonal structure on rhythm in piano performance. Music Perception, Vol. 4, No. 2:
215-225.
Miller, B. O., Scarborough, D. L. & J. A. Jones (1992). On the perception of meter. In: M.
Balaban, K. Ebcioglu, & O. Laske (eds.), Understanding Music with AI: Perspectives on Music
Cognition. 428- 447. Cambridge: MIT Press.
Mont-Reynaud, B. & M. Goldstein (1985). On Finding Rhythmic Patterns in Musical Lines.
Proceedings of the 1985 ICMC.
Myers, Charles (1904). A study of rhythm in primitive music. The British journal of psychology,
Vol. 1: 397.
Neumann, F. (1987). Conflicting Binary and Ternary Rhythms: from the Theory of Mensural
Notation to the Music of J.S. Bach. Music Forum, vi: 93-128.
Palmer, C. (1992). The role of interpretive preferences in music performance. In Cognitive Bases
of Musical Communication (1992), Edited by MR Jones & S Holleran. APA, Washington, D.C.:
249-262.
Palmer, C. & Kelly, M. (1992). Linguistic prosody and musical meter in song . Journal of Memory
and Language, 31, 525-542.
Parncutt, R. (1994). A perceptual model of pulse salience and metrical accent in musical rhythms.
Music Perception, 11: 409-464.
Peretz, I. & R. Kolinsky (1993). Boundaries of Separability between Melody and Rhythm in Music
Discrimination: a Neuropsychological Perspective. Quarterly Journal of Experimental Psychology
Section A: Human Experimental Psychology, xlvi/2: 301-325.

Peterson, Larry W. (1976). "Rhythm: An Annotated Bibliography", by Steven D. Winick (Book

Review). Notes: the quarterly journal of the Music Library Association, Vol. 32, no. 4 (jun): 772.
Povel, D. (1977). Temporal Structure of Performed Music, Some Preliminary Observations. Acta
Psychologica 41: 309-320.
Povel D.J. (1981). Internal Representation of Simple Temporal Patterns. Journal of Experimental
Psychology: Human Perception and Production. 7(1).
Povel, D.J. & P. Essens (1985). Perception of temporal Patterns. Music Perception, 2(4): 411-440
Radcliffe, P. (1930-31). The Relation of Rhythm and Tonality in the 16th Century. PRMA, lvii: 7397.
Rasch, R. A. (1979). Synchronization in Performed Ensemble Music. Acustica 43(2).
Raymond, George Lansing (1909). Rhythm and harmony in poetry and music, together with Music
as a representative art: two essays in comparative aesthetics. Uitgever: New York, N.Y. [etc.]:
Putnam Reeks: Comparative aesthetics; 6.
Repp, B. (1990). Patterns of expressive timing in performances of Beethoven minuet by nineteen
famous pianists. Journal of the Acoustical Society of America, 88: 622-641.
*! Repp,BrunoH.(2000).Introduction:RhythmandMeterinMusicandSpeech.In:Desain, Peter
& Luke Windsor (eds., 2000). Rhythm Perception and Production. Swets & Zeitlinger Publishers,
Lisse, Abingdon, Exton (PA), Tokyo: 233-235.
Richman, Bruce (2000). How Music Fixed Nonsense into Significant Formulas: On Rhythm,
Repetition, and Meaning. In: Wallin, Nils L.; Merker, Bjrn & Steven Brown (eds.) (2000). The
Origins of Music. The MIT Press, Cambridge: 301-315.
Rodda, John (1996). To the rhythm of the music. Olympic review, Vol. 25 (Issue 10): 85.
Roeder, J. (1995). A Calculus of Accent. JMT, xxxix: 1-46.
Ross, J. & Houtsma, A. J. M. (1994). Discrimination of auditory temporal patterns. Perception &
Psychophysics. 56: 19-26.
Rothstein, W. (1981). Rhythm and the Theory of Structural Levels. Dissertation, Yale U.
Ruckmich, C.A. (1913). A bibliography of rhythm. American Journal of Psychology, 24 (4): 508519.
Ryan, T. (1996). Grouping Strategy in Rhythmic Perception: a Test of the Perceptual Salience of
Lerdahl and Jackendoffs Grouping Preference Rules. Dissertation, Ohio State U.
Sachs, Curt (1953). Rhythm and tempo: a study in music history. New York, N.Y: Norton.
Sadie, Stanley & John Tyrrell (eds., 2001). The New Grove Dictionary of Music and Musicians.
* ! Lemma: Rhythm, vol. 21: 277-309.
Said, Edward (1991). Musical Elaborations. New York: Columbia U. P.
Saltini, R. (1994). Theory of Phase Shift: Study of Rhythmic and metric Displacements in Music.
Dissertation, SUNY.
Sanders, E. (1962). Duple Rhythm and Alternate Third Mode in the 13th Century. JAMS, xv: 249291.
Schachter, C. Rhythm and Linear Analysis: Aspects of Meter. Music Forum, vi/1: 1-59.
Shaffer, L.H., E.F. Clarke, & N.P. Todd (1985). Metre and rhythm in piano playing. Cognition, 20.
* ! Shmulevich, Ilya & Dirk-Jan Povel (2000). Complexity measures of musical rhythms. In:
Desain, Peter & Luke Windsor (eds., 2000). Rhythm Perception and Production. Swets &
Zeitlinger Publishers, Lisse, Abingdon, Exton (PA), Tokyo: 235-239.
Simon, H.A. & R.K. Sumner (1968). Pattern in music. In: B. Kleinmuntz (ed.), Formal
representation of Human Judgement. New York: John Wiley.
Sloboda. J. (1983). The communication of musical metre in piano performance. Quarterly Journal
of Experimental Psychology, 35.
Steedman, M.J. (1977). The Perception of Musical Rhythm and Metre. Perception, vi: 555-595.
Temperley, David & Daniel Sleator (1999). Modeling Meter and Harmony: A Preference-Rule
Approach. Computer Music Journal, 23 (1): 10-27.
Todd, N.P.M., & S. Kohon (200?). Testing a sensory-motor theory of rhythm perception: human vs
machine performance in tempo tracking.
Todd, N.P.M.; D.J. OBoyle & C.S. Lee (1999). A sensory-motor theory of rhythm, time
perception and beat induction. Journal of New Music Research, 28(1): 1-24.
Vorberg, D. J. & R. Hambuch (1987). On the Temporal Control of Rhythmic Performance. In: J.
Requin (Ed.) Attention and Performance VII.

Vos. P. & S. Handel (1987). Playing Triplets: Facts and Preferences. In: A Gabrielsson (Ed.) Action
and Perception in Rhythm and Music. Royal Swedish Academy of Music. No. 55: 35-47.
Wallaschek, R. (1895). On the difference of Time and Rhythm in Music. Mind: a quarterly review
of psychology and philosophy, Vol. 4 , 28.
Wenk, Brian J. (1982). Speech Patterns in Music: The French (Rhythmic) Connection.
International review of the aesthetics and sociology of music, Vol. 13 (Issue 2): 191.
Wennerstrom, Mary H. (1983). Anthology of Musical Structure & Style. Indiana University.
Prentice-Hall, Inc., Englewood Cliffs, New Jersey.
Willner, C. (1998). Stress and Counterstress: Accentual Conflict and Reconciliation in J.S. Bachs
Instrumental Works. Music Theory Only, xiii: 3-28.
Yako, M. (1997). The Hierarchical Structure of Time and Meter. Computer Music Journal, xxi: 4757.
Yee, Wm., Holleran, S. & Jones, M. (1994). Sensitivity to event timing in regular and irregular
sequences: Influences of musical skill. Perception & Psychophysics, 56: 461 - 471.
Yeston, M (1976). The stratification of musical rhythm. New Haven CT: Yale University Press.
Yorke Trotter, T. H. (1904). Rhythm in national music. Proceedings of the Musical Association:
for the investigation and discussion of subjects connected with the art and science of music, Vol.
31: 17.
Yung. Zhang Bell (1999). Book Reviews - Mathematical Rhythmic Structure of Chinese
Percussion Music. Ethnomusicology: newsletter, Vol. 43 (Issue 2): 369-370.
Zbikowski, L. (1991). Large-Scale Rhythm and Systems of Grouping. Dissertation, Yale U.

http://www.let.rug.nl/~schreudr/