[1]
|
W. V. D. Bingham, “Studies in Melody,” Psychological Review, Monograph Supplements, Vol. 12, Whole No. 50, 1910.
|
[2]
|
H. Gardner, “The Mind’s New Science: A History of the Cognitive Revolution,” Basic Books, 1984.
|
[3]
|
D. Deutsch, (Ed.) “The Psychology of Music,” Academic Press, 1999.
|
[4]
|
C. L. Krumhansl, “Cognitive Foundations of Musical Pitch,” Oxford University Press, 1990.
|
[5]
|
D. Deutsch and J. Feroe, “The Internal Representation of Pitch Sequences,” Psychological Review, Vol. 88, No. 6, 1981, pp. 503-522.
|
[6]
|
K. Hirata and T. Aoyagi, “Computational Music Repre- sentation Based on the Generative Theory of Tonal Music and the Deductive Object-Oriented Database,” Computer Music Journal, Vol. 27, No. 3, 2003, pp. 73-89.
|
[7]
|
F. Lerdahl and R. Jackendoff, “A Generative Theory of Tonal Music,” MIT Press, Cambridge, 1983.
|
[8]
|
H. C. Longuet-Higgins and M. J. Steedman, “On Interpret- ing Bach,” In: B. Meltzer and D. Michie, Eds., Machine Intelligence, University Press, 1971.
|
[9]
|
A. Marsden, “Generative Structural Representation of Tonal Music,” Journal of New Music Research, Vol. 34, No. 4, 2005, pp. 409-428.
|
[10]
|
D. J. Povel, “Internal Representation of Simple Temporal Patterns,” Journal of Experimental Psychology: Human Perception and Performance, Vol. 7, No. 1, 1981, pp. 3- 18.
|
[11]
|
D. J. Povel, “A Model for the Perception of Tonal Music,” In: C. Anagnostopoulou, M. Ferrand and A. Smaill, Eds., Music and Artificial Intelligence, Springer Verlag, 2002, pp. 144-154.
|
[12]
|
D. Temperley, “An Algorithm for Harmonic Analysis,” Music Perception, Vol. 15, No. 1, 1997, pp. 31-68.
|
[13]
|
D. Temperley, “Music and Probability,” MIT Press, Cambridge, 2007.
|
[14]
|
D. Cope, “Experiments in Music Intelligence,” MIT Press, 1996.
|
[15]
|
E. Miranda, “Composing Music with Computers,” Focal Press, 2001.
|
[16]
|
R. Rowe, “Machine Musicianship,” MIT Press, 2004.
|
[17]
|
G. Papadopoulos and G. Wiggins, “AI Methods for Algo- rithmic Composition: A Survey, a Critical View and Future Prospects,” Proceedings of the AISB’99 Sympo- sium on Musical Creativity, Edinburgh, Scotland, 6-9 April 1999.
|
[18]
|
C. Ames, “The Markov Process as a Compositional Model: A Survey and Tutorial,” Leonardo, Vol. 22, No. 2, 1989, pp. 175-187.
|
[19]
|
E. Cambouropoulos, “Markov Chains as an Aid to Computer Assisted Composition,” Musical Praxis, Vol. 1, No. 1, 1994, pp. 41-52.
|
[20]
|
K. Ebcioglu, “An Expert System for Harmonizing Four Part Chorales,” Computer Music Journal, Vol. 12, No. 3, 1988, pp. 43-51.
|
[21]
|
M. Baroni, R. Dalmonte and C. Jacoboni, “Theory and Analysis of European Melody,” In: A. Marsden and A. Pople, Eds., Computer Representations and Models in Music, Academic Press, London, 1992.
|
[22]
|
D. Cope, “Computer Models of Musical Creativity,” A-R Editions, 2005.
|
[23]
|
M. Steedman, “A Generative Grammar for Jazz Chord Sequences,” Music Perception, Vol. 2, No. 1, 1984, pp. 52-77.
|
[24]
|
J. Sundberg and B. Lindblom, “Generative Theories in Language and Music Descriptions,” Cognition, Vol. 4, No. 1, 1976, pp. 99-122.
|
[25]
|
G. Wiggins, G. Papadopoulos, S. Phon-Amnuaisuk and A. Tuson, “Evolutionary Methods for Musical Composi- tion,” Partial Proceedings of the 2nd International Con- ference CASYS’98 on Computing Anticipatory Systems, Liège, Belgium, 10-14 August 1998.
|
[26]
|
J. A. Biles, “Genjam: A Genetic Algorithm for Generat- ing Jazz Solos,” 1994. http://www.it.rit.edu/~jab/
|
[27]
|
P. Todd, “A Connectionist Approach to Algorithmic Composition,” Computer Music Journal, Vol. 13, No. 4, 1989, pp. 27-43.
|
[28]
|
P. Toiviainen, “Modeling the Target-Note Technique of Bebop-Style Jazz Improvisation: An Artificial Neural Network Approach,” Music Perception, Vol. 12, No. 4, 1995, pp. 399-413.
|
[29]
|
M. Baroni, S. Maguire and W. Drabkin, “The Concept of a Musical Grammar,” Musical Analysis, Vol. 2, No. 2, 1983, pp. 175-208.
|
[30]
|
M. Baroni, R., Dalmonte and C. Jacoboni, “A Computer- Aided Inquiry on Music Communication: The Rules of Music,” Edwin Mellen Press, 2003.
|
[31]
|
A. Marsden, “Representing Melodic Patterns as Networks of Elaborations,” Computers and the Humanities, Vol. 35, No. 1, 2001, pp. 37-54.
|
[32]
|
H. C. Longuet-Higgins and C. S. Lee, “The Perception of Musical Rhythms,” Perception, Vol. 11, No. 2, 1982, pp. 115-128.
|
[33]
|
D. J. Povel and P. J. Essens, “Perception of Temporal Patterns,” Music Perception, Vol. 2, No. 4, 1985, pp. 411-440.
|
[34]
|
F. Gouyon, G. Widmer, X. Serra and A. Flexer, “Acoustic Cues to Beat Induction: A Machine Learning Approach,” Music Perception, Vol. 24, No. 2, 2006, pp. 177-188.
|
[35]
|
D. J. Povel and H. Okkerman, “Accents in Equitone Sequences,” Perception and Psychophysics, Vol. 30, No. 6, 1981, pp. 565-572.
|
[36]
|
D. J. Povel, “Exploring the Elementary Harmonic Forces in the Tonal System,” Psychological Research, Vol. 58, No. 4, 1996, pp. 274-283.
|
[37]
|
F. Lerdahl, “Tonal Pitch Space,” Music Perception, Vol. 5, No. 3, 1989, pp. 315-350.
|
[38]
|
F. Lerdahl, “Tonal Pitch Space,” Oxford University Press, Oxford, 2001.
|
[39]
|
E. H. Margulis, “A Model of Melodic Expectation,” Music Perception, Vol. 22, No. 4, 2005, pp. 663-714.
|
[40]
|
D. J. Povel and E. Jansen, “Harmonic Factors in the Perception of Tonal Melodies,” Music Perception, Vol. 20, No. 1, 2002, pp. 51-85.
|
[41]
|
J. J. Bharucha, “Anchoring Effects in Music: The Resolution of Dissonance,” Cognitive Psychology, Vol. 16, No. 4, 1984, pp. 485-518.
|
[42]
|
D. J. Povel and E. Jansen, “Perceptual Mechanisms in Music Processing,” Music Perception, Vol. 19, No. 2, 2001, pp. 169-198.
|
[43]
|
E. Toch, “The Shaping Forces in Music: An Inquiry into the Nature of Harmony, Melody, Counterpoint, Form,” Dover Publications, NY, 1977.
|
[44]
|
J. Bamberger, “Developing Musical Intuitions,” Oxford University Press, Oxford, 2000.
|
[45]
|
Schoenberg, “Fundamentals of Musical Composition,” Faber and Faber, 1967.
|
[46]
|
H. Schenker, “Harmony,” Chicago University Press, Chicago, 1954.
|
[47]
|
V. Zuckerkandl, “Sound and Symbol,” Princeton Univer- sity Press, Princeton, 1956.
|
[48]
|
H. Schenker, “Free Composition (Der freie Satz),” E. Oster, Translated and Edited, Longman, New York, 1979.
|
[49]
|
M. Neuburg, “REALbasic. The Definitive Guide,” O’Reilly, 1999.
|
[50]
|
M. G. Brown, “A Rational Reconstruction of Schenkerian Theory,” Thesis Cornell University, 1989.
|
[51]
|
M. G. Brown, “Explaining Tonality,” Rochester Univer- sity Press, Rochester, 2005.
|
[52]
|
Jonas, “Das Wesen des musikalischen Kunstwerks : eine Einführung in die Lehre Heinrich Schenkers,” Saturn, 1934.
|
[53]
|
W. Piston and M. Devoto, “Harmony,” Victor Gollancz, 1989.
|
[54]
|
D. Huron, “The Melodic Arch in Western Folksongs,” Computing in Musicology, Vol. 10, 1989, pp. 3-23.
|