The Cognition of Basic Musical Structures
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• 1 Introduction
  
  • 1.1 An Unanswered Question
    
  • 1.2 Goals and Methodology
    
  • 1.3 Music Cognition and Music Theory
    
  • 1.4 The Input Representation
    
  • 1.5 The Preference Rule Approach
    
  • 1.6 The Implementation Strategy
    
  
  
• 2 Metrical Structure
  
  • 2.1 Meter
    
  • 2.2 Previous Research on Metrical Analysis
    
  • 2.3 A Preference Rule System for Meter
    
  • 2.4 Implementation
    
  • 2.5 Tests
    
  • 2.6 Problems and Possible Improvements
    
  • 2.7 Other Factors in Metrical Structure
    
  • 2.8 Choosing the Right Tactus
    
  
  
• 3 Melodic Phrase Structure
  
  • 3.1 Musical Grouping and Phrase Structure
    
  • 3.2 Studies of Musical Grouping in Psychology
    
  • 3.3 Models of Grouping Structure
    
  • 3.4 A Preference Rules System for Melodic Phrase Structure
    
  • 3.5 Implementation and Tests
    
  • 3.6 Grouping in Polyphonic Music
    
  
  
• 4 Contrapuntal Structure
  
  • 4.1 Counterpoint
    
  • 4.2 Sequential Integration in Auditory Psychology
    
  • 4.3 Computational Models of Contrapuntal Annalysis
    
  • 4.4 A Preference Rule System for Contrapuntal Analysis
    
  • 4.5 Implementation
    
  • 4.6 Tests
    
  
  
• 5 Pitch Spelling and the Tonal-Pitch-Class Representation
  
  • 5.1 Pitch-Class, Harmony, and Key
    
  • 5.2 Spatial Representations in Music Theory
    
  • 5.3 Tonal-Pitch-Class Labeling
    
  • 5.4 A Preference Rule System for Tonal-Pitch-Class Labeling
    
  • 5.5 Implementation
    
  • 5.6 Tests
    
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• 6 Harmonic Structure
  
  • 6.1 Harmony
    
  • 6.2 Experimental and Computational Work on Harmonic Analysis
    
  • 6.3 A Preference Rule System for Harmonic Analysis
    
  • 6.4 Implementation
    
  • 6.5 Some Subtle Features of the Model
    
  • 6.6 Tests
    
  • 6.7 Other Aspects of Harmonic Structure
    
  
  
• 7 Key Structure
  
  • 7.1 Key
    
  • 7.2 Psychological and Computational Work on Key
    
  • 7.3 The Krumhansl-Schmuckler Key-Finding Algorithm
    
  • 7.4 Improving the Algorithm's Performance
    
  • 7.5 Modulatioon
    
  • 7.6 Implementation
    
  • 7.7 Tests
    
  • 7.8 An Alternative Approach to Modulation
    
  
  
• 8 Revision, Ambiguity, and Expectation
  
  • 8.1 Diachronic Processing and Ambiguity
    
  • 8.2 Modeling the Diachronic Processing of Music
    
  • 8.3 Examples of Revision
    
  • 8.4 Revision in Tonal Analysis
    
  • 8.5 Synchronic Ambiguity
    
  • 8.6 Ambiguity in Contrapuntal Structure
    
  • 8.7 Ambiguity in Meter
    
  • 8.8 Expectation
    
  
  
• 9 Meter, Harmony, and Tonality in Rock
  
  • 9.1 Beyond Common-Practice Music
    
  • 9.2 Syncopation in Rock
    
  • 9.3 Applications and Extensions of the Syncopation Model
    
  • 9.4 Harmony in Rock
    
  • 9.5 Moality and Tonicization in Rock
    
  
  
• 10 Meter and Grouping in African Music
  
  • 10.1 African Rhythm
    
  • 10.2 Meter in African Music
    
  • 10.3 How Is Meter Inferred?
    
  • 10.4 Western and African Meter: A Comparison
    
  • 10.5 Hemiolas and the "standard Pattern"
    
  • 10.6 "Syncopation Shift" in African Music
    
  • 10.7 Grouping Structure in African Music
    
  • 10.8 Conclusions
    
  
  
• 11 Style, Composition, and Performance
  
  • 11.1 The Study of Generative Processes in Music
    
  • 11.2 Describing Musical Styles and Compositional Practice
    
  • 11.3 Further Implications: Is Some Music "Nonmetrical"?
    
  • 11.4 Preference Rules as Compositional Constraints: Some Relevant Research
    
  • 11.5 Preference Rule Scores and Musical Tension
    
  • 11.6 Performance
    
  
  
• 12 Functions of the Infrastructure
  
  • 12.1 Beyond the Infrastructure
    
  • 12.2 Motivic Structre and Encoding
    
  • 12.3 Musical Schemata
    
  • 12.4 Tension and Energy
    
  • 12.5 The Functions of Harmony and Tonality
    
  • 12.6 Arbitrariness
    
  • 12.7 Explaining Musical Details: An Exercise in Recomposition
    
  • 12.8 The Power of Common-Practice Music