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V. Melody and Form


Margulis, Elizabeth (2005). A Model of Melodic Expectation. Music Perception 22/4: 663–714.

Kessler, E. J., Hansen, C., and Shepard, R. N. (1984). Tonal schemata in the perception of music in Bali and the WestMusic Perception, 2: 131-65.

Krumhansl, C. L. (1996), 13, 401–432. Perceptual analysis of Mozart’s Piano Sonata K.282. Music Perception.

{For reference: Lerdahl, Fred (1996) Calculating Tonal Tension. {Contains an analysis to which Krumhansl refers.}

FORM (in Tonal Contexts)

Narmour, Eugene (2000). Music Expectation by Cognitive Rule-Mapping. Music Perception 17/3: 329-398.

Ibid. (1996) Analyzing Form and Measuring Perceptual Content in Mozart’s Sonata K. 282: A New Theory of Parametric Analogues. Music Perception 13/3 (Spring): 265-318.


Schulkind, M.D., Posner, R., and Rubin, D. (2003). Musical Features That Facilitate Melody Identification: How Do You Know It’s “Your” Song When They Finally Play It? Music Perception 21/2 (Winter): 217-249.

Parncutt, R., and Bregman, A.S. (2000). Tone Profiles following Short Chord Progressions: Top-down or Bottom-up? Music Perception 18:1, 25-57.

Krumhansl, Carol, & Kessler, Edward (1982). Tracing the dynamic changes in perceived tonal organization in a spatial representation of musical keys. Psychological Review 89: 334-68.


Burns, E. M., & Ward, W. Dixon. “Categorical perception: Phenomenon or epiphenomenon? Evidence from experiments in perception of melodic musical intervals.” Journal of the Acoustical Society of America 63 (1978): 456-468.

Krumhansl, C. L., & Shepard, R. (1979). Quantification of the hierarchy of tonal functions within a diatonic context. Journal of Experimental Psychology: Human Perception and Performance, 5, 579-594.

Larson, Steve (1997). The Problem of Prolongation in “Tonal” Music: Terminology, Perception, and Expressive Meaning. Journal of Music Theory 41/1, 101-136.

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