References
- Auli, M., & Lopez, A. (2011). Training a log-linear parser with loss functions via softmax-margin. In Proceedings of the Conference on Empirical Methods in Natural Language Processing (pp. 333–343). Edinburgh: Association for Computational Linguistics.
- Baroni, M., Brunetti, R., Callegari, L., & Jacoboni, C. (1984). A grammar for melody: Relationships between melody and harmony. In Musical grammars and computer analysis (pp. 201–2188). Modena: Olschki.
- Baroni, M., Maguire, S., & Drabkin, W. (1983). The concept of musical grammar. Music Analysis, 2(2), 175–208.
- Bernstein, L. (1976). The unanswered question: Six talks at Harvard. Cambridge, MA: Harvard University Press.
- Bod, R. (2002). Memory-based models of melodic analysis: Challenging the Gestalt principles. Journal of New Music Research, 31, 27–37.
- Chemillier, M. (2004). Grammaires, automates, et musique. In J.-P. Briot, & F. Pachet (Eds.), Informatique musicale (pp. 195–230). Paris: Hermès.
- Chew, E. (2000). Towards a mathematical model of tonality (PhD thesis). MIT, Cambridge, MA, USA.
- Choi, A. (2011). Jazz harmonic analysis as optimal tonality segmentation. Computer Music Journal, 35(2), 49–66.
- Clark, S., & Curran, J.R. (2007). Wide-coverage efficient statistical parsing with CCG and log-linear models. Computational Linguistics, 33, 493–552.
- Cooke, D. (1959). The language of music. Oxford: Oxford University Press.
- Cooper, G., & Meyer, L.B. (1963). The The rhythmic structure of music. Chicago, IL: University of Chicago Press.
- Daniélou, A. (1968). The rāga-s of northern Indian music. London: Barrie & Rockliff, The Cresset Press.
- de Haas, W.B., Rohrmeier, M., Veltkamp, R.C., & Wiering, F. (2009). Modeling harmonic similarity using a generative grammar of tonal harmony. In Proceedings of the 10th International Conference on Music Information Retrieval (ISMIR) (pp. 1–6). Kobe: International Society for Music Information Retrieval.
- Euler, L. (1739). Tentamen novae theoriae musicae ex certissismis harmoniae principiis dilucide expositae. Saint Petersburg Academy.
- Fabb, N., & Halle, M. (2012). Grouping in the stressing of words, in metrical verse, and in music. In P. Rebuschat, M. Rohrmeier, J. A. Hawkins, & I. Cross (Eds.), Language and music as cognitive systems (pp. 4–21). Oxford: Oxford University Press.
- Hamanaka, M., Hirata, K., & Tojo, S. (2006). Implementing a generative theory of tonal music. Journal of New Music Research, 35(4), 249–277.
- Helmholtz, H. (1862). Die lehre von den tonempfindungen. Braunschweig: Vieweg.
- Hockenmaier, J., & Steedman, M. (2002). Generative models for statistical parsing with combinatory categorial grammar. In Proceedings of the 40th Meeting of the Association for Computational Linguistics (pp. 335–342). Philadelphia, PA: Association for Computational Linguistics.
- Honingh, A., & Bod, R. (2005). Convexity and well-formedness of musical objects. Journal of New Music Research, 34, 293–303.
- Huron, D. (2006). Sweet anticipation: Music and the psychology of music. Cambridge, MA: MIT Press.
- Jeans, J. (1937). Science and music. Cambridge: Cambridge University Press.
- Johnson-Laird, P.N. (1991). Jazz improvisation: A theory at the computational level. In P. Howell, R. West, & I.J. Cross (Eds.), Representing musical structure (pp. 291–326). San Diego, CA: Academic Press.
- Johnson-Laird, P.N., Kang, O.E., & Leong, Y.C. (2012). On musical dissonance. Music Perception, 30(1), 19–35.
- Katz, J. & Pesetsky, D. (2011). The identity thesis for language and music. Retrieved from: http://ling.auf.net/lingBuzz/000959
- Keiler, A. (1978). Bernstein’s “The Unanswered Question” and the problem of musical competence. The Musical Quarterly, 64(2), 195–222.
- Keiler, A. (1981). Two views of musical semiotics. In W. Steiner (Ed.), The sign in music and literature (pp. 138–168). Austin, TX: University of Texas Press.
- Krumhansl, C. (1990). Cognitive foundations of musical pitch. Oxford: Oxford University Press.
- Lehne, M., Rohrmeier, M., Gollmann, D., & Koelsch, S. (2013). The influence of different structural features on felt musical tension in two piano pieces by Mozart and Mendelssohn. Music Perception, 31, 171–185.
- Lerdahl, F. (2001). Tonal pitch space. New York: Oxford University Press.
- Lerdahl, F., & Jackendoff, R. (1983). A generative theory of tonal music. Cambridge, MA: MIT Press.
- Lindblom, B., & Sundberg, J. (1969). Towards a generative theory of melody. Swedish Journal of Musicology, 10(4), 53–86.
- Longuet-Higgins, H.C. (1962a). Letter to a musical friend. The Music Review, 23, 244–248.
- Longuet-Higgins, H.C. (1962b). Second letter to a musical friend. The Music Review, 23, 271–280.
- Longuet-Higgins, H.C. (1976). The perception of melodies. Nature, 263, 646–653.
- Longuet-Higgins, H.C., & Steedman, M. (1971). On interpreting Bach. Machine Intelligence, 6, 221–241.
- Marcus, M., Santorini, B., & Marcinkiewicz, M. (1993). Building a large annotated corpus of English: The Penn Treebank. Computational Linguistics, 19, 313–330.
- Margulis, E.H. (2005). A model of melodic expectation. Music Perception, 22, 663–714.
- Marsden, A. (2010). Schenkerian analysis by computer: A proof of concept. Journal of New Music Research, 39(3), 269–289.
- Mathews, M., & Pierce, J. (1989). The Bohlen-Pierce scale. In M. Mathews, & J. Pierce (Eds.), Current directions in computer music research (pp. 165–173). Cambridge, MA: MIT Press.
- Meyer, L.B. (1956). Emotion and meaning in music. Chicago, IL: University of Chicago Press.
- Narmour, E. (1977). Beyond Schenkerism. Chicago, IL: University of Chicago Press.
- Pachet, F. (2000). Computer analysis of jazz chord sequences: Is Solar a blues? In E. Miranda (Ed.), Readings in music and artificial intelligence (pp. 85–113). Newark, NJ: Harwood Academic Publishers.
- Pearce, M., & Wiggins, G. (2006). Expectation in melody: The influence of context and learning. Music Perception, 23, 377–405.
- Piston, W. (1949). Harmony. London: Victor Gollancz.
- Rameau, J.P. (1722). Traité de l’harmonie. Paris: Jean-Baptiste-Christophe Ballard.
- Rebuschat, P., Rohrmeier, M., Hawkins, J., & Cross, I. (Eds.) (2011). Language and music as cognitive systems. Oxford: Oxford University Press.
- Riemann, H. (1893). Vereinfachte harmonielehre oder die lehre von den tonalen funktionen der akkorde. London: Augener & Co. [available in English as: Harmony Simplified, or the Theory of the Tonal Functions of Chords (trans. H. Bemerunge)]
- Riemann, H. (1914). Ideen zu einer Lehre von den Tonvorstellungen. Jahrbuch der Bibliothek Peters, 21, 1–26.
- Rohrmeier, M. (2011). Towards a generative syntax of tonal harmony. Journal of Mathematics and Music, 5, 35–53.
- Rohrmeier, M., & Cross, I. (2009). Tacit tonality: Implicit learning of context-free harmonic structure. In Proceedings of the 7th Triennial Conference of the European Society for the Cognitive Sciences of Music (pp. 443–452). Jyväskylä: European Society for the Cognitive Sciences of Music.
- Schenker, H. (1906). Harmony (trans. E. Borgese). Chicago, IL: University of Chicago Press.
- Simon, H., & Sumner, R. (1968). Pattern in music. In B. Kleinmuntz (Ed.), Formal representations of human judgment (pp. 219–250). New York: Wiley.
- Smoliar, S.W. (1976). Music programs: An approach to music theory through computational linguistics. Journal of Music Theory, 20(1), 105–131.
- Srinivas, B., & Joshi, A. (1994). Disambiguation of super parts of speech (or supertags): Almost parsing. In Proceedings of the International Conference on Computational Linguistics (pp. 154–160). Association for Computational Linguistics: Kyoto.
- Steedman, M. (1984). A generative grammar for jazz chord sequences. Music Perception, 2, 52–77.
- Steedman, M. (1996). The blues and the abstract truth: Music and mental models. In A. Garnham, & J. Oakhill (Eds.), Mental models in cognitive science (pp. 305–318). Hillsdale, NJ: Erlbaum.
- Steedman, M. (2000). The syntactic process. Cambridge, MA: MIT Press.
- Sundberg, J., Nord, L., & Carlson, R. (1991). Music, language, speech, and brain (Wenner-Gren Symposium). Stockholm: Macmillan Press.
- Temperley, D. (2001). The cognition of basic musical structures. Cambridge, MA: MIT Press.
- Temperley, D. (2007). Music and probability. Cambridge, MA: MIT Press.
- Tillmann, B., & Bigand, E. (2004). The relative importance of local and global structures in music perception. The Journal of Aesthetics and Art Criticism, 62(2), 211–222.
- Tymoczko, D. (2006). The geometry of musical chords. Science, 313, 72–74.
- Tymoczko, D. (2011). A geometry of music: Harmony and counterpoint in the extended common practice. Oxford: Oxford University Press.
- Wagner, R.A., & Fischer, M.J. (1974). The string-to-string correction problem. Journal of the ACM, 21(1), 168–173.
- Winograd, T. (1968). Linguistics and the computer analysis of tonal harmony. Journal of Music Theory, 12, 2–49.