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The Ohio State University

School of Music

The CSML has conducted a broad range of research in the fields of systematic and empirical musicology, as well as the psychology and cognition of music.  Lab members are encouraged to work on whatever projects seem most promising and appealing to them; nonetheless, the laboratory has recently been focusing on musical expectation, affect and emotion, and particularly musical sadness.

At the School of Music, undergraduate students enrolled in aural skills courses are required to take part in the Music Research Program. The purpose of this program is to expose students to the methods of research, while facilitating experiments that require the participation of musicians.

Student authors are highlighted in red. Post-doctoral fellow authors are highighted in blue.

Publications

2017

Condit-Schultz, N., & Huron, D. (2017). Word intelligibility in multi-voice singing: The influence of chorus size. Journal of the Voice, Vol. 31, No. 1, pp. 121.e1-121.e8. [pdf]

Devaney, J., & Mandel, M.  (2017). An evaluation of score-informed methods for estimating fundamental frequency and power from polyphonic audio.. In Proceedings of the 2017 International Conference on Audio, Acoustics, and Signal Processing, ICAASP.

Léveillé Gauvin, H. (2017). Drawing listener attention in popular music: Testing five musical features arising from the theory of attention economy. Musicae Scientiae, Prepublished March 1, 2017. doi: 10.1177/1029864917698010 [html]

2016

Arthur, C. (2016). A corpus approach to the classification of non-chord tones across genres. In Proceedings of the 14th International Conference for Music Perception and Cognition, San Francisco, pp. 74-76. [pdf]

Arthur, C. (2016). When the leading  tone doesn't lead: Musical qualia in context. PhD dissertation, School of Music, Ohio State University (165 p.) [pdf]

Arthur, C., & D. Huron. (2016). The direct octaves rule: Testing a scene analysis interpretation. Musicae Scientiae, Vol. 20, No. 4, pp. 495-511. doi: 10.1177/1029864915623093 [pdf]

Chon, S.H., DeVlieger D., & Huron, D. (2016). Study of instrument combination patterns in orchestral scores from 1701 to 2000. In Proceedings of the 14th International Conference on Music Perception and Cognition, San Francisco, pp. 186-190. [pdf]

Condit-Schultz. N. (2016). MCFlow: A digital corpus for rap transcriptions. Empirical Musicology Review, Vol. 11, No. 2, pp. 124-147. [pdf]

Condit-Schultz, N. (2016). MCFlow: A digital corpus of rap flow. PhD dissertation, School of Music, Ohio State University (185 p.) [pdf]

Condit-Schultz, N. (2016). Deconstructing nPVI. In Proceedings of the 14th International Conference on Music Perception and Cognition, San Francisco, pp. 800-804. [pdf]

Devaney, J. (2016). Inter- versus intra-singer similarity and variation in vocal performances. Journal of New Music Research, Vol. 45, No. 3, pp. 252-264.

Devaney, J., & Léveillé Gauvin, H. (2016). Representing and linking music performance data with score information. In Proceedings of the 3rd International workshop on Digital Libraries for Musicology (DLfM 2016). ACM, New York, NY, USA, pp. 1-8. [pdf]

Devaney, J., & Mandel, M.I. (2016). Score-informed estimation of performance parameters from polyphonic audio using IMPACT. In Proceedings of the Late-Breaking Demo Session, ISMIR.

Devaney, J., Mandel, M.I., Turnbull, D., & Tzanetakis, G. (editors) (2016). Proceedings of the 17th International Society for Music Information Retrieval. ISMIR.

Gebauer*, L., Witek*, M, Hansen, N.C., , Thomas, J, Konvalinka, I., & Vuust, P. (2016). Oxytocin improves synchronisation in leader-follower interaction. Scientific Reports 6, 38416. doi: 10.1038/srep38416. [pdf]

Hansen, N.C., Vuust, P., & Pearce, M. (2016). "If you've got to ask, you'll never know": Style-congruent musical expertise optimises predictive auditory processing. PLOS ONE 11(10): e0163584. doi:10.1371/journal.pone.0163584 [pdf]

Hansen, N.C., Sadakata, M., & Pearce, M. (2016). Non-linear changes in the rhythm of European art music: Quantitative support for historical musicology. Music Perception 33(4), 414-431. doi:10.1525/MP.2016.33.4.414 [pdf]

Huron, D. (2016). Probing past musical minds. Journal of Interdisciplinary Music Studies, Vol. 8, Nos. 1-2, pp. 126-17.

Huron, D. (2016). Commentary on `Effects of learning on dissonance judgments. Journal of Interdisciplinary Music Studies, Vol. 8, Nos. 1-2, pp. 30-31.

Huron, D. (2016). Voice Leading: The Science behind a Musical Art. Cambridge, Massachusetts: MIT Press.

Huron, D. (2016). Cues and signals: An ethological approach to music-related emotion. In J.R. do Carmo, Jr. & P.A. Brandt (Eds.), Sémiotique de la Musique - Music and Meaning, Signata No. 6, Annales des Sémiotique / Annals of Semiotics, (pp. 333-353). Liège: Presses Universitaires de Liège.

Léveillé Gauvin, H. (2016). Changing use of seventh chords: A replication of Mauch et al. (2015). Empirical Musicology Review, 11(1), 103-107. [pdf]

Léveillé Gauvin, H., Huron, D., & Shanahan, D. (2016). On the role of semitone intervals in melodic organization: Yearning vs. baby steps. In Proceedings of the 14th International Conference on Music Perception and Cognition, San Francisco, USA, 727-731. [pdf]

Ross*, S., & Hansen*, N.C. (2016). Dissociating prediction failure: Considerations from music perception. Journal of Neuroscience, Vol. 36, No. 11, pp. 3103-3105. doi:10.1523/JNEUROSCI.0053-16.2016 [pdf]

Schiavio, A. (2016). Enactive affordances and the interplay of biological and phenomenological subjectivity. Constructivist Foundations, 11(2): 315-317. [html]

Schiavio, A., van der Schyff, D. Cespedes-Guevara, J., & Reybrouck, M. (2016). Enacting musical emotions. Sense-making, dynamic systems, and the embodied mind. Phenomenology and the Cognitive Sciences:10.1007/s11097-016-9477-8 [html]

Trevor, C. (2016). Three studies of emotional cues in instrumental music inspired by acoustic cues in vocal affect. MA thesis, School of Music, Ohio State University (101 p.) [pdf]

Trevor, C., & Huron, D. (2016). Are stopped strings preferred in sad music? Empirical Musicology Review, Vol. 11, No. 2, pp. 261-269. [pdf]

Trevor, C., & Huron, D. (2016). Animated performance: ‘Better’ music means larger movements. In Proceedings of the 14th International Conference for Music Perception and Cognition, San Francisco, pp. 420-423. [pdf

Trevor, C., & Huron, D. (2016). The role of string register in affective performance choices. In Proceedings of the 14th International Conference for Music Perception and Cognition, San Francisco, pp. 578-581. [pdf

Trevor, C., & Plazak, J. (2016). Imprinting emotion on music: Transferring affective information from sight to sound. Perception of structural features in first and second musical themes. In Proceedings of the 14th International Conference for Music Perception and Cognition, San Francisco, USA, 265-268. [pdf
 
Warrenburg, L. (2016). Examining contrasting expressive content within first and second musical themes. MA thesis, School of Music, Ohio State University (146 p.) [pdf]
 
Warrenburg, L., & Huron, D. (2016). Perception of structural features in first and second musical themes. In Proceedings of the 14th International Conference for Music Perception and Cognition, San Francisco, pp. 132-137. [pdf]
 
Yim, G. (2016). Commentary on “Transpositions within user-posted YouTube lyric videos: A corpus study.” Empirical Musicology Review, 11 (1), 99-102. [pdf]

2015

Condit-Schultz, N., & Huron, D. (2015). Catching the lyrics: Intelligibility in twelve song genres. Music Perception, 32(5), 470-483. [pdf]
 
Devaney, J. (2015). Evaluating singer consistency and uniqueness in vocal performances. In T. Collins, D. Meredith & A. Volk (Eds.), Mathematics and Computation in Music (Vol. 9110, pp. 173-178): Springer International Publishing. [html].
 
Devaney, J. (2015). Recapturing the data in Seashore's musical performance measurements. Musicae Scientae, 19(2), 214-222. [html]
 
Devaney, J., & Arthur, C. (2015). Developing a structurally significant representation of music audio through domain knowledge. In Proceedings of the Late-Breaking Demo Session, ISMIR.
 
Devaney, J., Arthur, C., Condit-Schultz, N., & Nisula, K. (2015). Theme And Variation Encodings with Roman Numerals (TAVERN): A new data set for symbolic music analysis. In Proceedings of the International Society of Music Information Retrieval (ISMIR) Conference, pp. 728-734 [pdf]
 
Horn, K., & Huron, D. (2015). On the changing use of the major and minor modes 1750-1900. Music Theory Online, Vol. 20, No. 1, March 2015. [html]

Huron, D. (2015). Affect induction through musical sounds: An ethological perspective. Philosophical Transactions of the Royal Society of London, Series B, Biological Sciences, Vol. 370, No. 1664, pp. 1-7. [pdf]

Huron, D. (2015). The other semiotic legacy of Charles Sanders Peirce: Ethology and music-related emotion. In C. Maeder & M. Reybrouck (Eds.). Music, Analysis, Experience: New Perspectives in Musical Semiotics (pp. 185-208). Leuven: Leuven University Press. [pdf]

Huron, D. (2015). Czy muzyka jest ewolucyjną adaptacją? [Polish translation of: Is music an evolutionary adaptation?] Kultura Społeczeństwo Edukacja, Vol. 2, No. 8, pp. 211-233. [pdf]

Huron, D. (2015). Aesthetics [Chapter 15]. In S. Hallam, I. Cross & M. Thaut (Eds.), Oxford Handbook of Music Psychology, 2nd edition (pp. 233-245). Oxford: Oxford University Press.

Schäfer, T., Huron, D., Shanahan, D., & Sedlmeier, P. (2015). The sounds of safety: Stress and danger in music perception. Frontiers in Psychology, Vol. 6, No. 1140, pp. 1-12. [html]

Schiavio, A., & Altenmüller, E. (2015). Exploring music-based rehabilitation for Parkinsonism through embodied cognitive science. Frontiers in Neurology, 6(217): 10.3389/fneur.2015.00217 [html]

2014

Albrecht, J., & Huron, D. (2014). A statistical approach to tracing the historical development of major and minor pitch distributions, 1400-1750. Music Perception, Vol. 31, No. 3, pp. 223-243. [pdf]
 
Broze, Y., Paul, B., Allen E., & Guarna, K. (2014). Polyphonic voice multiplicity, numerosity, and musical emotion perception. Music Perception, Vol. 32, No. 2, pp. 143-159. [pdf]
 
Chon, S.H., & Huron, D. (2014). Does auditory masking explain high voice superiority? In M.K. Song (editor), Proceedings of the 13th International Conference for Music Perception and Cognition, Seoul: Yonsei University, pp.185-189. [pdf]
 
Chon, S.H., & Huron, D. (2014). Instrument identification in concurrent unison dyads: The effect of timbre saliency. In M.K. Song (editor), Proceedings of the 13th International Conference for Music Perception and Cognition, Seoul: Yonsei University, pp.289-292. [pdf]

Devaney, J. (2014). Estimating onset and offset asynchronies in polyphonic audio-to-score alignment. Journal of New Music Research, 43(3), 266–275. [html]

Devaney, J., & Shanahan, D. (2014). Evaluating rule- and exemplar-based computational approaches to modeling harmonic function in music theory pedagogy. Proceedings of 9th Conference on Interdisciplinary Musicology.
 
Dahl, S., Huron, D., Brod, G., & Altenmüller, E. (2014). Preferred dance tempo: Does sex or body morphology influence how we groove? Journal of New Music Research, DOI: 10.1080/09298215.2014.884144. [pdf]
 
Huron, D. (2014). Integrating psychological, musicological and ethological perspectives on music and emotion. In M.K. Song (editor), Proceedings of the 13th International Conference for Music Perception and Cognition, Seoul: Yonsei University, pp. 107-109.
 
Huron, D. (2014). A theory of the musically sublime. In In M.K. Song (editor), Proceedings of the 13th International Conference for Music Perception and Cognition, Seoul: Yonsei University, pp.301-304.
 
Huron, D., Anderson, N.,  & Shanahan, D. (2014). You can't play sad music on a banjo: Acoustic factors in the judgment of instrument capacity to convey sadness. Empirical Musicology Review, Vol. 9, No. 1, pp. 29-41. [pdf]
 
Johnson, R., Huron, D., & Collister, L. (2014). Music and lyrics interactions and their influence on recognition of sung words: An investigation of word frequency, rhyme, metric stress, vocal timbre, melisma, and repetition priming. Empirical Musicology Review, Vol. 9, No. 1, pp. 2-20. [pdf]
 
Nisula, K. (2014). Is sadness expression an ethological cue or signal? Five studies concerning the expression of sadness in music. MA thesis, School of Music, Ohio State University (80 p.) [pdf]
 
Nisula, K., Copeland, E., & Huron, D. (2014). Sad lyrics are sung slower: But is this a consequence of valence or arousal? In M.K. Song (editor), Proceedings of the 13th International Conference for Music Perception and Cognition, Seoul: Yonsei University, pp.259-262.
 
Shanahan, D., & Huron, D. (2014). Heroes and villains: The relationship between pitch tessitura and sociability of operatic characters. Empirical Musicology Review, Vol. 9, No. 2, pp. 141-153. [pdf]
 
Shen, S. (2014). Functional transfer of musical training to speech perception in adverse acoustical situations. Master Thesis, Speech & Hearing Science, Ohio State University. [pdf]
 
Yim, G. (2014). Two studies on assessing emotional responses to music and mode:
The effect of lowered pitch on sadness judgments, and the affective priming paradigm as an implicit measure. PhD dissertation, School of Music, Ohio State University (99 p.). [pdf]

2013

Albrecht, J. & Shanahan, D. (2013). The use of large corpora to train a new type of key-finding algorithm: An improved treatment of the minor mode. Music Perception, Vol. 31, No. 1. [pdf]

Broze, G.J. [Yuri] (2013). Animacy, anthropomimesis, and musical line. PhD dissertation, School of Music, Ohio State University (133 p.). [pdf]

Broze, Y. & Huron, D. (2013). Is higher music faster? A pitch-speed relationship in music. Music Perception, Vol. 31, No. 1. [pdf]

Broze, Y. & Shanahan, D. (2013). Diachronic changes in jazz harmony: A cognitive perspective. Music Perception, Vol. 31, No. 1. [pdf]

Huron, D. (2013). A psychological approach to musical form: The habituation-fluency theory of repetition. Current Musicology, No. 96, pp. 7035. [pdf]

Huron, D. (2013). On the virtuous and the vexatious in an age of big data. Music Perception, Vol. 31, No. 1, pp. 4-9. [pdf]

Huron, D. (2013). Theories, frameworks and aesthetics: Comment on "From everyday emotions to aesthetic emotions: Towards a unified theory of musical emotions" by Patrik Juslin. Physics of Life Reviews, No. 375, pp. 1-2. http://dx.doi.org/10.1016/j.plrev.2013.07.005. [pdf]

Huron, D., & Shanahan, D. (2013). Eyebrow movements and vocal pitch height: Evidence consistent with an ethological signal, Journal of the Acoustical Society of America, Vol. 133, No. 5, pp. 2947-2952. [pdf]

Ladinig, O., & Huron, D. (2013). Minor mode cuing: Do composers signal minor mode sooner than major mode? Psychomusicology: Music, Mind, and Brain, Vol. 23, No. 2, pp. 117-122. [pdf]

Schäfer, T., Sedlmeier, P., Städtler, C., & Huron, D. (2013).  The psychological functions of music listening. Frontiers in Psychology, Vol. 4, No. 511, pp. 1-33. [pdf]

2012 

Albrecht, J. (2012). Affective analysis of music using the progressive exposure method : the influence of bottom-up features on perceived musical affect. PhD dissertation, School of Music, Ohio State University. [pdf]

Albrecht, J., & Huron, D. (2012). On the emergence of the major-minor system: Cluster analysis suggests the late 16th century collapse of the Dorian and Aeolian modes. In E. Cambouropoulos, C. Tsougras, P. Mavromatis & K. Pastiadis (editors), Proceedings of the 12th International Conference on Music Perception and Cognition. Thessaloniki, Greece: ESCOM. [pdf]

Broze, Y., & Huron, D. (2012). Does higher music tend to move faster? Evidence for a pitch-speed relationship. In E. Cambouropoulos, C. Tsougras, P. Mavromatis & K. Pastiadis (editors), Proceedings of the 12th International Conference on Music Perception and Cognition. Thessaloniki, Greece: ESCOM, pp. 159-165. 

Horn, K. & Huron D. (2012).  Major and minor: An empricial study of the transition between Classicism and Romanticism. In E. Cambouropoulos, C. Tsougras, P. Mavromatis & K. Pastiadis (editors), Proceedings of the 12th International Conference on Music Perception and Cognition. Thessaloniki, Greece: ESCOM, pp.456-464.

Huron, D. (2012). Two challenges in cognitive musicology. Topics in Cognitive Science, Vol. 4, No. 4, pp. 678-684. [pdf]

Huron, D. (2012). Understanding music-related emotion: Lessons from ethology. In: E. Cambouropoulos, C. Tsougras, P. Mavromatis & K. Pastiadis (editors),  Proceedings of the 12th International Conference on Music Perception and Cognition. Thessaloniki, Greece: ESCOM, pp. 473-482. [pdf]

Huron, D. (2012). Metodologia -- O Novo Empirismo: musicologia sistematica em uma era pos-moderna. Em Pauta, Vol. 20, Nos. 34/35, pp. 85-144, ISSN 1984-7491.
 
Huron, D. (2012). Musica e mente: fundamentos da musicologia cognitiva. Em Pauta, Vol. 20, Nos. 34/35, pp. 5-47, ISSN 1984-7491
 
Huron, D. (2012). Um instinto para a musica: seria a musica uma adaptacao evolutiva?  Em Pauta, Vol. 20, Nos. 34/35, pp. 49-84, ISSN 1984-7491.

Huron, D., & Davis, M. (2012). The harmonic minor scale provides an optimum way of reducing average melodic interval size, consistent with sad affect cues. Empirical Musicology Review, Vol. 7, Nos. 3-4, pp. 103-117. [pdf]

Schellenberg, E.G., Corrigall, K.A., Ladinig, O., & Huron, D. (2012). Changing the tune: Listeners like music that expresses contrasting emotion. Frontiers in Psychology, Vol. 3, No. 574, pp. 1-9. [pdf]

Shanahan, D., & Broze, Y. (2012). A diachronic analysis of harmonic schemata in Jazz. Proceedings of the 12th International Conference on Music Perception and Cognition, 909-918. [pdf] 

Shanahan, D., & Huron, D. (2012). Prosodic stress, interval size and phrase position: A cross-Cultural contrast.  Proceedings of the 12th International Conference on Music Perception and Cognition, 918-924. [pdf]

2011

Horn, K., & Costa-Giomi, E. (2011). The fast/major and slow/minor pairings in J.S. Bach's Well Tempered Clavier books 1 and 2. Empirical Musicology Review, Vol. 6, No. 3, pp. 155-163. [pdf]

Huron, D. (2011). Why is sad music pleasurable? A possible role for prolactin. Musicae Scientiae, 15 (2), 146-158. [pdf]

Johnson, R. (2011). Musical tempo stability in mental practice: A comparison of motor and non-motor imagery techniques. Research Studies in Music Education, Vol. 33, No. 1, pp. 3-30. [pdf]

Johnson, R. (2011). The Standard, Power, and Color model of instrument combination in Romantic-era orchestral works. Empirical Musicology Review, Vol. 6, No. 1, pp. 2-19. [pdf]

Plazak, J. (2011). An empirical investigation of a sarcastic tone of voice in instrumental music. PhD dissertation, School of Music, Ohio State University (160 p.). [pdf]

Plazak, J., & Huron, D. (2011).  The first three seconds: listener knowledge gained from brief musical excerpts. Musicae Scientiae, 15 (1), 29-44.  [pdf]

Shanahan, D., & Huron, D. (2011). Interval size and phrase position: A comparison between German and Chinese folksongs, Empirical Musicology Review, 6(4) 187-197. [pdf]

Tiemann, L., & Huron, D. (2011). Beyond happiness and sadness: Affective associations of lyrics with modality and dynamics. Empirical Musicology Review, Vol. 6, No. 3, pp. 147-154. [pdf]

Yim, G. (2001). Affordant chord transitions in selected guitar-driven popular music. MA Thesis, School of Music, Ohio State University (82 p.). [pdf]

2010

Albrecht, J. (2010). An analysis of affective content in the second movement of Beethoven's Pathétique using an acoustic ethological model. In S.M. Demorest, S.J. Morrison, & P.S. Campbell (Eds), Proceedings of the 11th International Conference on Music Perception and Cognition.  Seattle, Washington.

Davis, M., & Essig, D. (2010).  An examination of auditory preferences and aversions in mice. In S.M. Demorest, S.J. Morrison, & P.S. Campbell (Eds.),  Proceedings of the 11th International Conference for Music Perception and Cognition. Seattle, Washington.

Huron, D. (2010). Chapter 14: Aesthetics. In S. Hallam, I. Cross & M. Thaut (editors) Oxford Handbook of Music Psychology. Oxford: Oxford University Press, pp. 151-159. [pdf]

Huron, D. (2010). A theory of music and sadness: A role for prolactin? In S.M. Demorest, S.J. Morrison, P.S. Campbell (eds.) Proceedings of the 11th International Conference on Music Perception and Cognition. Seattle, Washington. 5-8. 

Huron, D. (2010). On the evolutionary origins of laughter and crying. In S.M. Demorest, S.J. Morrison, P.S. Campbell (eds.) Proceedings of the 11th International Conference on Music Perception and Cognition. Seattle, Washington. 152-155. 

Huron, D. (2010). Neo-hedonism and the plural pleasures of music. In S.M. Demorest, S.J. Morrison, P.S. Campbell (eds.) Proceedings of the 11th International Conference on Music Perception and Cognition. Seattle, Washington. 175-182. 

Huron, D., & Davis, M., (2010).  The effect of scale degree modifications on average interval size. In S.M. Demorest, S.J. Morrison, & P.S. Campbell (Eds.),  Proceedings of the 11th International Conference for Music Perception and Cognition. Seattle, Washington. [pdf]

Huron, D., & Margulis, E.(2010). Musical expectancy and thrills. In Juslin, P. & Sloboda, J. (eds.) Handook of Music and Emotion. Oxford, UK: Oxford University Press. 575-604. [pdf]

Huron, D., Yim, G., & Chordia, P. (2010). The effect of pitch exposure on sadness judgments:  An association betwen sadness and lower-than-normal pitch. In S.M. Demorest, S.J. Morrison, P.S. Campbell (eds.) Proceedings of the 11th International Conference on Music Perception and Cognition. Seattle, Washington. 63-66. [original: pdf, recent: pdf]

Johnson, R. (2010). Selected topics in the perception and interpretation of musical tempo. PhD dissertation, School of Music, Ohio State University (151 p.). [pdf]

Johnson, R., Huron, D., & Collister, L. (2010).  Further factors affecting word intelligibility in sung phrases. In S.M. Demorest, S.J. Morrison, & P.S. Campbell (Eds.),  Proceedings of the 11th International Conference for Music Perception and Cognition. Seattle, Washington. 355-357.

Ladinig, O., & Huron, D. (2010). Dynamic levels in Classical and Romantic keyboard music: Effect of musical mode. Empirical Musicology Review, Vol. 5, No. 2, pp. 51-56. [pdf]

Ladinig, O., Schellenberg, E.G., & Huron, D. (2010). The role of contrasting musical characteristics in the appreciation of music. In S.M. Demorest, S.J. Morrison, & P.S. Campbell (Eds.).  Proceedings of the 11th International Conference for Music Perception and Cognition. Seattle, Washington. [pdf]

Paul, B. (2010).  Nostalgia-inducing music and perceptions of social support satisfaction. In S.M. Demorest, S.J., Morrison, & P.S. Campbell (Eds.),  Proceedings of the 11th International Conference for Music Perception and Cognition. Seattle, Washington.

Paul, B., & Huron, D. (2010). An association between breaking voice and grief-related lyrics in Country Music. Empirical Musicology Review, 5 (2), 27-35. [pdf]

Plazak, J., & Huron, D. (2010).  The first three seconds: Listener knowledge gained from brief musical excerpts. In S.M. Demorest, S.J., Morrison, & P.S. Campbell (Eds.),  Proceedings of the 11th International Conference for Music Perception and Cognition, Seattle, Washington. [pdf]

Plazak, J., & Huron, D., & Williams, B. (2010). Fixed average spectra of orchestral instrument tones.Empirical Musicology Review, 5 (1), 10-17. [pdf]

Tiemann, L., & Huron, D. (2010).  Beyond happiness and sadness: Modality and dynamics and their association with the affective content of lyrics. In S.M. Demorest, S.J. Morrison, & P.S. Campbell (Eds.),  Proceedings of the 11th International Conference for Music Perception and Cognition. Seattle, Washington. 781-785.

2009

Huron, D. (2009). Chapter 14: Aesthetics. In S. Hallam, I. Cross & M. Thaut (Eds.) Oxford Handbook of Music Psychology (pp. 151-159). Oxford: Oxford University Press.

Huron, D., & Berec, J. (2009). Characterizing idiomatic organization in music: A theory and case study of musical affordances. Empirical Musicology Review, 4(3) 103-122. [pdf]

Huron, D., Dahl, S., & Johnson, R. (2009). Facial expression and vocal pitch height: Evidence of an intermodal association. Empirical Musicology Review, 4 (3), 93-100. [pdf]

Plazak, J. (2009). Listener knowledge gained from brief musical excerpts.  MA thesis, School of Music, Ohio State University (45 p.). [pdf]

Post, O., & Huron, D. (2009). Western classical music in the minor mode is slower (except in the Romantic period). Empirical Musicology Review, 4 (1), 2-10. [pdf]

2008

Collister, L. B., & Huron, D. (2008). Comparison of word intelligibility in spoken and sung phrases. Empirical Musicology Review, 3 (3). 109-125. [pdf]

Huron, D. (2008). A comparison of average pitch height and interval size in major- and minor-key themes: Evidence consistent with affect-related pitch prosody. Empirical Musicology Review, 3 (2), 59-63. [pdf]

Huron, D. (2008). Lost in music.  Nature, 453, 456-458. [pdf]

Huron, D. (2008). Asynchronous preparation of tonally fused intervals in polyphonic music. Empirical Musicology Review 3(1), 11-21. [pdf]

Huron, D. (2008). Why do listeners enjoy music that makes them weep? In K. Miyazaki et al. (Eds.) Proceedings of the International Conference on Music Perception and Cognition. Sapporo, Japan. Adelaide: Causal Productions.

Huron, D. (2008). On the mental representation of pitch: Lessons from absolute pitch. In K. Miyazaki et al. (Eds.) Proceedings of the International Conference on Music Perception and Cognition. Sapporo, Japan. Adelaide: Causal Productions.

Paul, B. (2008). Bilateral keyboard symmetry in the music of Einojuhani Rautavaara. The Ohio State School of Music Online Journal, 1 (2). [html]

Plazak, J. (2008).  The effects of attention on frisson-related responses from unexpected musical events.  The Ohio State School of Music Online Journal. Volume 1, Issue 2. [html]

Schutz, M., Huron, D., Keeton, K., & Loewer, G. (2008). The happy xylophone: Acoustic affordances restrict an emotional palate. Empirical Musicology Review, Vol. 3, No. 3, pp. 126-135. [pdf]

Turner, B., & Huron, D. (2008). A comparison of dynamics in major- and minor key works. Empirical Musicology Review, 3 (2), 64-68. [pdf]

2007

Dahl, S., & Huron, D. (2007). The influence of body morphology on preferred dance tempos. In Proceedings of the International Computer Music Conference, volume 2, pp. 1–4. International Computer Music Association. [pdf]

Huron, D. (2006). On the role of embellishment tones in the perceptual segregation of concurrent musical parts. Empirical Musicology Review, 2(4), 123-139. [pdf]

Huron, D. (2006). Exploring how music works its wonders. In C. Read (editor),  Cerebrum 2007: Emerging Ideas in Brain Science. New York: Dana Foundation, pp. 213-219. [html]

Huron, D. (2007). Letter to the editor. Intersections: Canadian Journal of Music, Vol. 28, No. 1, pp. 202-204. [pdf]
 
Perttu, D. (2007). A quantitative study of chromaticism: Changes observed in historical eras and individual composers. Empirical Musicology Review, Vol. 2, No. 2, pp. 47-54. [pdf]

2006

Huron, D. (2006). John Sloboda: Exploring the musical mind: Cognition, emotion, ability, function [book review]. Musicae Scientiae, Vol. 9, No. 2, pp. 182-186. [pdf]

Huron, D. (2006). Empirical musicology: Aims, methods, prospects. Statistics in musicology [two book reviews]. NOTES: Quarterly Journal of the Music Library Association, Vol. 63, No. 1, pp. 93-95. [pdf]

Huron, D. (2006). Exploring how music works its wonders [book review]. Cerebrum: The Dana Forum on Brain Science, Vol. 8, No. 4, pp. 1-6.

Huron, D. (2006). Sweet Anticipation: Music and the Psychology of Expectation. Cambridge, Massachusetts: MIT Press. ISBN 0-262-08345-0. Paperback edition ISBN 0-262-58278-3.

Huron, D. (2006). On teaching voice-leading from perceptual principles. Journal of Music Theory Pedagogy, Vol. 2, pp. 163-166.

Huron, D. (2006). Are scale degree qualia a consequence of statistical learning? In M. Baroni, A.R. Addessi, R. Caterina & M. Costa (editors), Proceedings of the International Conference on Music Perception and Cognition. Bologna, Italy, pp. 1675-1680. [pdf]

Huron, D., & Ommen, A. (2006). An empirical study of syncopation in American popular music, 1890-1939. Music Theory Spectrum, 28 (2), 211-321. [pdf]

Huron, D., Kinney, D., & Precoda, K. (2006). Influence of pitch height on the perception of submissiveness and threat in musical passages. Empirical Musicology Review, 1 (3), 170-177. [pdf]

Huron, D., & Veltman, J. (2006). A cognitive approach to medieval mode: Evidence for an historical antecedent to the major/minor system. Empirical Musicology Review, 1(1), 33-55. [pdf]

Li, Y., & Huron, D. (2006). Melodic modeling: A comparison of scale degree and interval. Proceedings of the International Computer Music Conference. New Orleans.

Ollen, J.E. (2006). A criterion-related validity test of selected indicators of musical sophistication using expert ratings. PhD dissertation, School of Music, Ohio State University (246 p.). [pdf]

2005

Huron, D. (2005). The plural pleasures of music. In W. Brunson & J. Sundberg (Eds.), Proceedings of the 2004 Music and Science Conference. Stockholm: Kungliga Musikhögskolan Förlaget, pp. 65-78.

2004

Aarden, B., & von Hippel, P.T. (2004). Rules for chord doubling (and spacing): Which ones do we need? Music Theory Online, Vol. 10, No. 2. [html]

Aarden, B., & von Hippel, P.T. (2004). Rules for chord doubling (and spacing): A reply to Wibberley. Music Theory Online, Vol. 10, No. 3. [html]

Huron, D. (2004). Issues and prospects in studying cognitive cultural diversity. In S. Lipscomb, R. Ashley, R.O. Gjerdingen, & P. Webster (Eds.), Proceedings of the 8th International Conference on Music Perception and Cognition. 93-96. [pdf]

Huron, D. (2004). Music-engendered laughter: An analysis of humor devices in PDQ Bach. In S. Lipscomb, R. Ashley, R.O. Gjerdingen, & P. Webster (Eds.), Proceedings of the 8th International Conference on Music Perception and Cognition. Evanston, Illinois, 2004, pp. 700-704. [pdf]

Ollen, J., & Huron, D. (2004). Listener preferences and early repetition in musical form. In S. Lipscomb, R. Ashley, R.O. Gjerdingen, & P. Webster (Eds.), Proceedings of the 8th International Conference on Music Perception & Cognition, 405-407. [pdf]

2003

Aarden, B. (2003). Dynamic melodic expectancy. PhD dissertation, School of Music, Ohio State University (119 p.). [pdf]

Huron, D. (2003). Is music an evolutionary adaptation? In I. Peretz & R.J. Zatorre (Eds.) The Cognitive Neuroscience of Music (pp. 57-75). Oxford: Oxford University Press.

Huron, D., & Ollen, J. (2003). Agogic contrast in French and English themes: Further support for Patel and Daniele (2003). Music Perception, 21 (2), 267-271. [pdf]

2002

von Hippel, P.T. (2002). Melodic-expectations rules as learned heuristics. Proceedings of the 7th International Conference on Music Perception and Cognition, Sydney 2002.

von Hippel, P.T. (2002). How rare is symmetry in musical 12-tone rows? The American Mathematical Monthly, Vol. 110, No. 2, pp. 124-132.

Huron, D. (2002). Music information processing using the Humdrum Toolkit: Concetps, examples, and lessons. Computer Music Journal, 26(2), 11-26. [pdf]

Huron, D. (2002). A six-component theory of auditory-evoked emotion. Proceedings of the 7th International Conference on Music Perception and Cognition. Sydney, Australia. Adelaide: Causal Productions.

Huron, D. (2002). A new theory of sensory dissonance: A role for perceived numerosity. Proceedings of the 7th International Conference on Music Perception and Cognition. Sydney, Australia. Adelaide: Causal Productions.

Veltman, J., & Huron, D. (2002). A cognitive approach to the Medieval modes. Proceedings of the 7th International Conference on Music Perception and Cognition. Sydney, Australia. Adelaide: Causal Productions.

2001

Aarden, B. (2001). An empirical study of chord-tone doubling in common era music. Masters Thesis, School of Music, Ohio State University.

Aarden, B., & Huron, D. (2001). Mapping European folksong: Geographical localization of musical features. Computing in Musicology, Vol. 12, pp. 169-183. [pdf]

Huron, D. (2001).  Tone and Voice: A derivation of the rules of voice-leading from perceptual principles.  Music Perception, 19 (1), 1-64. [pdf]

Huron, D. (2001). Is music an evolutionary adaptation?.  Annals of the New York Academy of Sciences, 930, 43-61. [pdf]

Huron, D. (2001). What is a musical feature? Forte's analysis of Brahms's Opus 51, No. 1, revisited. Music Theory Online, Vol. 7, No. 4, July. [pdf]  [html]

2000

von Hippel, P. (2000). Redefining pitch proximity: Tessitura and mobility as constraints on melodic intervals. Music Perception, Vol. 17, No. 3, pp. 315-327. [pdf]
 
von Hippel, P. (2000). Questioning a melodic archetype: Do listeners use gap-fill to classify melodies? Music Perception, Vol. 18, No. 2, pp. 139-153. [pdf]

von Hippel, P., & Huron, D. (2000). Why do skips precede reversals? The effect of tessitura on melodic structure. Music Perception, 18 (1), 59-85. [pdf]

Huron, D. (2000). Perceptual and cognitive applications in music information retrieval. Proceedings of the 1st Society for Music Information Retrieval Conference. ISMIR, pp. 83-92.

1999

Collins, D., & Huron. D. (1999). Voice-leading in cantus firmus-based canonic composition: A camparison between theory and practice in Renaissance and Baroque music using compurter-assisted inferential measures. Computers in Music Research, Vol. 6, pp. 53-95.

Huron, D. (1999). The new empiricism: Systematic musicology in a postmodern age. 1999 Ernest Bloch Lectures, UC Berkeley. [pdf]

Huron, D. (1999). Zohar Eitan: Highpoints: A study of melodic peaks [book review]. Music Perception, Vol. 16, No. 2, pp. 257-264. [pdf]

1997

Huron, D. (1997). Humdrum and Kern: Selective feature encoding. In E. Selfridge-Field (ed.), Beyond MIDI: The Handbook of Musical Codes. Cambridge, Massachusetts: MIT Press, pp. 375-401.

1996

Huron, D. (1996). The melodic arch in Western folksongs. Computing in Musicology, Vol. 10, pp. 3-23. [pdf]

Huron, D. (1996). Commentary: Response to Robert Walker's "Can we understand the music of another culture?" Psychology of Music, Vol. 24, No. 2, pp. 120-124.

Huron, D. (1996). On the kinematics of melodic contour: Decelerattion, declination, and arch-trajectories in vocal phrases. Proceedings of the 4th International Conference on Music Perception and Cognition. Montréal: McGill University, pp. 133-138.

Huron, D., & Royal, M. (1996). What is melodic accent? Converging evidence from musical practice. Music Perception, Vol. 13, No. 4, pp. 489-516. [pdf]

1995

Huron, D. (1994). Nicholas Cook: Music, imagination, and culture [book review]. Music Perception, Vol. 12, No. 4, pp. 473-481.

1994

Huron, D. (1994). Interval-class content in equally-tempered pitch-class sets: Common scales exhibit optimum tonal consonance. Music Perception, Vol. 11, No. 3, pp. 289-305. [pdf]

Simpson, J., & Huron, D. (1994). Absolute pitch as a learned phenomenon: Evidence consistent with the Hick-Hyman law. Music Perception, Vol. 12, No. 2, pp. 267-270. [pdf]

1993

Huron, D. (1993). Chordal-tone doubling and the enhancement of key perception. Psychomusicology, Vol. 12, No. 1, pp. 73-83. [pdf]

Huron, D. (1993). Note onset asynchrony in J.S. Bach's Two-part Inventions. Music Perception, Vol. 10, No. 4, pp. 435-444. [pdf]

Huron, D., & Parncutt, R. (1993). An improved model of tonality perception incorporating pitch salience and echoic memory. Psychomusicology, Vol. 12, No. 2, pp. 154-171. [pdf]

Huron, D., & Simpson, J. (1993). The perception of rhythmic similarity: A test of a modified version of Johnson-Laird's theory. Canadian Acoustics, Vol. 21, No. 3, pp. 89-90. [pdf]

1992

Huron, D. (1992). The ramp archetype and the maintenance of auditory attention. Music Perception, Vol. 10, No. 1, pp. 83-92. [pdf]

Huron, D. (1992). Carol Krumhansl: The cognitive foundations of musical pitch [book review]. Psychology of Music, Vol. 20, No. 1, pp. 180-185.

Huron, D. (1992). Design principles in computer-based music representation. In A. Marsden & A. Pople (Eds.), Computer Representations and Models in Music (pp. 5-39). London: Academic Press.

Huron, D., & Sellmer, P. (1992). Critical bands and the spelling of veritcal sonorities. Music Perception, Vol. 10, No. 2, pp. 129-149. [pdf]

Orpen, K., & Huron, D. (1992). The measurement of similarity in music: A quantitative approach for non-parametric representations. Computers in Music Research, Vol. 4, pp. 1-44. [pdf]

1991

Huron, D. (1991). Tonal consonance versus tonal fusion in polyphonic sonorities. Music Perception, Vol. 9, No. 2, pp. 135-154. [pdf]

Huron, D. (1991). The avoidance of part-crossing in polyphonic music: Perceptual evidence and musical practice. Music Perception, Vol. 9, No. 1, pp. 93-104. [pdf]

Huron, D. (1991). The ramp archetype: A study of musical dynamics in 14 piano composers. Psychology of Music, Vol. 19, No. 1, pp. 33-45. [pdf]

Huron, D. (1991). Richard Parncutt: Harmony: A psychoacoustical approach [book review]. Psychology of Music, Vol. 19, No. 2, pp. 173-177.

Huron, D. (1991). Albert S. Bregman: Auditory scene analysis: The perceptual organization of sound [book review]. Psychology of Music, Vol. 19, No. 1, pp. 77-82.

1990

Huron. D. (1990). Crescendo/diminuendo asymmetries in Beethoven's piano sonatas. Music Perception, Vol. 7, No. 4, pp. 395-402. [pdf]

Huron. D. (1990).Increment/decrement asymmetries in polyphonic sonorities. Music Perception, Vol. 7, No. 4, pp. 385-393. [pdf]

Huron, D. (1990). Barnes: Muzak, the hidden messages in music: A social psychology of culture [book review]. Psychology of Music, Vol. 18, No. 2, pp. 183-184.

Huron, D. (1990). Mary Louise Serafine: Music as cognition: The development of thought in sound [book review]. Psychology of Music, Vol. 18, No. 1, pp. 99-103.

1989

Huron, D. (1989). Music in advertising: An analytic paradigm. Musical Quarterly, Vol. 73, No. 4, pp. 557-574. [pdf]

Huron, D. (1989). Voice denumerability in polyphonic music of homogeneous timbres. Music Perception, Vol. 6, No. 4, pp. 361-382. [pdf]

Huron, D. (1989). John Sloboda (ed.): Generative processes in music: The psychology of performance, improvisation, and composition [book review]. Psychology of Music, Vol. 17, No. 2, pp. 158-164.

Huron, D. (1989). Characterizing musical texture. Proceedings of the 1989 International Computer Music Conference. San Francisco: Computer Music Association, pp. 131-134. [pdf]

Huron, D., & Fantini, D. (1989). The avoidance of inner-voice intries: Perceptual evidence and musical practice. Music Perception, Vol. 7, No. 1, pp. 43-47. [pdf]

Rush, M.A. (1989). An experimental investigation of the effectiveness of training on absolute pitch in adult musicians. PhD Dissertation, School of Music, Ohio State University. [pdf]

1988

Huron, D. (1988). Error categories, detection and reduction in a musical database. Computeres and the Humanities, Val. 22, No. 4, pp. 361-382. [pdf]

Huron, D. (1988). Alf Gabrielsson (ed.): Action and perception in rhythm and music [book review]. Psychology of Music, Vol. 16, No. 2, pp. 156-162.

Huron, D. (1988). Louise Duchesneau: The voice of the muse: A study of the role of inspiration in musical composition [book review]. Music Analysis, Vol. 7, No. 1, pp. 110-114. [pdf]

1986

MacKenzie, C., VanEerd, D., Graham, E., Huron, D., & Wills, B. (1986). The effect of tonal structure on rhythm in piano performance. Music Perception, Vol. 4, No. 2, pp. 215-225. [pdf]