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Journal Articles

The Lone Instrument: Musical Solos and Sadness-Related Features

Niels Chr. Hansen, David Huron

Music Perception (2018) 35 (5): 540–560.

DOI: https://doi.org/10.1525/mp.2018.35.5.540

Published: 01 June 2018

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Journal Articles

Catching the Lyrics: Intelligibility in Twelve Song Genres

Nathaniel Condit-Schultz, David Huron

Music Perception (2015) 32 (5): 470–483.

DOI: https://doi.org/10.1525/mp.2015.32.5.470

Published: 01 June 2015

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Journal Articles

A Statistical Approach to Tracing the Historical Development of Major and Minor Pitch Distributions, 1400-1750

Joshua D. Albrecht, David Huron

Music Perception (2014) 31 (3): 223–243.

DOI: https://doi.org/10.1525/mp.2014.31.3.223

Published: 01 February 2014

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Journal Articles

Is Higher Music Faster? Pitch–Speed Relationships in Western Compositions

Yuri Broze, David Huron

Music Perception (2013) 31 (1): 19–31.

DOI: https://doi.org/10.1525/mp.2013.31.1.19

Published: 01 September 2013

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Journal Articles

On the Virtuous and the Vexatious in an Age of Big Data

David Huron

Music Perception (2013) 31 (1): 4–9.

DOI: https://doi.org/10.1525/mp.2013.31.1.4

Published: 01 September 2013

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Journal Articles

Agogic Contrast in French and English Themes: Further Support for Patel and Daniele (2003)

DAVID HURON, JOY OLLEN

Music Perception (2003) 21 (2): 267–271.

DOI: https://doi.org/10.1525/mp.2003.21.2.267

Published: 01 December 2003

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Journal Articles

Tone and Voice: A Derivation of the Rules of Voice-Leading from Perceptual Principles

David Huron

Music Perception (2001) 19 (1): 1–64.

DOI: https://doi.org/10.1525/mp.2001.19.1.1

Published: 01 September 2001

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Journal Articles

Why Do Skips Precede Reversals? The Effect of Tessitura on Melodic Structure

Paul Von Hippel, David Huron

Music Perception (2000) 18 (1): 59–85.

DOI: https://doi.org/10.2307/40285901

Published: 01 October 2000

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Journal Articles

Review: Highpoints: A Study of Melodic Peaks , by Zohar Eitan

David Huron

Music Perception (1998) 16 (2): 257–264.

DOI: https://doi.org/10.2307/40285791

Published: 01 December 1998

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Journal Articles

What Is Melodic Accent? Converging Evidence from Musical Practice

David Huron, Matthew Royal

Music Perception (1996) 13 (4): 489–516.

DOI: https://doi.org/10.2307/40285700

Published: 01 July 1996

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Journal Articles

Review: Music, Imagination, and Culture , by Nicholas Cook

David Huron

Music Perception (1995) 12 (4): 473–481.

DOI: https://doi.org/10.2307/40285677

Published: 01 July 1995

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Journal Articles

Absolute Pitch as a Learned Phenomenon: Evidence Consistent with the Hick-Hyman Law

Jasba Simpson, David Huron

Music Perception (1994) 12 (2): 267–270.

DOI: https://doi.org/10.2307/40285656

Published: 01 December 1994

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Journal Articles

Interval-Class Content in Equally Tempered Pitch-Class Sets: Common Scales Exhibit Optimum Tonal Consonance

David Huron

Music Perception (1994) 11 (3): 289–305.

DOI: https://doi.org/10.2307/40285624

Published: 01 April 1994

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Journal Articles

Note-Onset Asynchrony in J. S. Bach's Two-Part Inventions

David Huron

Music Perception (1993) 10 (4): 435–443.

DOI: https://doi.org/10.2307/40285582

Published: 01 July 1993

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Journal Articles

Critical Bands and the Spelling of Vertical Sonorities

David Huron, Peter Sellmer

Music Perception (1992) 10 (2): 129–149.

DOI: https://doi.org/10.2307/40285604

Published: 01 December 1992

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Journal Articles

The Ramp Archetype and the Maintenance of Passive Auditory Attention

David Huron

Music Perception (1992) 10 (1): 83–91.

DOI: https://doi.org/10.2307/40285540

Published: 01 October 1992

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Journal Articles

Tonal Consonance versus Tonal Fusion in Polyphonic Sonorities

David Huron

Music Perception (1991) 9 (2): 135–154.

DOI: https://doi.org/10.2307/40285526

Published: 01 December 1991

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Journal Articles

The Avoidance of Part-Crossing in Polyphonic Music: Perceptual Evidence and Musical Practice

David Huron

Music Perception (1991) 9 (1): 93–103.

DOI: https://doi.org/10.2307/40286160

Published: 01 October 1991

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Journal Articles

Crescendo/Diminuendo Asymmetries in Beethoven's Piano Sonatas

David Huron

Music Perception (1990) 7 (4): 395–402.

DOI: https://doi.org/10.2307/40285475

Published: 01 July 1990

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Journal Articles

Increment/Decrement Asymmetries in Polyphonic Sonorities

David Huron

Music Perception (1990) 7 (4): 385–393.

DOI: https://doi.org/10.2307/40285474

Published: 01 July 1990

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NARROW

The Lone Instrument: Musical Solos and Sadness-Related Features

Catching the Lyrics: Intelligibility in Twelve Song Genres

A Statistical Approach to Tracing the Historical Development of Major and Minor Pitch Distributions, 1400-1750

Is Higher Music Faster? Pitch–Speed Relationships in Western Compositions

On the Virtuous and the Vexatious in an Age of Big Data

Agogic Contrast in French and English Themes: Further Support for Patel and Daniele (2003)

Tone and Voice: A Derivation of the Rules of Voice-Leading from Perceptual Principles

Why Do Skips Precede Reversals? The Effect of Tessitura on Melodic Structure

Review: Highpoints: A Study of Melodic Peaks , by Zohar Eitan

What Is Melodic Accent? Converging Evidence from Musical Practice

Review: Music, Imagination, and Culture , by Nicholas Cook

Absolute Pitch as a Learned Phenomenon: Evidence Consistent with the Hick-Hyman Law

Interval-Class Content in Equally Tempered Pitch-Class Sets: Common Scales Exhibit Optimum Tonal Consonance

Note-Onset Asynchrony in J. S. Bach's Two-Part Inventions

Critical Bands and the Spelling of Vertical Sonorities

The Ramp Archetype and the Maintenance of Passive Auditory Attention

Tonal Consonance versus Tonal Fusion in Polyphonic Sonorities

The Avoidance of Part-Crossing in Polyphonic Music: Perceptual Evidence and Musical Practice

Crescendo/Diminuendo Asymmetries in Beethoven's Piano Sonatas

Increment/Decrement Asymmetries in Polyphonic Sonorities

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