Rhythm and Meter in Tonal Music: A Bibliography

• Benjamin, William E. (1984).A Theory of Musical Meter. Music Perception 11.4, 355-413.
• Bernstein, Leonard (1976). "The Unanswered Question: Six Talks at Harvard". Harvard University Press, Cambridge.
• Berry, Wallace (1971). Review of Edward T. Cone's Musical Form and Musical Performance. Perspectives of New Music 9.2-10.1, 271-290.
• Berry, Wallace (1976). "Structural Functions in Music". Prentice-Hall, New Jersey.
• Berry, Wallace (1985). Metric and Rhythmic Articulation in Music. Music Theory Spectrum 7, 7-33.
• Berz, William (1995). Working Memory in Music: A Theoretical Model. Music Perception 12, 353-64.
• Boyle, John David (1987). An Exploratory Investigation of Meter Perception. Bulletin of the Council for Research in Music Education 91, 10-14.
• Brown, A. Peter (1987).Performance Tradition, Steady and Proportional Tempos, and the First Movements of Schubert's Symphonies. Journal of Musicology 5/2, 296-307.
• Burkhart, Charles (1994).Mid-Bar Downbeat in Bach's Keyboard Music. Journal of Music Theory Pedagogy 8, 3-26.
• Butler, Mark J. (Dec 2001). Turning the Beat Around: Reinterpretation, Metrical Dissonance, and Asymmetry in Electronic Dance Music . Music Theory Online 7.6, .
• Clarke, Eric F. (1987a).Categorical Rhythm Perception: An Ecological Perspective. In "Action and Perception in Rhythm and Music" (Alf Gabrielsson, ed.), pp. 19-33. Royal Swedish Academy of Music, Stockholm.
• Clarke, Eric F. (1987b).Levels of Structure in the Organization of Musical Time. Contemporary Music Review 2(1), 211-38.
• Clarke, Eric F. and Carol L. Krumhansl (1990). Perceiving Musical Time. Music Perception 7, 213-252.
• Cone, Edward T. (1968)."Musical Form and Musical Performance". W.W. Norton & Company, Inc., New York, NY.
• Cone, Edward T. (1985).Musical Form and Musical Performance Reconsidered. Music Theory Spectrum 7, 149-158.
• Cooper, Grosvenor W. and Leonard B. Meyer (1960)."The Rhythmic Structure of Music". University of Chicago Press, Chicago, Illinois.
• Dawe, Lloyd A., Platt, John R., and Racine, Ronald J. (1994).Inference of Metrical Structure from Perception of Iterative Pulses Within Time Spans Defined by Chord Changes. Music Perception 12, 57-76.
• Deliege, Irene (1987).Grouping Conditions in Listening to Music: An Approach to Lerdahl and Jackendoff's Grouping Preference Rules. Music Perception 4, 325-360.
• Desain, Peter (1992).A (De)Composable Theory of Rhythm Perception. Music Perception 9, 439-54.
• Drake, Carolyn, Dowling, W. Jay, and Palmer, Caroline (1991).Accent Structures in the Reproduction of Simple Tunes by Children and Adult Pianists. Music Perception 8, 315-34.
• Drake, Carolyn, and Palmer, Caroline (1993). Accent Structures in Music Performance. Music Perception 10, 343-78.
• Epstein, David (1979)."Beyond Orpheus: Studies in Musical Structure". MIT Press, Cambridge, MA.
• Grave, Floyd K. (1985).Metrical Displacement and the Compound Measure in Eighteenth-Century Theory and Practice. Theoria 1, 25-60.
• Graybill, Roger (1990).Towards a Pedagogy of Gestural Rhythm. Journal of Music Theory Pedagogy 4/1, 1-50.
• Green, Michael D. (1994).Mathis Lussy's Traite de l'expression musicale as a Window into Performance Practice. Music Theory Spectrum 16, 196-216.
• Hasty, Christopher (1997). "Meter as Rhythm". Oxford University Press, .
• Headlam, David (1985).A Rhythmic Study of the Exposition of the Second Movement of Beethoven's Quartet Op. 59, No. 1. Music Theory Spectrum 7, 114-38.
• Roy Howat (1983)."Debussy in Proportion". Cambridge University Press, New York.
• Hoyt, Reed (1988).Rhythmic Process in the Scherzo of Beethoven's Sonata Op. 110: Analysis as a Basis for Interpretation and Criticism. Indiana Theory Review 9(2), 99-134.
• Imbrie, Andrew (1973)."Extra" Measures and Metrical Ambiguity in Beethoven. In "Beethoven Studies" (Alan Tyson, ed.), pp. 45-66. Norton, New York.
• Jackson, Timothy L. (1992).Gabriel Fauré's Expansions of Nonduple Hypermeter in La fleur qui va sur l'eau, Op. 85, No. 2. In Theory Only 12(3-4), 1-27.
• Johnson-Laird, Philip N. (1997).Rhythm and Meter: A Theory at the Computational Level. Psychomusicology 10, 88-106.
• Komar, Arthur J. (1971). "Theory of Suspensions: A Study of Metrical and Pitch Relations". University of Princeton Press, Princeton, NJ.
• Kramer, Jonathan D. (1985). Studies of Time and Music: A Bibliography.. Music Theory Spectrum 7, 72-106.
• Kramer, Jonathan D. (1988). "The Time of Music". Schirmer Books, New York.
• Krebs, Harald (1987).Some Extensions of the Concepts of Metrical Consonance and Dissonance. Journal of Music Theory 31, 99-120.
• Lerdahl, Fred, and Jackendoff, Ray (1983). "A Generative Theory of Tonal Music". MIT Press, Cambridge.
• Lester, Joel (1986). "The Rhythms of Tonal Music". Southern Illinois University Press, Carbondale and Edwardsville, IL.
• Lester, Joel (1986). Notated and Heard Meter. Perspectives of New Music 24(2), 116-28.
• Miller, Benjamin O. (1993).Time Perception in Musical Meter Perception. Psychomusicology 12, 124-53.
• Narmour, Eugene (1983). Some Major theoretical Problems Concerning the Concept of Hierarchy in the Analysis of Tonal Music. Music Perception 1(3), 129-199.
• Palmer, Caroline (1989). Mapping Musical Thought to Musical Performance. Journal of Experimental Psychology 15, 331-346.
• Parncutt, Richard (1987). The Perception of Pulse in Musical Rhythm. In "Action and Perception in Rhythm and Music" (Alf Gabrielsson, ed.), pp. 127-38. Royal Swedish Academy of Music, Stockholm.
• Parncutt, Richard (1994). A Perceptual Model of Pulse Salience and Metrical Accent in Musical Rhythms. Music Perception 11, 409-464.
• Pogorilowski, Andrei (1994)."Energies of Musical Time:Studies of Essential Pulsatory Functionalism". Ararat Publishing House, Bucharest.
• Povel, Dirk-Jan, and Essens, Peter (1985). Perception of Temporal Patterns. Music Perception 2, 411-40.
• Roberts, Simon C (1996). Interpreting Rhythmic Structures Using Artificial Nerual Networks. Ph. D. Thesis, University of Wales.
• Rosenthal, David (1989). A Model of the Process of Listening to Simple Rhythms. Music Perception 6, 315-28.
• Rothstein, William (1989)."Phrase Rhythm in Tonal Music". Schirmer Books, New York.
• Russell, Todd B. (July, 1993). Rhythm in Music: A Comparative Analysis of the Two Versions of Opus 18, No. 1 String Quartet (I, IV) by Beethoven. , University of Kentucky.
• Schachter, Carl (1976).Rhythm and Linear Analysis: A Preliminary Study. Music Forum 4, 281-334.
• Schachter, Carl (1980).Rhythm and Linear Analysis: Durational Reduction. Music Forum 5, 197-232.
• Schachter, Carl (1987).Aspects of Meter. Music Forum VI, 1-59.
• Serafine, Mary Louise, Glassman, Noah, and Overbeeke, Cornell (1989). The Cognitive Reality of Hierarchic Structure in Music. Music Perception 6, 397-430.
• Smyth, David (1990). Large-Scale Rhythm and Classical Form . Music Theory Spectrum 12.2, 236-246.
• Spillman, Robert and Stein, Deborah (1996). Chapter eight: Rhythm and Meter. In "Poetry Into Song: Performance and Analysis of Lieder" (, ed.), pp. 167-190. Oxford University Press, New York, Oxford.
• Swain, Joseph P. (1986). The Need for Limits in Hierarchical Theories of Music. Music Perception 4, 121-48.
• Todd, Neil (1985).A Model of Expressive Timing in Tonal Music. Music Perception 3/1, 33-58.
• Upitis, Rena (1987).Children's Understanding of Rhythm: The Relationship Between Development and Music Training. Psychomusicology 7, 41-60.
• Westergaard, Peter (1975).Notes, Beats and Measures. In "An Introduction to Tonal Theory," pp. 225-308 (Ch. 7). W. W. Norton Company, New York.
• Yeston, Maury (1976). Rubato and the Middleground. Journal of Music Theory 19, 286-301.
• Yeston, Maury. (1976). "The Stratification of Musical Rhythm.". Yale University Press, New Haven, CT.
• Zuckerkandl, Victor (1956). "Sound and Symbol: Music and the External World". Trans. Willard R. Trask. Pantheon Books, New York.

This bibliography courtesy of Indiana University School of Music



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