STEVENS’ HANDBOOK OF EXPERIMENTAL PSYCHOLOGY

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[4]  Bruno H. Repp,et al.  Relationships Between Performance Timing, Perception of Timing Perturbations, and Perceptual‐Motor Synchronisation in Two Chopin Preludes , 1999 .

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[10]  B. Repp.  The Detectability of Local Deviations from a Typical Expressive Timing Pattern , 1998 .

[11]  Carolyn Drake,et al.  Sources of timing variations in music performance: A psychological segmentation model , 1998 .

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[15]  B. Repp.  Patterns of note onset asynchronies in expressive piano performance. , 1996, The Journal of the Acoustical Society of America.

[16]  C. Krumhansl,et al.  An Experimental Study of Internal Interval Standards in Javanese and Western Musicians , 1996 .

[17]  B. Repp.  The Art of Inaccuracy: Why Pianists' Errors Are Difficult to Hear , 1996 .

[18]  E. Schellenberg,et al.  Children's Discrimination of Melodic Intervals. , 1996 .

[19]  Caroline Palmer,et al.  On the Assignment of Structure in Music Performance , 1996 .

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[25]  B. Repp.  The tritone paradox and the pitch range of the speaking voice : a dubious connection , 1994 .

[26]  Isabelle Peretz,et al.  Auditory agnosia: a functional analysis , 1993 .

[27]  C. Palmer,et al.  Units of knowledge in music performance. , 1993, Journal of experimental psychology. Learning, memory, and cognition.

[28]  Bruno H. Repp.  Music as Motion: A Synopsis of Alexander Truslit's (1938) Gestaltung und Bewegung in der Musik , 1993 .

[29]  B. Repp.  Probing the cognitive representation of musical time: Structural constraints on the perception of timing perturbations , 1992, Cognition.

[30]  Bruno H. Repp,et al.  A Constraint on the Expressive Timing of a Melodic Gesture: Evidence from Performance and Aesthetic Judgment , 1992 .

[31]  B. Repp.  Diversity and commonality in music performance: an analysis of timing microstructure in Schumann's "Träumerei". , 1992, The Journal of the Acoustical Society of America.

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[34]  C. Krumhansl,et al.  Mental representations for musical meter. , 1990, Journal of experimental psychology. Human perception and performance.

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[37]  L L Cuddy,et al.  Effects of metric and harmonic rhythm on the detection of pitch alterations in melodic sequences. , 1989, Journal of experimental psychology. Human perception and performance.

[38]  M. Peters.  The relationship between variability of intertap intervals and interval duration , 1989 .

[39]  C Palmer,et al.  Pitch and temporal contributions to musical phrase perception: Effects of harmony, performance timing, and familiarity , 1987, Perception & psychophysics.

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[50]  R. Patterson.  The effects of relative phase and the number of components on residue pitch. , 1973, Journal of the Acoustical Society of America.

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[52]  D. Shankweiler,et al.  Effects of temporal-lobe damage of perception of dichotically presented melodies. , 1966, Journal of comparative and physiological psychology.

[53]  R. Plomp,et al.  Tonal consonance and critical bandwidth. , 1965, The Journal of the Acoustical Society of America.

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[59]  D J Povel,et al.  A theoretical framework for rhythm perception , 1984, Psychological research.

[60]  J. Sloboda,et al.  The psychological reality of musical segments. , 1980, Canadian journal of psychology.

[61]  Ruth Rasch,et al.  Synchronization in performed ensemble music , 1979 .

[62]  John A. Sloboda,et al.  The effect of item position on the likelihood of identification by inference in prose reading and music reading , 1976 .

[63]  Carl Stumpf,et al.  Konsonanz und Dissonanz , 1898 .