BOOKS (SOLE AUTHOR)
ARTICLES AND CONFERENCE REPORTS
Acoustical Correlates of Perceptual Blend in Timbre Dyads and Traids (with S-A. Lembke, K. Kyra Parker, and Stephen McAdams). Musicae Scientiae, (2016) (accepted)
“The Modern Score and Its Seven Modes of Performance.” In Music in Time: Phenomenology, Perception, Performance: Essays in Honor of Christopher Hasty, edited by Suzannah Clark and Alexander Rehding, 109-150. Cambridge, MA: Department of Music, distributed by Harvard University Press, 2016.
“The Implication-Realization Model.” Music in the Social and Behavioral
Sciences. Edited by Bill Thompson. Thousand Oaks, CA: SAGE Reference, 2014.
“Scaling Timbral Combinations: Theorizing Orchestration as a Musical Parameter.” Eleventh International Conference on Music Perception and Cognition (ICMPC). University of Washington, Seattle. 23-27 August 2010, 103-6. Available as a CD-ROM from the ICMPC.
“Generation in Context: An Exploratory Method for Musical Enquiry.” With Andrew R. Brown, Toby Gifford, Robert Davidson, and Geraint Wiggins. Second International Conference on Music Communication Science (ICoMCS2). University of New South Wales, Sydney, Australia. 3-4 December 2009, edited by Catherine Stevens et al., 7-10. Available as a CD-ROM from the ICoMCS2.
“Scaled Harmonic Implication and Its Realization: Searching for a Unified Cognitive Theory of Music.” Ninth International Conference on Music Perception and Cognition (ICMPC). University of Bologna. 22-26 August 2006, edited by Mario Baroni et al., 622-29. Available as a CD-ROM from the ICMPC (Bonania University Press).
“Painting as Music: Do the Two Domains Evoke Analogous Types of Cognitive Structuring?” Bulletin of Psychology and the Arts 4.1 (2003): 28-38.
“Parametric Content, Motivic Form, and the Implication-Realization Model.” Seventh International Conference on Music Perception and Cognition (ICMPC). University of New South Wales, Sydney, Australia. 17-21 July 2002, edited by Catherine Stevens et al. Available as a CD-ROM from the ICMPC.
“Hierarchical Expectation and Musical Style.” In The Psychology of Music, edited by Diana Deutsch, 441-72. New York: Academic Press, 1999.
“Schenkerian Theory and the Problem of ‘Missing’ Structural Tones at Higher Levels.” Journal of the Central Conservatory of Music (1995) (in Chinese).
“The Melodic Structures of Music and Speech: Applications and Dimensions of the Implication-Realization Model.” In Music, Language, Speech, and Brain. Proceedings of an International Symposium at the Wenner-Gren Center, Stockholm, 5-8 September 1990, edited by Johan Sundberg et al., 48-56. Wenner-Gren Center International Symposium Series, 59. London: Macmillan, 1991. Also translated into Chinese.
“The Future of Theory.” ITR 10 (1989): 95-97.
“The ‘Genetic Code’ of Melody: Cognitive Structures Generated by the Implication-Realization Model.” In Music and the Cognitive Sciences. Proceedings from the “Symposium on Music and the Cognitive Sciences.” 14-18 March 1988. Centre National d’Art et de Culture “Georges Pompidou,” Paris, France, edited by Stephen McAdams and Irène Deliège, 45-63. Contemporary Music Review, 4. London: Harwood, 1989. Also translated into Chinese and French.
“L’implication et la réalisation mélodique dans La terrasse des audiences du clair de lune de Debussy.” Analyse musicale 16.3 (1989): 44-53. The same article appears in English as “Melodic Implication and Realization in Debussy’s La Terrasse des audiences du clair de lune.” Analyse musicale 16bis (1989): 28-43. Also translated into Chinese. This study is one of nine analyses of the same work presented at the first European congress on musical analysis at Colmar in 1989. Narmour’s discussion of the contributions by Allen Forte and Fred Lerdahl appears in Actes. 1er Congrès européen d’analyse musicale. Colmar (France), 26-28 octobre 1989, 16-21. Paris: Société Française d’Analyse Musicale, 1991.
“On the Relationship of Analytical Theory to Performance and Interpretation.” In Explorations in Music, the Arts, and Ideas: Essays in Honor of Leonard B. Meyer, edited by Eugene Narmour and Ruth Solie, Festschrift Series, No. 7. (Stuyvesant, NY: Pendragon Press, 1988, 317-40). Also translated into Chinese.
“Melodic Structuring of Harmonic Dissonance: A Method for Analysing Chopin’s Contribution to the Development of Harmony.” In Chopin Studies, edited by Jim Samson, 77-114. Cambridge: Cambridge University Press, 1988.
“De oraculo Crumbi:” The Contexts of Science and Art in the Twentieth Century.” In Profile of a Composer: George Crumb, compiled and edited by Don Gillespie, 74-75. New York: C.F. Peters, 1986.
“Toward an Analytical Symbology: The Melodic, Harmonic, and Durational Functions of Implication and Realization.” In Musical Grammars and Computer Analysis: Atti del convegno (Modena, 4-6 ottobre 1982) pubblicati sotto gli auspici delle Università degli studi di Bologna e Modena, edited by M. Baroni and L. Callegari, 83-114. Quaderni della Rivista italiana di musicologia, 8. Florence: Olschki, 1984.
Books (in progress):
Music, Score, Modes of Performance, 461 pp. (first draft)
Psychological Principles for Performing Music: Illuminating the Listener’s Experience,
440 pp. (first draft)
Musical Mediations on Emotion, Language, Evolution, and Aesthetics
A Cognitively Unified Theory of Music: Analogical Universal Structures from Perception to Affect
Structure, Affect, and Meaning in Orchestration: A New Theory