Table Of Content

VOLUME 9 CONTENTS INDEX OF CONTRIBUTORS 1991-92 Music Perception Contents of Volume 9, 1991—92 Number 1, Fall 1991 EUGENE NARMOUR The Top-Down and Bottom-Up Systems of Musical Implication: Building on Meyer’s Theory of Emotional Syntax ANNIE H. TAKEUCHI & Absolute-Pitch Judgments of Black- and STEWART H. HULSE White-Key Pitches MINORU TSUZAKI Effects of the Preceding Scale on Melodic Interval Judgment in Terms of Equality and Size J. SUNDBERG, A. Threshold and Preference Quantities of FRIBERG, & L. FRYDEN Rules for Music Performance DAVID HURON The Avoidance of Part-Crossing in Polyphonic Music: Perceptual Evidence and Musical Practice ANDRE-PIERRE Absolute Pitch and the Perception of BENGUEREL & CAROL Sequential Musical Intervals WESTDAL Children’s Perceptions of Native and MICHAEL P. LYNCH & Nonnative Musical Scales REBECCA E. EILERS ANNOUNCEMENT Royal Society International Discussion Meeting on Auditory Processing of Complex Sounds Number 2, Winter 1991 DAVID HURON 135 Tonal Consonance versus Tonal Fusion in Polyphonic Sonorities WILLIAM MORRIS Stream Segregation and Peripheral HARTMANN & Channeling DOUGLAS JOHNSON DIANA DEUTSCH Pitch Proximity in the Grouping of Simultaneous Tones RAY JACKENDOFF Musical Parsing and Musical Affect W. L. M. CROONEN Recognition of Tone Series Containing Tonic Triads YOKO OURA Constructing a Representation of a Melody: Transforming Melodic Segments into Reduced Pitch Patterns Operated on by Modifiers 495 BOOK REVIEW ROBERT P. MORGAN 267 Style and Music: Theory, History, and Ideology by Leonard B. Meyer Number 3, Spring 1992 Somatosensory Feedback in Music Performance JOHAN SUNDBERG & Editorial RONALD T. VERRILLO RONALD T. VERRILLO Vibration Sensation in Humans KNUT GUETTLER Electromyography and Muscle Activities in Double Bass Playing ANDERS ASKENFELT & On Vibration Sensation and Finger ERIK V. JANSSON Touch in Stringed Instrument Playing GEORGE P. MOORE Piano Trills JOHAN SUNDBERG Phonatory Vibrations in Singers: A Critical Review Number 4, Summer 1992 BURTON S. ROSNER & 38 m ? Harmonic Closure: Music Theory and EUGENE NARMOUR Perception KEN ICHI MIYAZAKI 41. >3 Perception of Musical Intervals by Absolute Pitch Possessors WILLIAM F. THOMPSON Perceived Key Movement in Four-Voice & LOLA L. CUDDY Harmony and Single Voices PETER DESAIN A (De)Composable Theory of Rhythm Perception LAUREL J. TRAINOR & The Development of Referential SANDRA E. TREHUB Meaning in Music BOOK REVIEWS YOSHITAKA NAKAJIMA Auditory Scene Analysis: The Perceptual Organization of Sound by Albert S. Bregman ROBERT O. Cognitive Foundations of Musical Pitch GJERDINGEN by Carol L. Krumhansl Contents of Volume 9 Index of Contributors Index of Contributors, 1991-92 Anders Askenfelt, On Vibration Sensation and Finger Touch in Stringed Instrument Play- ing, 311-350 André-Pierre Benguerel, Absolute Pitch and the Perception of Sequential Musical Intervals, 105-120 W.L.M. Croonen, Recognition of Tone Series Containing Tonic Triads, 231-250 Lola L. Cuddy, Perceived Key Movement in Four-Voice Harmony and Single Voices, 427-438 Peter Desain, A (De)Composable Theory of Rhythm Perception, 439-454 Diana Deutsch, Pitch Proximity in the Grouping of Simultaneous Tones, 185-198 Rebecca E. Eilers, Children’s Perceptions of Native and Nonnative Musical Scales, 1 21 27 IL A. Friberg, Threshold and Preference Quantities of Rules for Music Performance, 71-92 L. Frydén, Threshold and Preference Quantities of Rules for Music Performance, 71—92 Robert O. Gjerdingen, review of Cognitive Foundations of Musical Pitch by Carol L. Krumhansl, 476-492 Knut Guettler, Electromyography and Muscle Activities in Double Bass Playing, 303-310 William Morris Hartmann, Stream Segregation and Peripheral Channeling, 155-184 Stewart H. Hulse, Absolute-Pitch Judgments of Black- and White-Key Pitches, 27-46 David Huron, The Avoidance of Part-Crossing in Polyphonic Music: Perceptual Evidence and Musical Practice, 93-104, Tonal Consonance versus Tonal Fusion in Polyphonic Sonorities, 135-154 Ray Jackendoff, Musical Parsing and Musical Affect, 199-230 Erik V. Jansson, On Vibration Sensation and Finger Touch in Stringed Instrument Playing, 311-350 Dougl§ as ! Johnson, Stream Seggrreesg ation and Peripheral Channeling,§ 155-184 Michael P. Lynch, Children’s Perceptions of Native and Nonnative Musical Scales, 121- 132 Ken’ichi Miyazaki, Perception of Musical Intervals by Absolute Pitch Possessors, 413-426 George P. Moore, Piano Trills, 351-360 Robert P. Morgan, review of Style and Music: Theory, History, and Ideology by Leonard B. Meyer, 267-276 Yoshitaka Nakajima, review of Auditory Scene Analysis: The Perceptual Organization of Sound by Albert S. Bregman, 471-476 Eugene Narmour, The Top-Down and Bottom-Up Systems of Musical Implication: Build- ing on Meyer’s Theory of Emotional Syntax, 1-26, Harmonic Closure: Music Theory and Perception, 383—412 Yoko Oura, Constructing a Representation of aM elody: Transforming Melodic Segments into Reduced Pitch Patterns Operated on by Modifiers, 251-266 Burton S. Rosner, Harmonic Closure: Music Theory and Perception, 383—412 J. Sundberg, Threshold and Preference Quantities of Rules for Music Performance, 71—92, Editorial, 277—280, Phonatory Vibrations in Singers: A Critical Review, 361—382 Annie H. Takeuchi, Absolute-Pitch Judgments of Black- and White-Key Pitches, 27-46 William F. Thompson, Perceived Key Movement in Four-Voice Harmony and Single Voices, 427-438 Laurel J. Trainor, The Development of Referential Meaning in Music, 455-470 Sandra E. Trehub, The Development of Referential Meaning in Music, 455-470 Minoru Tsuzaki, Effects of the Preceding Scale on Melodic Interval Judgment in Terms of Equality and Size, 47—70 Ronald T. Verrillo, Editorial, 277-280, Vibration Sensation in Humans, 281-302 Carol Westdal, Absolute Pitch and the Perception of Sequential Musical Intervals, 105—120