What Is Musical Prosody?

Adachi, 1998, Children's expression of emotion in song, Psychology of Music, 26, 133, 10.1177/0305735698262003 2004 Apel, 1972 Ayotte, 2002, Congenital amusia: A group study of adults afflicted with a music‐specific disorder, Brain, 238, 10.1093/brain/awf028 Balkwill, 1999, A cross‐cultural investigation of the perception of emotion in music: Psychophysical and cultural cues, Music Perception, 17, 43, 10.2307/40285811 Battel, 1994, Neural networks vs. rules system: Evaluation test of automatic performance of musical scores, 109 Beckman, 1996, The parsing of prosody, Language and Cognitive Processes, 11, 17, 10.1080/016909696387213 Bharucha, 1987, Music cognition and perceptual facilitation: A connectionist framework, Music Perception, 5, 1, 10.2307/40285384 Bregman, 1990 Breslin, 1992, Symbolic and sub‐symbolic rules system for real time score performance, 325 Brown, 2000, The “musilanguage” model of music evolution, 271 Brunswik, 1956 Christophe, 1994, Do infants perceive word boundaries? An empirical study of the bootstrapping of lexical acquisition, Journal of the Acoustical Society of America, 95, 1570, 10.1121/1.408544 Clarke, 1993, Imitating and evaluating real and transformed musical performances, Music Perception, 10, 317, 10.2307/40285573 Clarke, 1987, The imitation of perceived rubato: A preliminary study, Psychology of Music, 15, 58, 10.1177/0305735687151005 Clynes, 1983, Expressive microstructure in music, linked to living qualities, Vol. 39, 76 Clynes, 1995, Microstructural musical linguistics: Composers' pulses are liked most by the best musicians, Cognition, 55, 269, 10.1016/0010-0277(94)00650-A Cogan, 1976 Collier, 1975, The role of intonation in speech perception, 107 Cooper, 1986, Metrical phonology in speech production, Journal of Memory and Language, 25, 369, 10.1016/0749-596X(86)90007-0 Cooper, 1960 Cutler, 1995, Spoken word recognition and production, 97 Cutler, 1999, Prosody and intonation, processing issues, 682 Cutler, 1997, Prosody in the comprehension of spoken language: A literature review, Language and Speech, 40, 141, 10.1177/002383099704000203 Cyr, 1992 Davies, 2001, Philosophical perspectives on music's expressiveness, 23 Desain, 1992 De Jong, 1995, The supraglottal articulation of prominence in English: Linguistic stress as localized hyperarticulation, Journal of the Acoustical Society of America, 91, 491, 10.1121/1.412275 Deutsch, 1981, Internal representation of pitch sequence in tonal music, Psychological Review, 88, 503, 10.1037/0033-295X.88.6.503 Dissanayake, 2000, Antecedents of the temporal arts in early mother‐infant interaction, 389 Dogil, 2003, Understanding prosody, 544 Drake, 1993, Accent structures in music performance, Music Perception, 10, 343, 10.2307/40285574 Drake, 2000, Tapping in time with mechanically and expressively performed music, Music Perception, 18, 1, 10.2307/40285899 Ekman, 1973, Darwin and cross‐cultural studies of facial expression, 1 Fais, 1994, Conversation as collaboration: Some syntactic evidence, Speech Communication, 15, 231, 10.1016/0167-6393(94)90074-4 Feldman, 1992, Force dynamics of tempo change in music, Music Perception, 10, 185, 10.2307/40285606 Fernald, 1985, Four‐month‐old infants prefer to listen to motherese, Infant Behavior and Development, 8, 181, 10.1016/S0163-6383(85)80005-9 Fernald, 1989, Intonation and communicative intent in mothers' speech to infants: Is the melody the message?, Child Development, 60, 1497, 10.2307/1130938 Fernald, 1992, Human maternal vocalizations to infants as biologically relevant signals: An evolutionary perspective, 391 Fernald, 1993, Approval and disapproval: Infant responsiveness to vocal affect in familiar and unfamiliar languages, Child Development, 64, 657, 10.2307/1131209 Fernald, 1989, A cross‐language study of prosodic modifications in mothers' and fathers' speech to preverbal infants, Journal of Child Language, 16, 477, 10.1017/S0305000900010679 Ferreira, 2002, Prosody, 258 Fisher, 1996, Acoustic cues to grammatical structure in infant‐directed speech: Cross‐linguistic evidence, Child Development, 67, 3192, 10.2307/1131774 Frick, 1985, Communicating emotion: The role of prosodic features, Psychological Bulletin, 97, 412, 10.1037/0033-2909.97.3.412 Gabrielsson, 1974, Performance of rhythm patterns, Scandanavian Journal of Psychology, 15, 63, 10.1111/j.1467-9450.1974.tb00557.x Gabrielsson, 1987, Once again: The theme from Mozart's piano Sonata in A Major (k.331), 81 Gabrielsson, 1999, The performance of music, 501 Gabrielsson, 1996, Emotional expression in music performance: Between the performer's intention and the listener's experience, Psychology of Music, 24, 68, 10.1177/0305735696241007 Gabrielsson, 2001, The influence of musical structure on emotional expression, 223 Gandour, 1998, Pitch processing in the human brain is influenced by language experience, Neuroreport, 9, 2115, 10.1097/00001756-199806220-00038 Gleitman, 1982, Language acquisition: The state of the state of the art, 3 Goebl, 2001, Melody lead in piano performance: Expressive device or artifact?, The Journal of the Acoustical Society of America, 110, 563, 10.1121/1.1376133 Gout, 2004, Phonological phrase boundaries constrain lexical access: II. Infant data, Journal of Memory and Language, 51, 547, 10.1016/j.jml.2004.07.002 Grabe, 2002, Durational variability in speech and the rhythm class hypothesis, Vol. 7, 515 Grosjean, 1979, The patterns of silence: Performance structures in sentence production, Cognitive Psychology, 11, 58, 10.1016/0010-0285(79)90004-5 Heilman, 1984, Comprehension of affective and nonaffective prosody, Neurology, 34, 917, 10.1212/WNL.34.7.917 Henderson, 1936, Rhythmic organization in artistic piano performance, Vol. 4, 281 Hevner, 1935, The affective character of the major and minor modes in music, American Journal of Psychology, 47, 103, 10.2307/1416710 Hevner, 1935, Expression in music: A discussion of experimental studies and theories, Psychological Review, 47, 186, 10.1037/h0054832 Hevner, 1936, Experimental studies of the elements of expression in music, American Journal of Psychology, 48, 248, 10.2307/1415746 Hevner, 1937, The affective value of pitch and tempo in music, American Journal of Psychology, 49, 621, 10.2307/1416385 Hirsh‐Pasek, 1987, Clauses are perceptual units for young infants, Cognition, 26, 269, 10.1016/S0010-0277(87)80002-1 Huron, 2003, Agogic contrast in French and English themes: Further support for Patel and Daniele (2003), Music Perception, 21, 267, 10.1525/mp.2003.21.2.267 Johnson‐Laird, 1991, Jazz improvisation: A theory at the computational level Jungers, 2002, Time after time: The coordinating influence of tempo in music and speech, Cognitive Processing, 1, 21 Jusczyk, 1996, Syntactic units, prosody, and psychological reality during infancy, 389 Jusczyk, 1993, Pitch and rhythmic patterns affecting infants' sensitivity to musical phrase structure, Journal of Experimental Psychology: Human Perception and Performance, 19, 1, 10.1037/0096-1523.19.3.627 Jusczyk, 1992, Perception of acoustic correlates of major phrasal units by young infants, Cognitive Psychology, 24, 252, 10.1016/0010-0285(92)90009-Q Juslin, 2001, Communicating emotion in music performance: A review and theoretical framework, 2309 Juslin, 2003, Communication of emotions in vocal expression and music performance: Different channels, same code?, Psychological Bulletin, 129, 770, 10.1037/0033-2909.129.5.770 Juslin, 1999, The role of timing patterns in recognition of emotional expression from musical performance, Music Perception, 17, 197, 10.2307/40285891 Juslin, 2001 Kelly, 1988, Stress in time, Journal of Experimental Psychology: Human Perception & Performance, 14, 389, 10.1037/0096-1523.14.3.389 Kendall, 1990, The communication of musical expression, Music Perception, 8, 129, 10.2307/40285493 Kotlyar, 1976, Acoustic correlates of the emotional content of vocalized speech, Soviet Physics Acoustics, 22, 370 Krauss, 1983, Expressive conventions and the cross‐cultural expression of emotion, Basic and Applied Social Psychology, 4, 295, 10.1207/s15324834basp0404_1 Kreiman, 1982, Perception of sentence and paragraph boundaries in natural conversation, Journal of Phonetics, 10, 163, 10.1016/S0095-4470(19)30955-6 Krumhansl, 1990 Krumhansl, 1997, An exploratory study of musical emotions and psychophysiology, Canadian Journal of Experimental Psychology, 51, 336, 10.1037/1196-1961.51.4.336 Krumhansl, 1990, Infants' perception of phrase structure in music, Psychological Science, 1, 70, 10.1111/j.1467-9280.1990.tb00070.x La Driere, 1993, Prosody Lehiste, 1972, Timing of utterances and linguistic boundaries, Journal of the Acoustical Society of America, 51, 2018, 10.1121/1.1913062 Lerdahl, 1983 Levelt, 1989 Levitin, 1994, Absolute memory for musical pitch: Evidence from the production of learned melodies, Perception & Psychophysics, 56, 414, 10.3758/BF03206733 Levitin, 1996, Memory for musical tempo: Additional evidence that auditory memory is absolute, Perception & Psychophysics, 58, 927, 10.3758/BF03205494 Liberman, 1977, On stress and linguistic rhythm, Linguistic Inquiry, 8, 249 Meyer, 1956 Neumann, 1982 Nicholson, 2003, Impaired processing of prosodic and musical patters after right hemisphere damage, Brain and Cognition, 52, 382, 10.1016/S0278-2626(03)00182-9 Palmer, 1989, Mapping musical thought to musical performance, Journal of Experimental Psychology: Human Perception & Performance, 15, 331, 10.1037/0096-1523.15.2.331 Palmer, 1989, Structural representations of music performance, 349 Palmer, 1996, Anatomy of a performance: Sources of musical expression, Music Perception, 13, 433, 10.2307/40286178 Palmer, 1996, On the assignment of structure in music performance, Music Perception, 14, 21, 10.2307/40285708 Palmer, 2001, Episodic memory for musical prosody, Journal of Memory and Language, 45, 526, 10.1006/jmla.2000.2780 Palmer, 1987, Pitch and temporal contributions to musical phrase perception: Effects of harmony, performance timing, and familiarity, Perception & Psychophysics, 41, 505, 10.3758/BF03210485 Palmer, 1995, Range of planning in music performance, Journal of Experimental Psychology: Human Perception & Performance, 21, 947, 10.1037/0096-1523.21.5.947 Papoušek, 1990, Infant responses to prototypical melodic contours in parental speech, Infant Behavior and Development, 13, 539, 10.1016/0163-6383(90)90022-Z Papoušek, 1991, The meanings of melodies in motherese in tone and stress language, Infant Behavior and Development, 14, 415, 10.1016/0163-6383(91)90031-M Patel, 2003, An empirical comparison of rhythm in language and music, Cognition, 87, B35, 10.1016/S0010-0277(02)00187-7 Patel, 1998, Processing prosodic and musical patterns: A neuropsychological investigation, Brain and Language, 61, 123, 10.1006/brln.1997.1862 Pell, 2001, Influence of emotion and focus location on prosody in matched statements and questions, Journal of the Acoustical Society of America, 109, 1668, 10.1121/1.1352088 Pell, 1997, Unilateral brain damage, prosodic comprehension deficits, and the acoustic cues to prosody, Brain & Language, 57, 195, 10.1006/brln.1997.1736 Peretz, 2001, Listen to the brain: A biological perspective on musical emotions, 105 Peretz, 1999, Dissociation between recognition and emotional judgment for melodies, Neurocase, 5, 21, 10.1080/13554799908404061 Peretz, 1998, Music and emotion: Perceptual determinants, immediacy, and isolation after brain damage, Cognition, 68, 111, 10.1016/S0010-0277(98)00043-2 Peretz, 1998, Exposure effects on music preference and recognition, Memory and Cognition, 26, 884, 10.3758/BF03201171 Peretz, 1997, Dissociations entre musique et langage après atteinte cérébrale: Un nouveau cas d'amusie sans aphasie, Canadian Journal of Experimental Psychology, 51, 354, 10.1037/1196-1961.51.4.354 Pierrehumbert, 1999, Prosody and intonation, 679 Pike, 1945 Pisoni, 1997, Some thoughts on “normalization” in speech perception, 9 Pressing, 1988, Improvisation: Methods and models Protopapas, 1997, Fundamental frequency of phonation and perceived emotional stress, Journal of the Acoustical Society of America, 101, 2267, 10.1121/1.418247 Raffman, 1993 Ramus, 1999, Correlates of linguistic rhythm in the speech signal, Cognition, 73, 265, 10.1016/S0010-0277(99)00058-X Rasch, 1978, The perception of simultaneous notes as such in polyphonic music, Acustica, 40, 21 Rasch, 1979, Synchronization in performed ensemble music, Acustica, 43, 121 Rasch, 1988, Timing and synchronization in ensemble performance, 70 Repp, 1990, Patterns of expressive timing in performances of a Beethoven minuet by nineteen famous pianists, Journal of the Acoustical Society of America, 88, 622, 10.1121/1.399766 Repp, 1992, A constraint on the expressive timing of a melodic gesture: Evidence from performance and aesthetic judgment, Music Perception, 10, 221, 10.2307/40285608 Repp, 1992, Diversity and commonality in music performance. An analysis of timing microstructure in Schumann's “Träumerei.”, Journal of the Acoustical Society of America, 92, 2546, 10.1121/1.404425 Repp, 1992, Probing the cognitive representation of musical time: Structural constraints on the perception of timing perturbations, Cognition, 44, 241, 10.1016/0010-0277(92)90003-Z Repp, 2000, Pattern typicality and dimensional interactions in pianists' imitation of expressive timing and dynamics, Music Perception, 18, 173, 10.2307/40285908 Ross, 1997, Lateralization of affective prosody in brain and the callosal integration of hemispheric language functions, Brain and Language, 56, 27, 10.1006/brln.1997.1731 Saffran, 1996, Statistical learning by 8‐month‐old infants, Science, 274, 1926, 10.1126/science.274.5294.1926 Saffran, 1999, Statistical learning of tone sequences by human infants and adults, Cognition, 70, 27, 10.1016/S0010-0277(98)00075-4 Schellenberg, 2003, Accurate pitch memory is widespread, Psychological Science, 14, 262, 10.1111/1467-9280.03432 Scherer, 1985, Vocal affect signaling: A comparative approach, 189, 10.1016/S0065-3454(08)60490-8 Scherer, 1986, Vocal affect expression: A review and a model for future research, Psychological Bulletin, 99, 143, 10.1037/0033-2909.99.2.143 Scherer, 1984, Vocal cues to speaker affect: Testing two models, Journal of the Acoustical Society of America, 76, 1346, 10.1121/1.391450 Scherer, 2001, Emotional effects of music: Production rules, 361 Schön, 2004, The music of speech: Music training facilitates pitch processing in both music and language, Psychophysiology, 41, 341, 10.1111/1469-8986.00172.x Seashore, 1938, An objective analysis of artistic signing, Vol. 4, 12 Seashore, 1938 Selkirk, 1984 Shackford, 1961, Some aspects of perception, Part I, Journal of Music Theory, 5, 162, 10.2307/843224 Shackford, 1962, Some aspects of perception, Part II, Journal of Music Theory, 6, 66, 10.2307/843259 Shaffer, 1981, Performances of Chopin, Bach, and Bartok: Studies in motor programming, Cognitive Psychology, 13, 326, 10.1016/0010-0285(81)90013-X Shaffer, 1987, The interpretive component in musical performance, 139 Shaffer, 1992, How to interpret music, 263 Shattuck‐Hufnagel, 1996, A prosody tutorial for investigators of auditory sentence processing, Journal of Psycholinguistic Research, 25, 193, 10.1007/BF01708572 Sloboda, 1983, The communication of musical metre in piano performance, Quarterly Journal of Experimental Psychology A, 35, 377, 10.1080/14640748308402140 Sloboda, 1985 Sloboda, 1992, Empirical studies of emotional response to music, 33 Small, 1937, An objective analysis of artistic violin performance, Vol. 4, 172 Sundberg, 1983, Musical performance: A synthesis‐by‐rule approach, Computer Music Journal, 7, 37, 10.2307/3679917 Sundberg, 1985, Teaching a computer to play melodies musically, Vol. 1, 67 Sundberg, 1989, Rules for automated performance of ensemble music, Contemporary Music Review, 3, 89, 10.1080/07494468900640071 Sundberg, 1991, Threshold and preference quantities of rules for music performance, Music Perception, 9, 71, 10.2307/40286159 Sundberg, 1980, On the anatomy of the ritard: A study of timing in music, Journal of the Acoustical Society of America, 68, 772, 10.1121/1.384816 Swerts, 1994, Prosody as a marker of information flow in spoken discourse, Language and Speech, 37, 21, 10.1177/002383099403700102 Thiessen, 2005, Effects of prosodic structure on infants' statistical learning Thiessen, 2005, Infant‐directed speech facilitates word segmentation, Infancy, 7, 53, 10.1207/s15327078in0701_5 Thompson, 2004, Decoding speech prosody: Do music lessons help?, Emotion, 4, 46, 10.1037/1528-3542.4.1.46 Thompson, 1997, Music performance and the perception of key, Journal of Experimental Psychology: Human Perception & Performance, 23, 116, 10.1037/0096-1523.23.1.116 Todd, 1985, A model of expressive timing in tonal music, Music Perception, 3, 33, 10.2307/40285321 Todd, 1989, A computational model of rubato, Contemporary Music Review, 3, 69, 10.1080/07494468900640061 Todd, 1992, The dynamics of dynamics: A model of musical expression, Journal of the Acoustical Society of America, 91, 3540, 10.1121/1.402843 Todd, 1995, The kinematics of musical expression, Journal of the Acousitcal Society of America, 97, 1940, 10.1121/1.412067 Trainor, 2000, Is infant‐directed speech prosody a result of the vocal expression of emotion?, Psychological Science, 11, 188, 10.1111/1467-9280.00240 Trainor, 1997, The acoustic basis for infant‐directed singing, Infant Behavior and Development, 20, 383, 10.1016/S0163-6383(97)90009-6 Trainor, 1997, Distinctive messages in infant‐directed lullabies and play songs Trainor, 2004, Long‐term memory for music: Infants remember tempo and timbre, Developmental Science, 7, 289, 10.1111/j.1467-7687.2004.00348.x Trehub, 2000, Human processing predispositions and musical universals, 427 Trehub, 1998, Singing to infants: Lullabies and play songs, 43 Trehub, 1994, Children's songs to infant siblings: Parallels with speech, Journal of Child Language, 21, 735, 10.1017/S0305000900009533 Trehub, 1997, Mothers' and fathers' singing to infants, Developmental Psychology, 33, 500, 10.1037/0012-1649.33.3.500 Wennerstrom, 2001 Wing, 1973, The timing of interresponse intervals, Perception & Psychophysics, 13, 455, 10.3758/BF03205802