Alan Marsden: Publications

I have been editor of Journal of New Music Research since 2004.

Major publications

• Interrogating melodic similarity: a definitive phenomenon or the product of interpretation?. Journal of New Music Research, v.41 (2012), in press. pdf
• [with Richard Leadbeater] Identity dimensions and age as predictors of adult music preferences. In Mary Stakelum (ed.) Developing the Musician. Ashgate (2013), in press.
• Position paper: Counselling a better relationship between mathematics and musicology; Response to Guerino Mazzola; Response to Geraint Wiggins; Final response: Ontology, epistemology, and some research proposals [Contributions to special issue Mathematical and Computational Approaches to Music: Three Methodological Reflections] Journal of Mathematics and Music, v.6 (2012), 145-153, 103-106, 125-128, 161-167. pdf, pdf, pdf, pdf
• Schenkerian analysis by computer: a proof of concept. Journal of New Music Research, v.39 (2010), 269-289. pdf
• "What was the Question?": Music Analysis and the Computer. In Tim Crawford & Lorna Gibson (eds.) Modern Methods for Musicology: Prospects, Proposals and Realities. Ashgate (2009), 137-147. pdf
• Timing in Music and Modal Temporal Logic. Journal of Mathematics and Music, v.1 (2007), 173-189. pdf
• [with Adrian Mackenzie, Adam Lindsay, Harriet Nock, John Coleman & Greg Kochanski] Tools for Searching, Annotation and Analysis of Speech, Music, Film and Video—A Survey. Literary and Linguistic Computing, v.22 (2007). pdf
• Generative Structural Representation of Tonal Music. Journal of New Music Research, v.34 (2005), 409-428. pdf
• Representing Melodic Patterns as Networks of Elaborations. Computers and the Humanities, v.35 (2001), 37-54. pdf
• Representing Musical Time: A Temporal-Logic Approach. Lisse: Swets & Zeitlinger (2000). [Links to Abstract, Errata, Associated Software]
• Music, Intelligence and Artificiality. In E.R. Miranda (ed.) Readings in Music and Artificial Intelligence, Amsterdam: Harwood Academic Publishers (2000), 15-28. pdf
• Computers and the concept of tonality. In J.T. Coppock (ed.) Information Technology and Scholarly Disciplines, Oxford: Oxford University Press (for the British Academy) (1999), 33-52.
• Symbolic representation for music. In C. Mullings, S. Kenna, M. Deegan & S. Ross (eds.) New Technologies for the Humanities, East Grinstead: Bowker Saur (1996),115-137.
• Musical pragmatics and computer modelling. In E. Tarasti (ed.) Musical Signification: essays in the semiotic theory and analysis of music. Berlin & New York: Mouton de Gruyter (1995), 335-348.
• Musical informatics: an emerging discipline? Revue. Informatique et Statistique dans les Sciences humaines, v.29 (1993), 77-90.
• [Edited with Anthony Pople] Computer Representations and Models in Music. London: Academic Press (1992).
• Modelling the perception of musical voices: a case study in rule-based systems. In A. Marsden & A. Pople (eds.) Computer Representations and Models in Music. London: Academic Press (1992), 239-263.
• Listening as discovery learning. Contemporary Music Review,v.4 (1989), 327-340. (Translated into French as L'écoute: un apprentissage par la découverte. In S. McAdams and I. Deliège (eds.) La Musique et Les Sciences Cognitive. Brussels: P. Mardaga.)
• [with Anthony Pople] Towards a connected distributed model of musical listening. Interface, v.18 (1989), 61-72.
• [with Anthony Pople] Modelling musical cognition as a community of experts. Contemporary Music Review, v.3 no.1 (1989), 29-42.
• A study of cognitive demands in listening to Mozart's quintet for piano and wind instruments, K.452. Psychology of Music, v.15 (1987), 30-57.

Other publications

Shorter items and items superseded by later publications

• [with Keiji Hirata and Satoshi Tojo] Towards computable procedures for deriving tree structures in music: context dependency in GTTM and Schenkerian theory. Proceedings of the 10th Sound and Music Computing Conference, Stockholm (2013), 360-367. pdf
• Melodic similarity: A re-examination of the MIREX2005 Data. Proceedings of the 12th International Conference on Music Perception and Cognition and the 8th Conference of the European Society for the Cognitive Sciences of Music (ICMPC/ESCOM), Thessaloniki (2012), 653-659. pdf
• Software for Schenkerian Analysis. Proceedings of the International Computer Music Conference (ICMC) 2011, Huddersfield (2011), 673-676. pdf
• The Plurality of Melodic Similarity. Proceedings of the 8th Sound and Music Computing Conference, Padova (2011) 5-10. pdf
• Recognition of variations using automatic Schenkerian reduction. Proceedings of the International Conference on Music Information Retrieval (ISMIR) 2010, Utrecht (2010), 501-506. pdf
• Ambiguity and Multiplicity in Music Representation. In Eleanor Selfridge-Field, Frans Wiering & Geraint Wiggins (eds.) Knowledge representation for intelligent music processing, Dagstuhl Seminar Proceedings. Schloss Dagstuhl-Leibniz Zentrum für Informatik, Germany, 2009, http://drops.dagstuhl.de/opus/volltexte/2009/1969. pdf
• Automatic Derivation of Musical Structure: A Tool for Research on Schenkerian Analysis. Proceedings of the International Conference on Music Information Retrieval (ISMIR) 2007, Vienna (2007), 55-58. pdf (revised & extended)
• Towards Schenkerian Analysis by Computer: A Reductional Matrix. Proceedings of the ICMC 2005, Barcelona (2005), 247-250. pdf
• Extending a Network-of-Elaborations Representation to Polyphonic Music: Schenker and Species Counterpoint. Proceedings of First Sound and Music Computing Conference, IRCAM, Paris (2004), 57-63. pdf
• Novagen: A Combination of Eyesweb and an Elaboration-Network Representation for the Generation of Melodies under Gestural Control. Proceedings of the COST287-ConGAS Symposium on Gesture Interfaces for Multimedia Systems (GIMS), Leeds University (2004), 52-57. pdf
• Representing Melodies as Elaboration Trees. Proceedings of the AISB'99 Symposium on Musical Creativity, Edinburgh College of Art & Division of Informatics, University of Edinburgh. Sussex: The Society for the Study of Artificial Intelligence and Simulation of Behaviour (1999), 70-75.
• Introduzione alla musicologia computazionale (Translated by A. Di Scipio). In A. Di Scipio (ed.) Teoria e prassi della musica nell'era dell'informatico, Bari: Giuseppe Laterza Editore (1995), pp. 155-166.
• Musical abstractions and composers' practice. Proceedings of IX Colloquio di Informatica Musicale, Associazione di Informatica Musicale Italiana & Laboratorio di Informatica Musicale, Università di Genova (1991), 40-54.
• Computers in music teaching. Proceedings of the symposium Computers in Higher Education Teaching and Learning, Queen's University, 1990. Bath: CTISS (1990), 17.1-17.5.