Professor Eric Clarke Publications

Monographs

Ways of Listening. An Ecological Approach to the Perception of Musical Meaning. New York: Oxford University Press, 2005.

Music and Mind in Everyday Life. Oxford: Oxford University Press, 2010. (Co-author with Nicola Dibben and Stephanie Pitts)

 

Edited Volumes

Music, Mind and Structure. Gordon and Breach, 1989. (Co-editor with S. Emmerson).

Empirical Musicology: Aims, Methods, Prospects. Oxford: Oxford University Press, 2004. (Co-editor with Nick Cook)

Guest Editor of special issue of Musicae Scientiae entitled Perspectives on Performance (2005)

The Cambridge Companion to Recorded Music. Cambridge: Cambridge University Press, 2009. (Co-editor with Nicholas Cook, Daniel Leech-Wilkinson and John Rink)

Music and Consciousness. Philosophical, Psychological and Cultural Perspective. Oxford: Oxford University Press, 2011. (Co-editor with David Clarke)

Distributed Creativity: Collaboration and Improvisation in Contemporary Music New York: Oxford University Press, 2017. (Co-editor with Mark Doffman)

Music and Consciousness 2 Oxford: Oxford University Press, forthcoming (Co-editor with D. Clarke and R. Herbert)

 

Journal Articles

Timing in the performance of Erik Satie’s ‘Vexations’. Acta Psychologica, 50, (1982), 1-19.

Some aspects of rhythm and expression in performances of Erik Satie’s ‘Gnossienne No. 5′. Music Perception, 2, (1985), 299-329.

Metre and rhythm in piano playing. Cognition, 20, (1985), 61-77. (Co-author with L. H. Shaffer & N. P. Todd).

Theory, analysis and the psychology of music. Psychology of Music, 14, (1986), 3-17.

Levels of structure in the organisation of musical time. Contemporary Music Review, 2, (1987), 211-239.

The imitation of perceived rubato. Psychology of Music, 15, (1987), 58-75. (Co-author with C. Baker-Short).

The role of improvisation in aural perception. Proceedings of the RAMP conference on aural training, Huddersfield, 1987.

Mind the gap: formal structures and psychological processes in music. Contemporary Music Review, 3, (1989), 1-15.

Issues in language and music. Contemporary Music Review, 4, (1989), 9-23.

The perception of expressive timing in music. Psychological Research, 51, (1989), 2-9.

What is conveyed by the expressive aspect of musical performance? Jahrbuch Musikpsychologie, 6, (1989), 7-23.

Using computers in psychology of music teaching and research. Musicus, 1, (1989), 17-23.

The Tulving-Wiseman law and the recognition of recallable music. Memory & Cognition, 18, (1990), 632-637. (Co-author with J. Gardiner, Z. Kaminska, R. Java, and P. Mayer).

Perceiving musical time. Music Perception, 7, (1990), 213-252. (Co-author with C. Krumhansl).

Performance expression and contemporary music. Proceedings of the Second International Colloquium on the Psychology of Music, Ravello, Italy, (1992).

Imitating and evaluating real and transformed musical performances. Music Perception, 10, (1993), 317-341.

Generativity, mimesis and the human body in music performance. Contemporary Music Review, 9, (1993), 207-21.

The perception of audio-visual relationships: a preliminary study. Psychomusicology, 13, (1994) 119-132. (Co-author with G. Sirius).

The perception of rhythmic structure in expressive musical performance. In N. Newman (Ed.), Proceedings of the 15th International Congress of Acoustics (Vol. III, 459-462). Trondheim, Norway: Acoustical Society of Norway. (Co-author with N. P. McA. Todd)

The perception of underlying structure in tonal and atonal music. International Journal of Psychology, 31, 3-4, (1996) 2425. (Co-author with N. Dibben).

The perception of associative structure in atonal music. Proceedings of the Third Triennial Conference of the European Society for the Cognitive Sciences of Music, University of Uppsala, Sweden, 1997, 594-598. (Co-author with N. Dibben).

From perception to critique: direct realism and musical meaning. Proceedings of the Third Triennial ESCOM Conference, Uppsala, Sweden (1997), 589-593.

Perception and critique: ecological acoustics, critical theory and music. Proceedings of the International Computer Music Conference, Thessaloniki, Greece (1997), 19-22.

Talking fingers: an interview study of pianists’ views on fingering. Musicae Scientiae, 1, (1997) 87-109 (Co-author with J Sloboda, R Parncutt & M Raekallio)

An ergonomic model of keyboard fingering for melodic fragments. Music Perception, 14, (1997) 341-382. (Co-author with R Parncutt, J Sloboda, M Raekallio and P Desain)

Expressive timing and dynamics in real and artificial musical performances: using an algorithm as an analytical tool. Music Perception, 15, (1997) 127-152. (Co-author with W L Windsor)

An ecological approach to similarity and categorisation in music. Proceedings of SimCat 1997: An Interdisciplinary Workshop on Similarity and Categorisation eds. M. Ramscar, U. Hahn, E. Cambouropolos and H. Pain. Dept. of Artificial Intelligence, Edinburgh University, Nov. 1997, pp.37-41. (Co-author with N. Dibben)

Determinants of finger choice in piano sight-reading. Journal of Experimental Psychology: Human Perception and Performance, 24, 1, (1998) 185-203. (Co-author with J Sloboda, R. Parncutt and M Raekallio.)

The semiotics of expression in musical performance. Contemporary Music Review, 17, part 2, (1998) 87-102.

Interdependence of right and left hands in sight-read, written, and rehearsed fingerings of parallel melodic piano music. Australian Journal of Psychology, 51 (3), (1999) 204-210. (Co-author with R. Parncutt and J. Sloboda).

Subject-Position and the Specification of Invariants in Music by Frank Zappa and P. J. Harvey. Music Analysis, 18, (1999) 347-374

Real and Simulated Expression: A Listening Study. Music Perception, 17 (2000), 1-37. (Co-author with Luke Windsor).

Sex, Pulp and Critique. Popular Music, 19 (2000), 231-241. (co-author with N. Dibben)

Meaning and the specification of motion in music. Proceedings of the Sixth International Conference on Music Perception and Cognition, Keele, August 2000.

Categorical rhythm perception and event perception. Proceedings of the Sixth International Conference on Music Perception and Cognition, Keele, August 2000.

Meaning and the specification of motion in music. Musicae Scientiae, 5 (2001), 213-234.

Dyslexia and music: measuring musical timing skills. Dyslexia, 9 (2003), 18-36
(co-author with K. Overy, R. Nicolson, and A. Fawcett).

Interpretation and performance in Bryn Harrison’s être-temps. Musicae Scientiae, 9 (2005), 31-74 (with N. Cook, B. Harrison and P. Thomas)

Creativity in performance. Musicae Scientiae, 9 (2005), 157-182

Commentary on Huovinen’s “Varieties of Musical Empiricism” Empirical Musicology Review, 1 (2006) (on-line journal – no pagination)

Making and hearing meaning in performance. Nordic Journal of Aesthetics, 33-34 (2006), 24-48.

The impact of recording on listening. Twentieth Century Music, 4 (2007), 47-70

Making and hearing virtual worlds: John Culshaw and the recording as a work of art. Musicae Scientiae, 11 (2007), 269-293. (Co-author with D. Patmore)

Boundaries, Expectations and Empirical Research: A Commentary on Judith Becker’s “Crossing Boundaries”.Empirical Musicology Review 4 (2009), 71-74

Music and consciousness: a continuing project. Arts and Humanities in Higher Education1378-89. (Co-author with David Clarke)

Distributed creativity and ecological dynamics: a case study of Liza Lim’s “Tongue of the Invisible”, Music & Letters, 94 (2013), 628 – 663. (Co-author with Mark Doffman and Liza Lim)

Crossmodal interactions in the perception of expressivity in musical performance. Attention, Perception, & Psychophysics76 (2014), 591-604. (Co-author with Jonna Vuoskoski, Marc Thompson and Charles Spence).

Syncopation, body-movement and pleasure in groove music. PLOS ONE (2014) DOI: 10.1371/journal.pone.0094446 (Co-author with Maria Witek, Mikkel Wallentin, Morten Kringelbach, and Peter Vuust)

Effects of polyphonic context, instrumentation, and metrical location on syncopation in music.  Music Perception, 32/2 (2014), 201-17 (co-authored with Witek, Kringelbach and Vuust).

Lost and found in music. Musicae Scientiae 18 (2014), 354-368.

Effects of polyphonic context, instrumentation and metrical location on syncopation in music. Music Perception, in press. (Co-author with Maria Witek, Morten Kringelbach, and Peter Vuust)

Interaction of sight and sound in the perception and experience of musical performance. Music Perception, in press. (Co-author with Jonna Vuoskoski, Marc Thompson and Charles Spence).

Creativity, collaboration and development in Jeremy Thurlow’s Ouija for Peter Sheppard Skærved Journal of the Royal Musical Association, 141 (2016): 113-65 (Co-author with M. Doffman and R. Timmers)

Music, empathy, and cultural understanding. Physics of Life Reviews 15 (2015): 61–88 (co-authored with T. DeNora and J. Vuoskoski)

Music listening evokes implicit affiliation. Psychology of Music 45 (4) (2017), 584-99 (co-authored with Vuoskoski and DeNora)

 

Book Chapters

A general theory of musical semiotics. In H. Werner Henze (Ed): Neue Aspekte der Musikalischen Ästhetik II: Die Zeichen. (Frankfurt: Fischer, 1981). (Co-author with C. Ford).

Structure and expression in rhythmic performance. In Howell, Cross and West (Eds): Musical Structure and Cognition. (London: Academic Press, 1985) 209-236.

Categorical rhythm perception: an ecological perspective. In A. Gabrielsson (Ed): Action and Perception in Rhythm and Music. (Stockholm: Publications of the Swedish Academy of Music, no. 55, 1987) 19-33.

Generative principles in music performance. In J. Sloboda (Ed.): Generative Processes in Music. (Oxford: The Clarendon Press, 1988) 1-26.

Considérations sur le language et la musique. In S. McAdams and I. Deliège (Eds.): La Musique et les Sciences Cognitives. Brussels: Mardaga, 1989.

Expression and communication in musical performance. In J. Sundberg, L. Nord and R. Carlson (Eds.) Music, Language, Speech and Brain. (London: Macmillan Press, 1991).

Improvisation, cognition and education. In J. Paynter, T. Howell, R. Orton and P.Seymour (Eds.): Companion to Contemporary Musical Thought. (London: Routledge, 1992).

Music Performance. The Encyclopaedia of Time. (Garland Publishing, 1994).

Uitvoering en expressie (performance and expression). In Evers, Jansma, Mak & de Vries (Eds.):Muziekpsychologie. (The Hague: Van Gorcum, 1995) 105-122.

Expression in performance: generativity, perception and semiosis. In J. Rink (Ed.): The Practice of Performance. (Cambridge: Cambridge University Press, 1995) 21-54.

An ecological approach to similarity and categorisation in music. In: M. Ramscar, U. Hahn, E. Cambouropolos and H. Pain (Eds) Proceedings of SimCat 1997: An Interdisciplinary Workshop on Similarity and Categorisation eds. (Edinburgh: Dept. of Artificial Intelligence, Edinburgh University, Nov. 1997) 37-41. (Co-author with N. Dibben)

The Body in Performance. In W. Thomas (Ed.): Composition – Performance – Reception. Studies in the Creative Process in Music. (Aldershot: Ashgate Press, 1998) 74-92. (Co-author with J. Davidson)

Rhythm and timing in music. In D. Deutsch (Ed.) The Psychology of Music. Second Edition. (New York: Academic Press, 1999) 473-500.

Psychology and Hearing (within the Musicology entry). In S. Sadie and J. Tyrrell (Ed): Revised New Grove Dictionary of Music (London: Macmillan, 2001).

Performance (within the Psychology of Music entry). In S. Sadie and J. Tyrrell (Ed): Revised New Grove Dictionary of Music (London: Macmillan, 2001).

Cognitive Processes in Performance. In J-J. Nattiez (Ed): Enciclopedia della Musica. II: Il Sapere Musicale. (Turin: Einaudi, 2002) 288-304.

Understanding the Psychology of Performance. In J. Rink (Ed.): Musical Performance: A Guide to Understanding. Cambridge: Cambridge University Press, 2002, 59-72.

Listening to performance. In J. Rink (Ed.): Musical Performance: A Guide to Understanding. Cambridge: Cambridge University Press, 2002, 185-196.

Music and Psychology. In M. Clayton, T. Herbert & R. Middleton (Eds.): The Cultural Study of Music: A Critical Introduction. Routledge, 2003, 113-123.

Empirical Methods in the Study of Performance. In E. F. Clarke and N. Cook (Eds): Empirical Musicology: Aims, Methods, Prospects. Oxford: Oxford University Press, 2004, 77-102.

Introduction: What is Empirical Musicology? In E. F. Clarke and N. Cook (Eds): Empirical Musicology: Aims, Methods, Prospects. Oxford: Oxford University Press, 2004, 3-14. (Co-author with N. Cook)

Analyzing Musical Sound. In E. F. Clarke and N. Cook (Eds): Empirical Musicology: Aims, Methods, Prospects. Oxford: Oxford University Press, 2004, 157-196. (Co-author with S. McAdams and P. Depalle)

Rhythm/body/motion: Tricky’s contradictory dance music.” In A. Danielson (Ed.) Musical Rhythm in the Age of Digital Reproduction. Farnham: Ashgate, 2010, 105–20

‘What are the important questions?’ A reflection. In I. Deliege & J. Davidson (Eds.) Music and the Mind. Essays in honour of John Sloboda. Oxford: Oxford University Press, 2011, 17-27.

Music perception and musical consciousness. In D. Clarke & E. F. Clarke (Eds.) Music and Consciousness. Philosophical, Psychological and Cultural Perspectives Oxford: Oxford University Press, 2011, 193-213.

Preface. In D. Clarke & E. F. Clarke (Eds.) Music and Consciousness. Philosophical, Psychological and Cultural Perspectives Oxford: Oxford University Press, 2011, xvii-xxiv.

Psychology of music. In T. Gracyk and A. Kania (Eds.) The Routledge Companion to Philosophy and Music.  New York: Routledge, 2011, 603-613.

Creativity in performance. In: D. Hargreaves, D. Miell, and R. MacDonald (Eds), Musical Imaginations: Multidisciplinary perspectives on creativity, performance and perception Oxford University Press, 2012, 17-30

What’s Going On: Music, Psychology and Ecological Theory. In M. Clayton, T. Herbert & R. Middleton (Eds.): The Cultural Study of Music: A Critical Introduction. Second EditionRoutledge, 2012, 333-342.

Music, space and subjectivity. In G. Born (Ed.) Music, Sound and Space: Transformations of Public and Private Experience Cambridge University Press, 2013, 90-110

Expressive performance in contemporary concert music. In D. Fabian, R. Timmers and E. Schubert (Eds) Expressiveness in Music Performance OUP, 2014, 98-114 (co-author with M. Doffman)

Ideological, social and perceptual factors in live and recorded music. In G. Borio (Ed) Listening to Music in the Age of Digital Reproducibility. Farnham: Ashgate, 2015, 23-36.

Music’s meanings. In R. Timmers and R. Ashley (Eds). Routledge Companion to Music Cognition. Routledge, 2017, 523-33.

Fluid Practices, solid roles. The evolution of Forlorn Hope. In E. Clarke and M. Doffman (Eds.) Distributed Creativity: Collaboration and Improvisation in Contemporary Music New York: Oxford University Press, 2017 (Co-author with Mark Doffman, David Gorton and Stefan Östersjö)

Distributed cognition, ecological theory, and group improvisation. In E. Clarke and M. Doffman (Eds.) Distributed Creativity: Collaboration and Improvisation in Contemporary Music New York: Oxford University Press, 2017 (Co-author with Adam Linson)

Introduction. In E. Clarke and M. Doffman (Eds.) Distributed Creativity: Collaboration and Improvisation in Contemporary Music New York: Oxford University Press, 2017 (Co-author with Mark Doffman)

Empathic entanglements. Music, motion, dance. In P. Veroli and G. Vinay (Eds.) Music-Dance. Sound and Motion in Contemporary Discourse, Routledge, 2017

Empathy and the ecology of musical consciousness. In D. Clarke, E. Clarke and R. Herbert (Eds.) Music and Consciousness 2 Oxford: Oxford University Press, forthcoming