Publications (most recent first)
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    In press | Submitted | In preparation
  1. Bouwer, F.L., Burgoyne, J.A., Odijk, D., Honing, H., & Grahn, J. (in revision). What makes a rhythm complex? The influence of musical training and accent type on beat perception.
  2. Honing, H., Bouwer, F.L., Prado, L., & Merchant, H. (in revision). Rhesus monkeys (Macaca mulatta) detect isochrony in rhythm, but not the beat.
  3. Honing, H. (in press). Musicality as an upbeat to music: Introduction and research agenda. In Honing, H. (ed.), The Origins of Musicality. Cambridge, Mass.: MIT Press.
  4. Honing, H. (ed.) (in press, 2018). The Origins of Musicality. Cambridge, Mass.: MIT Press.
  5. Honing, H. (under contract, 2018). Darwins vermoeden [werktitel]. Nieuw Amsterdam Uitgevers.
  6. Honing, H., & Bouwer, F. L. (in revision). Rhythm. In Rentfrow, J., & Levitin, D. (ed.), Foundations in Music Psychology: Theory and Research. Cambridge, Mass.: MIT Press.
  7. Jaschke, A.C, Honing, H., & Scherder E.J.A. (submitted). Experience of a musically enriched environment and cognitive functions in primary school children.
  8. Korsmit, I.R., Burgoyne, J.A., & Honing, H. (in press) If You Wanna Be My Lover… A Hook discovery game to uncover individual differences in long-term musical memory. Proceedings of the European Society for Cognitive Sciences Of Music (ESCOM). Ghent: University of Ghent.
  9. Mooren, N., Burgoyne, J.A., & Honing, H. (in press) Investigating grouping behaviour of dancers in a silent disco using overhead video capture. Proceedings of the European Society for Cognitive Sciences Of Music (ESCOM). Ghent: University of Ghent.
  10. Roncaglia-Denissen, M.P., Bouwer, F.L., & Honing, H. (in revision). Language and music syntax: simultaneous processing of long-distance dependencies. Frontiers in Psychology: Cognitive Science
  11. Van der Weij, B., Pearce, M.T., & Honing.H. (submitted). Comparing generative models of meter perception cross-culturally.

  12. 2017
  13. Janssen, B. D., Burgoyne, J. A., & Honing, H. (2017). Predicting Variation of Folk Songs: A Corpus Analysis Study on the Memorability of Melodies. Frontiers in Psychology, 8:621. doi: 10.3389/fpsyg.2017.00621.
  14. Honing, H. (2017). Wat is een absoluut gehoor en is het erfelijk? In Rinnooy Kan & de Graaf (eds.), Hoe zwaar is licht? (pp. 74-76). Amsterdam: Uitgeverij Balans.
  15. Ravignani, A., Honing, H., & Kotz, S.A. (2017). The evolution of rhythm cognition: Timing in music and speech. Frontiers in Human Neuroscience, 11:303. doi: 10.3389/fnhum.2017.00303.
  16. Van der Weij, B., Pearce, M.T., & Honing.H. (2017). A probabilistic model of meter perception: simulating enculturation. Frontiers in Psychology 8:824. doi: 10.3389/fpsyg.2017.00824.

  17. 2016
  18. Bouwer, F.L., Werner, C.M., Knetemann, M., & Honing, H. (2016). Disentangling beat perception from sequential learning and examining the influence of attention and musical abilities on ERP responses to rhythm. Neuropsychologia, 85, 80-90. doi: 10.1016/j.neuropsychologia.2016.02.018.
  19. Honing, H. (2016). Muzikaliteit gaat aan muziek én taal vooraf. Blind, 43.
  20. Honing, H. (2016). Voor de muziek uit. Waarom muzikaliteit aan muziek én taal voorafgaat. Onze Taal, 2/3, 8.
  21. Mathias, B., Lidji, P., Honing, H., Palmer, C., & Peretz, I. (2016). Electrical brain responses to beat irregularities in two cases of beat deafness. Frontiers in Neuroscience, 10:40. doi: 10.3389/fnins.2016.00040.
  22. ten Cate, C.,Spierings, M., Hubert, J. & Honing, H. (2016). Can birds perceive rhythmic patterns? A review and experiments on a songbird and a parrot species. Frontiers in Psychology: Auditory Cognitive Neuroscience. doi:10.3389/fpsyg.2016.00730
  23. Weidema, J. L., Roncaglia-Denissen, M.P., & Honing, H. (2016). Top-down modulation on the perception and categorization of identical pitch contours in speech and music. Frontiers in Psychology: Auditory Cognitive Neuroscience doi:10.3389/fpsyg.2016.00817

  24. 2015
  25. Aa, J. van der, Honing, H., ten Cate, C. (2015). The perception of regularity in an isochronous stimulus in zebra finches (Taeniopygia guttata) and humans. Behavioural Processes, 115, 37-45. doi: 10.1016/j.beproc.2015.02.018
  26. Bouwer, F. L., & Honing, H. (2015). Temporal attending and prediction influence the perception of metrical rhythm: evidence from reaction times and ERPs. Frontiers in Psychology, 6, 0194.
  27. Burgoyne, J.A., Hofman, A.D., van der Maas, H.L.J. & Honing, H. (2015). Adaptive music recognition games for dementia therapy. In Proceedings of the European Society for the Cognitive Sciences of Music. Manchester, England.
  28. Gingras, B., Honing, H., Peretz, I., Trainor, L., & Fisher, S. (2015). Defining the biological bases of individual differences in musicality. Philosophical Transactions of the Royal Society B: Biological Sciences, 370 (1664). doi: 10.1098/rstb.2014.0092
  29. Háden, G.P., Honing, H., Török, M. & Winkler, I. (2015). Detecting the temporal structure of sound sequences in newborn infants. International Journal of Psychophysiology, 96, 23-28. doi: 10.1016/j.ijpsycho.2015.02.024
  30. Honing, H., ten Cate, C., Peretz, I., & Trehub, S. (2015). Without it no music: Cognition, biology, and evolution of musicality. Philosophical Transactions of the Royal Society B: Biological Sciences, 370 (1664). doi: 10.1098/rstb.2014.0088
  31. Olthof, M., Janssen, B., & Honing, H. (2015). The role of absolute pitch memory in the oral transmission of folksongs. Empirical Musicology Review,10 (3), 161-174. doi: 10.18061/emr.v10i3.4435
  32. Vaquero Patricio, C. (2015). A quantitative study of seven historically informed performances of Bach's BWV1007 Prelude. Early Music, 1-13. doi: 10.1093/em/cav091

  33. 2014
  34. Bouwer, F. L., Van Zuijen, T. L., & Honing, H. (2014). Beat processing is pre-attentive for metrically simple rhythms with clear accents: An ERP study. PLoS ONE, 9(5): e97467.
  35. Honing, H., Bouwer, F. L., & Háden, G. F. (2014). Perceiving temporal regularity in music: The role of auditory event-related potentials (ERPs) in probing beat perception. Merchant, H., & de Lafuente, V. (Eds). Neurobiology of interval timing. Series: Advances in Experimental Medicine and Biology. Springer.
  36. Honing, H., & Merchant, H. (2014). Differences in auditory timing between human and non-human primates. Behavioral and Brain Sciences, 37(6), 557-558.
  37. Honing, H., & Zuidema, W. (2014). Decomposing dendrophilia. Comment on “Toward a Computational Framework for Cognitive Biology: Unifying approaches from cognitive neuroscience and comparative cognition” by W. Tecumseh Fitch. Physics of Life Reviews, 11, 375-376. doi: 10.1016/j.plrev.2014.06.020.
  38. Merchant, H. & Honing, H. (2014). Are non-human primates capable of rhythmic entrainment? Evidence for the gradual audiomotor evolution hypothesis. Frontiers in Neuroscience, 7(274) 1-8. doi: 10.3389/fnins.2013.00274
  39. Vaquero Patricio, C. & Honing, H. (2014). Generating expressive timing by combining rhythmic categories and Lindenmayer systems. In M Majid al-Rifaie, J Gow & S McGregor (Eds.), Proceedings of the 50th Anniversary Convention of the AISB (pp. 1-7). London: AISB.

  40. 2013
  41. Bouwer, F. L., & Honing, H. (2013) How much beat do you need? An EEG study on the effects of attention on beat perception using only temporal accents. Front. Hum. Neurosci. Conference Abstract: 14th Rhythm Production and Perception Workshop Birmingham 11th - 13th September 2013. doi: 10.3389/conf.fnhum.2013.212.00030
  42. Burgoyne, J. A., Balen, J. van, Bountouridis. D, & Honing, H. (2013). Hooked: A game for discovering what makes music catchy. Proceedings of the International Society for Music Information Retrieval.
  43. van der Aa, J., Honing, H., & ten Cate, C. (2013). Interval based rhythm perception in the zebra finch (Taeniopygia guttata). Front. Hum. Neurosci. Conference Abstract: 14th Rhythm Production and Perception Workshop Birmingham 11th - 13th September 2013. doi: 10.3389/conf.fnhum.2013.212.00004
  44. Honing, H. (2013). Structure and interpretation of rhythm in music. In Deutsch, D. (ed.), Psychology of Music, 3rd edition (pp. 369-404). London: Academic Press / Elsevier.
  45. Honing, H. (2013). Sin eso no hay música: La inducción del beat como un rasgo musical fundamental. Boletín de SACCoM, 5(3) 15-25. ISSN 1852-4451.
  46. Jaschke, A.C., Eggermont, L. H. P., Honing, H., & Scherder, E. J.A. (2013). Music Education and its effect on intellectual abilities in children: a systematic review. Reviews in the Neurosciences. doi: 10.1515/revneuro-2013-0023
  47. Thompson-Schill, S., Hagoort, P., Honing, H., Koelsch, S., Lerdahl, F., Steedman, M., Levinson, S.C., Ladd, D.R. & Dominey, P. F. (2013). Multiple Levels of Structure in Language and Music. In M. Arbib (Ed.), Language, Music, and The Brain: A Mysterious Relationship (Strüngmann Forum Reports, 10). Cambridge, MA.: MIT Press.

  48. 2012
  49. Bouwer, F., & Honing, H. (2012). Rhythmic regularity revisited: Is beat induction indeed pre-attentive? Proceedings of the International Conference on Music Perception and Cognition (pp. 122-127). Thessaloniki: Greece.
  50. Háden, G.P., Honing, H., & Winkler, I. (2012). Newborn infants are sensitive to sound timing. Proceedings of the International Conference on Music Perception and Cognition (pp. 378-379). Thessaloniki: Greece.
  51. Honing, H. (2012)Honing, H. (2012). Op zoek naar wat ons muzikale dieren maakt. Nieuw Amsterdam Uitgevers.
  52. Honing. H. (2012). If music isn’t a luxury, what is it? Journal of Music, Technology and Education 5(1), 114-117.
  53. Honing, H. (2012). Without it no music: beat induction as a fundamental musical trait. Annals of the New York Academy of Sciences, 1252: The Neurosciences and Music IV — Learning and Memory, 85–91.
  54. Honing, H. (2012). Een vertelling. In S. van der Maas, C. Hulshof, & P. Oldenhave (Eds.), Liber Plurum Vocum voor Rokus de Groot (pp. 150-154). Amsterdam: Universiteit van Amsterdam (ISBN 978-90-818488-0-0)
  55. Honing, H., Merchant, H., Háden, G.P., Prado, L. & Bartolo, R. (2012). Rhesus monkeys (Macaca mulatta) detect rhythmic groups in music, but not the beat. PLoS ONE, 7(12): e51369. doi: 10.1371/journal.pone.0051369.
  56. Honing, H., Merchant, H., Háden, G.P., Prado, L. & Bartolo, R. (2012). Probing beat induction in rhesus monkeys: Is beat induction species-specific? Proceedings of the International Conference on Music Perception and Cognition (pp. 454-455). Thessaloniki: Greece.
  57. Honing, H., & Ploeger, A. (2012). Cognition and the Evolution of Music: Pitfalls and Prospects. Topics in Cognitive Science (TopiCS), 4, 513–524.
  58. Ladinig, O. & Honing, H. (2012). Complexity judgments as a measure of event salience in musical rhythms. Amsterdam: ILLC Prepublication Series, PP-2012-01.

  59. 2011
  60. Honing, H. (2011). Muziek is geen luxe ... maar wat dan wel? Academische Boekengids, 88, 2-4.
  61. Honing, H. (2011). The illiterate listener. On music cognition, musicality and methodology. Amsterdam University Press.
  62. Honing, H., & Bouwer, F. (2011). Is hierarchy in rhythm perception consciously learned? Rhythm Perception and Production Workshop (RPPW). Leipzig: Max Planck Institute for Human Cognitive and Brain Sciences.
  63. Honing, H., & Romeijn, J.W. (2011). Surprise! Assessing the value of risky predictions. Proceedings of the thirteenth International Conference on Informatics and Semiotics in Organisations - Problems and Possibilities of Computational Humanities (Fryske Academy, series FA 1053), (p. 185). Leeuwarden: Fryske Academy.
  64. Honing, H., Scherder, E., & Swaab, D. (18 juni 2011). Amuzikaal zijn is de grote uitzondering. Opinie & Debat, Volkskrant.
  65. Honing, H. (2011). The role of surprise in theory testing. In: All models are wrong. Conference on model uncertainty & selection in complex models. Groningen: Rijksuniversiteit Groningen.
  66. Honing, H. (2011). Musical Cognition. A Science of Listening. New Brunswick, N.J.: Transaction Publishers.
  67. Ladinig, O., Honing, H., Háden, G., & Winkler, I. (2011). Erratum to Probing attentive and pre-attentive emergent meter in adult listeners with no extensive music training. Music Perception, 26(4), 444.

  68. 2010
  69. Willekens, F. et al. (2010). Computational Humanities. Report of the Computational Humanities Programme Committee of the KNAW. Amsterdam: Royal Netherlands Academy of Arts and Sciences (KNAW).
  70. Honing, H. (2010). Beat-induction as a fundamental musical skill. Proceedings of the International Conference on Music Perception and Cognition. Seattle: University of Washington.
  71. Honing, H. (2010). De ongeletterde luisteraar. Over muziekcognitie, muzikaliteit en methodologie. Amsterdam: Koninklijke Nederlandse Academie voor Wetenschappen. (Also published at Amsterdam University Press.)
  72. Honing, H. (2010). Lure(d) into listening: The potential of cognition-based music information retrieval. Empirical Musicology Review, 5(4), 121-126.

  73. 2009
  74. Coath, M., Denham, S.L., Smith, L.M., Honing, H., Hazan, A., & Purwins, H. (2009). Model cortical responses for the detection of perceptual onsets and beat tracking in singing. Connection Science. 21, 193–205.
  75. Honing, H. (2009). Iedereen is muzikaal. Wat we weten over het luisteren naar muziek. Nieuw Amsterdam Uitgevers.
  76. Honing, H., & Ladinig, O. (2009). Exposure influences expressive timing judgments in music. Journal of Experimental Psychology: Human Perception and Performance, 35(1), 281-288.
  77. Honing, H., Ladinig, O., Winkler, I., & Haden, G. (2009). Is beat induction innate or learned? Probing emergent meter perception in adults and newborns using event-related brain potentials (ERP). Annals of the New York Academy of Sciences, 1169: The Neurosciences and Music III: Disorders and Plasticity, 93–96.
  78. Honing, H., Ladinig, O., Winkler, I., & Haden, G. (2009). Do newborn infants sense the beat? Proceedings of the European Society for the Cognitive Sciences of Music, 200-201.
  79. Ladinig, O., Honing, H., Háden, G., & Winkler, I. (2009). Probing attentive and pre-attentive emergent meter in adult listeners with no extensive music training. Music Perception, 26(4), 377–386.
  80. Ladinig, O. (2009). Temporal expectations and their violations. Amsterdam: University of Amsterdam.
  81. Rohrmeier, M., Rebuchat, P., Honing, H., Loui, P., Wiggins, G., Pearce, M. T., & Müllensiefen (2009) . Music Cognition: Learning and Processing Proceedings of the CogSci 2009 conference (pp. 41-42), Amsterdam: Free University.
  82. Winkler, I., Haden, G., Ladinig, O., Sziller, I., & Honing, H. (2009). Newborn infants detect the beat in music. Proceedings of the National Academy of Sciences, 106, 2468-2471.

  83. 2008
  84. Honing, H. (2008). The role of ICT in music research: A bridge too far? International Journal of Humanities and Arts Computing, 1 (1), 67-75.
  85. Honing, H. (2008). Musical competence and the role of exposure. Proceedings of the Music and Language II Conference, Boston: Tufts University. [abstract]
  86. Honing, H. (2008). De analfabetische luisteraar. In Harmonie in Gedrag (pp. 29-35). Uithoorn: Karakter.
  87. Honing, H. (2008). De vergeten luisteraar. Boekman, 77, 42-47.
  88. Honing, H., & Ladinig, O. (2008). The potential of the Internet for music perception research: A comment on lab-based versus Web-based studies. Empirical Musicology Review, 3 (1), 4-7.
  89. Honing, H., & Haas, W.B. (2008). Swing once more: Relating timing and tempo in expert jazz drumming. Music Perception, 25 (5), 471-477.
  90. Honing, H., Ladinig, O., Winkler, I., & Haden, G. (2008). Probing emergent meter perception in adults and newborns using event-related brain potentials: a pilot study. Proceedings of the Neurosciences & Music III Conference. Montreal: McGill University.
  91. Honing, H., & Reips, U.-D. (2008). Web-based versus lab-based studies: a response to Kendall (2008). Empirical Musicology Review, 3 (2), 73-77.
  92. Ladinig, O., & Honing, H. (2008). An empirically validated model of complexity: Longuet-Higgins and Lee reconsidered. Proceedings of the International Conference on Music Perception and Cognition. Sapporo, Japan: Hokkaido University. [abstract]
  93. Smith, L.M., & Honing, H. (2008). A multiresolution model of rhythmic expectancy. Proceedings of the International Conference on Music Perception and Cognition (pp. 360-365), Sapporo, Japan: Hokkaido University.
  94. Smith, L.M., & Honing, H. (2008). Time-frequency representation of musical rhythm by continuous wavelets. Journal of Mathematics and Music, 2(2), 81-97.

  95. 2007
  96. Coath, M., Denham, S.L., Smith, L.M., Honing, H., Hazan, A., & Purwins, H. (2007). An auditory model for the detection of perceptual onsets and beat tracking in singing. Workshop at Neural Information Processing Systems (NIPS) conference.
  97. Haas, W.B. de, & Honing, H. (2007). Groove, swing and the role of tempo: A model and some preliminary empirical evidence. Proceedings of the Society for Music Perception and Cognition (SMPC), 105, Montreal: Concordia University.
  98. Honing, H. (2007). Is expressive timing relational invariant under tempo transformation? Psychology of Music, 35 (2), 276-285.
  99. Honing, H. (2007). Noten of letters. De taal van de muziek en het plezier van het luisteren. Academische Boekengids, 6(3), 6-7.
  100. Honing, H. (2007). Preferring the best fitting, least flexible, and most surprising prediction: Towards a Bayesian approach to model selection in music cognition. Proceedings of the Society for Music Perception and Cognition (SMPC), 37, Montreal: Concordia University.
  101. Honing, H. (2007) The role of exposure and expertise on making timing judgments in music. Proceedings of the 11th Rhythm Perception and Production Workshop (RPPW), Dublin, Ireland. [abstract only]
  102. Ladinig, O., & Honing, H. (2007). Complexity judgments as a measure for metric salience: Is there indeed a difference between musicians and non-musicians? Proceedings of the Society for Music Perception and Cognition (SMPC), 27, Montreal: Concordia University.
  103. Ladinig, O., & Honing, H. (2007) Complexity as a measure for rhythmic expectation. Proceedings of the 11th Rhythm Perception and Production Workshop (RPPW), Dublin, Ireland. [abstract only]
  104. Smith, L.M., & Honing, H. (2007) The continuous wavelet transform as a multiresolution representation of musical rhythm. Proceedings of the 11th Rhythm Perception and Production Workshop (RPPW), Dublin, Ireland. [abstract only]
  105. Smith, L.M., & Honing, H. (2007). Evaluation of multiresolution representations of musical rhythm. Proceedings of the International Conference on Music Communication Science, ?, Sydney: MARCS.

  106. 2006
  107. Ashley, R., Hannon, E., Honing, H., Large, E., Palmer. C., & Hutchins, S. (2006). Music and Cognition: What cognitive science can learn from music cognition. Proceedings of the XXVIII Annual Conference of the Cognitive Science Society (CogSci2006), 2655. New Jersey: Lawrence Erlbaum Associates.
  108. Honing, H. (2006). The role of surprise in theory testing: Some preliminary observations. Proceedings of the International Conference on Music Perception and Cognition (pp. 38-42). Bologna: Italy.
  109. Honing, H. (2006). Evidence for tempo-specific timing in music using a web-based experimental setup. Journal of Experimental Psychology: Human Perception and Performance, 32 (3), 780-786.
  110. Honing, H. (2006). Computational modeling of music cognition: a case study on model selection. Music Perception. 23 (5), 365-376.
  111. Honing, H. (2006, March 18). De analfabetische luisteraar (kan ook Groot Luisteren) [The illiterate listener], NRC Handelsblad, Opinie & Debat, p. 19.
  112. Honing, H. (2006). How to make a machine listen? Intensive Science, 21. Sony Computer Science Laboratory: Paris.
  113. Honing, H. (2006). On the growing role of observation, formalization and experimental method in musicology. Empirical Musicology Review, 1(1), 2-5.
  114. Honing, H., & Ladinig, O. (2006). The effect of exposure and expertise on timing judgments: Preliminary results. Proceedings of the International Conference on Music Perception and Cognition (pp. 80-85). Bologna: Italy.
  115. Sadakata, M, Desain, P. & Honing, H. (2006). The Bayesian way to relate rhythm perception and production. Music Perception, 23(3), 269-288.
  116. Smith, L.M., & Honing, H. (2006). Evaluating and extending computational models of rhythmic syncopation in music. Proceedings of the International Computer Music Conference (pp. 688-691). San Francisco: ICMA.

  117. 2005
  118. Honing, H. (2005). Is there a perception-based alternative to kinematic models of tempo rubato? Music Perception, 23 (1). 79-85.
  119. Honing, H. (2005). Music Cognition: Theory Testing and Model Selection. Proceedings of the XXVII Annual Conference of the Cognitive Science Society (CogSci2005), 38, Stresa: University of Turin.
  120. Honing, H. (2005). Timing is tempo-specific. Proceedings of the International Computer Music Conference, 359-362, Barcelona: UPF.
  121. Honing, H. (2005). Muziek is geen geluid. Over muziek, kunst en wetenschap, BLIND!, 4.
  122. Jongsma, M.L.A., Eichele, T., Quian Quiroga, R., Jenks, K.M., Desain, P., Honing, H. and van Rijn, C.M. (2005). The effect of expectancy on omission evoked potentials (OEPs) in musicians and non-musicians. Psychophysiology. 42 (2), 191-201.

  123. 2004
  124. Desain, P., & Honing, H. (2004). Final Report NWO-PIONIER Project "Music, Mind, Machine". Technical Notes ILLC, X-2004-02.
  125. Honing, H. (2004). Computational modeling of music cognition: a case study on model selection. ILLC Prepublication PP-2004-14.
  126. Honing, H. (2004). Een vertelling over muziek, motoriek en metafoor. Mens en Melodie, 59(5), 5-9.
  127. Honing, H. (2004). Het geheim van de syncope. Over muziekcognitie, meten aan uitvoeringen, spannende ritmes en de aandacht van baby's. De Groene Amsterdammer 45, 28-29.
  128. Honing, H. (2004). Muziek de maat genomen. Over de groeiende rol van theorie en observatie in de musicologie. De Academische Boekengids, 4(7). 23.
  129. Honing, H. (2004). The comeback of systematic musicology: new empiricism and the cognitive revolution. Tijdschrift voor Muziektheorie [Dutch Journal of Music Theory], 9(3), 241-244.
  130. Honing, H. (2004). Is timing tempo-specific? An online internet experiment on perceptual invariance of timing in music. ILLC Prepublication PP-2004-34.
  131. Honing, H. (2004). When a good fit is not good enough: a case study on the final ritard. Proceedings of the International Conference on Music Perception and Cognition (ICMPC). Evanston: NU.
  132. Honing, H. (2004). Wiskunde en muziekcognitie. Nieuw Archief voor Wiskunde, 5(3), 228-231.
  133. Jongsma, M. L. Desain, P. & Honing, H. (2004). Rhythmic context influences the auditory evoked potentials of musicians and nonmusicians. Biological Psychology 66, 129-152.
  134. Sadakata. M., Desain, P., & Honing, H. (2004). An Analysis of Rhythmic Ratios in Scores of Various Kinds of Music. Proceedings of the International Conference on Music Perception and Cognition (ICMPC). Evanston: NU.
  135. Sadakata. M., Desain, P., Honing, H., Patel, A. D., & Iversen, J. R. (2004). A cross-cultural study of the rhythm in English and Japanese popular music. Proceedings of the International Symposium on Musical Acoustics (ISMA), 41-44. Nara, Japan.

  136. 2003
  137. Desain, P. & Honing, H. (2003). The formation of rhythmic categories and metric priming. Perception. 32(3), 341-365.
  138. Desain, P. & Honing, H. (2003). Single trial ERP allows Detection of Perceived and Imagined Rhythm. Proceedings of the RENCON workshop, International Joint Conference on Artificial Intelligence (IJCAI). 1-4.
  139. Desain , P., Honing, H. & Timmers, R. (2003). Music Performance Panel: NICI / MMM Position Statement. K. Jensen (ed.), Proceedings of the MOSART Midterm Meeting, DIKU Report 03/12, ISSN: 0107-8283. Copenhagen, Denmark. 318-322.
  140. Honing, H. (2003). Some comments on the relation between music and motion. Music Theory Online, 9(1). ISSN 1067-3040.
  141. Honing, H. (2003). The final ritard: on music, motion, and kinematic models. Computer Music Journal, 27(3), 66-72.
  142. Jongsma, M. L. A, Desain P., Honing, H., & van Rijn, C. M. (2003). Evoked potentials to test rhythm perception theories. Annals of the New York Academy of Sciences. 999: 180-183.
  143. Sadakata, M., Desain, P., Honing, H., Patel, A. D., & Iversen, J. R. (2003). An analysis of rhythm in Japanese and English popular music. Proceedings of the Annual meeting of the Japanese Society for Music Perception and Cognition, 2003, 49-52.
  144. Zaanen, M. van, Bod, R., & Honing, H. (2003). A memory-based approach to meter induction. Proceedings of the European Society for the Cognitive Sciences of Music (ESCOM). 250-253.

  145. 2002
  146. Desain, P. , & Honing, H. (2002). Rhythmic stability as explanation of category size. Proceedings of the International Conference on Music Perception and Cognition. Sydney: UNSW. (CD-ROM).
  147. Honing, H. (2002). Structure and interpretation of rhythm and timing Tijdschrift voor Muziektheorie. 7(3), 227-232.
  148. Jenks, K.M., Jongsma, M.L.A., Desain, P., Honing, H. and Van Rijn, C.M. (2002). Omission Evoked Potentials (OEPs) in rhythmically trained and non-trained subjects. Cognitive Neuroscience Society Ninth Annual Meeting B90, pg 63.
  149. Jongsma, M.L.A., Desain, P., Honing, H., Van Rijn, C.M., Jenks, K.M., and Coenen, A.M.L. (2002). AEP P300 modulation by two different temporal contexts in both rhythmically trained and non-trained subjects. Cognitive Neuroscience Society Ninth Annual Meeting, A94, pg 37.
  150. Sadakata, M., Desain, P. & Honing, H (2002). The relation between rhythm perception and production: towards a Bayesian model. Transaction of Technical Committee of Psychological and Physiological Acoustics, Acoustical Society of Japan, 32 (10), H-2002-92.
  151. Timmers, R. & Honing, H. (2002). On music performance, theories, measurement and diversity. In M.A. Belardinelli (ed.). Cognitive Processing (International Quarterly of Cognitive Sciences), 1-2, 1-19.
  152. Timmers, R., Ashley, R., Desain, P., Honing, H., & Windsor, L. (2002). Timing of ornaments in the theme of Beethoven's Paisiello Variations: Empirical Data and a Model. Music Perception, 20(1), 3-33.
  153. Timmers, R. & Honing, H. (2002). Issuing an empirical musicology of performance. In Timmers, R., Freedom and constraints in timing and ornamentation. Investigations of music performance. (Maastricht: Shaker Publishing, 2002), 19-49.
  154. Timmers, R., Desain, P., Honing, H., & Trilsbeek, P. (2002). Introducing a model of grace note timing. In Proceedings of the Workshop on Music, Motor Behavior and the Mind. Ascona, 32.

  155. 2001
  156. Cemgil, T., Kappen, B., Desain, P., and Honing, H. (2001). On tempo tracking: Tempogram Representation and Kalman filtering. Journal of New Music Research. 29 (4), 259-273.
  157. Desain, P. and Honing, H. (2001). Modeling the Effect of Meter in Rhythmic Categorization: Preliminary Results Journal of Music Perception and Cognition, 7 (2), 145-156.
  158. Desain, P., Honing, H., & Timmers, R. (2001). Music Performance Panel: NICI/ MMM Position Statement
  159. Honing, H. (2001). From time to time: The representation of timing and tempo. Computer Music Journal, 35(3), 50-61.
  160. Rossignol, S., Desain, P., and Honing, H. (2001). Refined knowledge-based pitch tracking: Comparing Three Frequency Extraction Methods. Proceedings of the International Computer Music Conference, 399-402. San Francisco: ICMA
  161. Rossignol, S., Desain, P., and Honing, H. (2001). State-of-the-art in fundamental frequency tracking. Proceedings of Workshop on Current Research Directions in Computer Music, 244-254. Barcelona: UPF.
  162. Trilsbeek, P., Desain, P., and Honing, H. (2001). Spectral Analysis of Timing Profiles of Piano Performances. Proceedings of the International Computer Music Conference, 286-289. San Francisco: ICMA.

  163. 2000
  164. Cemgil, T., Kappen, B., Desain, P., and Honing, H. (2000). On tempo tracking: Tempogram Representation and Kalman filtering. In Proceedings of the International Computer Music Conference, 352-355. San Francisco: ICMA. [Received distinguished paper award]
  165. Desain, P., Honing, H., Aarts, R., and Timmers, R. (2000). Rhythmic Aspects of Vibrato. In Desain, P. and Windsor, W. L. Rhythm Perception and Production 203-216. Lisse: Swets & Zeitlinger
  166. Desain, P., Jansen, C., and Honing, H. (2000). How identification of rhythmic categories depends on tempo and meter. In Proceedings of the Sixth International Conference on Music Perception and Cognition Keele, UK: Keele University, Department of Psychology.
  167. Heijink, H., Desain, P., Honing, H., and Windsor, W. L. (2000). Make Me a Match: An Evaluation of Different Approaches to Score-Performance Matching. Computer Music Journal 43-56. ISSN: 0148-9267.
  168. Timmers, R., Desain, P., and Honing, H. (2000). Timing of grace notes in piano performances of a Beethoven Theme In Proceedings of the eighth International Workshop on Rhythm Perception and Production.
  169. Windsor, W. L., Desain, P., Honing, H., Aarts, R., Heijink, H., and Timmers, R. (2000). On Time: The influence of tempo, structure and style on the timing of grace notes in skilled musical performance. In Desain, P. and Windsor, W. L Rhythm Perception and Production 217-223. Lisse: Swets & Zeitlinger

  170. 1999
  171. Desain, P. and Honing, H. (1999). Computational Models of Beat Induction: The Rule-Based Approach. Journal of New Music Research, 28(1), 29-42.
  172. Desain, P. and Honing, H. (1999). Modeling vibrato and portamento in music performance. Bulletin of the Council for Research in Music Education.

  173. 1998
  174. Desain, P., & Honing, H. (1998). A reply to S. W. Smoliar's "Modelling Musical Perception: A Critical View". N. Griffith, & P. Todd (eds.), Musical Networks, Parallel Distributed Perception and Performance.111-114. Cambridge: MIT Press ISBN: 0-262-07181-9.
  175. Desain, P., Honing, H., Aarts, R., and Timmers, R. (1998). Rhythmic Aspects of Vibrato. In Proceedings of the 1998 Rhythm Perception and Production Workshop, 34. Nijmegen.
  176. Desain, P., Honing, H., Thienen, H. van, and Windsor, W. L. (1998). Computational Modeling of Music Cognition: Problem or Solution?. Music Perception, 16(1), 151-166. ISSN: 0730-7829.
  177. Honing, H. (1998). Vergelijking Midi-files. Deskundige Rapport. Nijmegen.
  178. Windsor, W. L., Desain, P., Honing, H., Aarts, R., Heijink, H., and Timmers, R. (1998). Graceful Timing: Ornaments, Tempo and Musical Structure. In Proceedings of the 7th Rhythm Perception and Production Workshop, 35.

  179. 1997
  180. Desain, P., Honing, H. (1997). Lisp as a second language. Research Report.
  181. Dannenberg, R. B., Desain, P., & Honing, H. (1997). Programming language design for music. In G. De Poli, A. Picialli, S. T. Pope, & C. Roads (eds.), Musical Signal Processing. 271-315. Lisse: Swets & Zeitlinger ISBN: 90-265-1483-2.
  182. Desain, P., Honing, H. (1997). CLOSe to the edge? Advanced object oriented techniques in the representation of musical knowledge. Journal of New Music Research, 2, 1-16. ISSN: 0929-8215.
  183. Desain, P. and Honing, H. (1997). Computational modeling of Rhythm perception. In Proceedings of the Workshop on Language and Music Perception France: Marseille.
  184. Desain, P. and Honing, H. (1997). Computationeel modelleren van beat-inductie. Informatie 48-53. ISSN: 0019-9907.
  185. Desain, P. and Honing, H. (1997). How to evaluate generative models of expression in music performance. In Isssues in AI and Music Evaluation and Assessment. International Joint Conference on Artificial Intelligence., 5-7. Nagoya: Japan.
  186. Desain, P. and Honing, H. (1997). Music, Mind, Machine: beatinductie computationeel modelleren [Music, Mind, Machine: computational modeling of beat-induction]. Informatie 48-53. ISSN: 00199907.
  187. Desain, P. and Honing, H. (1997). Structural Expression Component Theory (SECT), and a method for decomposing expression in music performance. In Proceedings of the Society for Music Perception and Cognition Conference., 38. Cambridge: MIT.
  188. Desain, P., Honing, H., and Heijink, H. (1997). Robust Score-Performance Matching: Taking Advantage of Structural Information.In Proceedings of the 1997 International Computer Music Conference., 337-340 . San Francisco: ICMA.

  189. 1996
  190. Desain, P., & Honing, H. (1996). Modeling Continuous Aspects of Music Performance: Vibrato and Portamento. In B. Pennycook, & E. Costa-Giomi (eds.), Proceedings of the International Music Perception and Cognition Conference. CD-ROM. Montreal.
  191. Desain, P., & Honing, H. (1996). Pas op voor de tempocurve! Nieuwsbrief Nederlandse Vereniging voor Psychonomie, (1), 4-7.
  192. Desain, P., & Honing, H. (1996). Pas op voor de tempocurve! Nieuwsbrief Nederlandse Vereniging voor Psychonomie, (2), 11-13.
  193. Desain, P., & Honing, H. (1996). Pas op voor de tempocurve! Nieuwsbrief Nederlandse Vereniging voor Psychonomie, (3), 8-11.
  194. Desain, P., & Honing, H. (1996). Physical motion as a metaphor for timing in music: the final ritard. In Proceedings of the 1996 International Computer Music Conference. 458-460. San Francisco: ICMA.
  195. Desain, P., & Honing, H. (1996). Mentalist and physicalist models of expressive timing. In Abstracts of the 1996 Rhtyhm Perception and Production Workshop.Munchen: Max-Planck-Institute.
  196. Desain, P., & Honing, H. (1996). LOCO-SONNET: a graphical dataflow language for algorithmic composition. Manuscript.

  197. 1995
  198. Desain, P., & Honing, H. (1995). Computational models of beat induction: the rule-based approach. In G. Widmer (ed.), Working Notes: Artificial Intelligence and Music. 1-10. Montreal: IJCAI.
  199. Desain, P., & Honing, H. (1995). Towards algorithmic descriptions for continuous modulations of musical parameters. In Proceedings of the 1995 International Computer Music Conference. 393-395. San Francisco: ICMA.
  200. Honing, H. (1995). The vibrato problem, comparing two solutions. Computer Music Journal, 19( 3) 32-49.
  201. Desain, P., Honing, H., & Kappert, P. (1995). Expresso: het retoucheren (en analyseren) van pianouitvoeringen. In Abstracts Congres Nederlandse Vereniging voor Psychonomie. 20-21. Egmond aan Zee: Vereniging voor Psychonomie.
  202. Desain, P., & Honing, H. (1995). Music, Mind, Machine. Computational Modeling of Temporal Structure in Musical Knowledge and Music Cognition. Research proposal (Manuscript).
  203. Desain, P., & Honing, H. (1995). Computationeel modelleren van beat-inductie. In Van frictie tot wetenschap. Jaarboek 1994- 1995. 83-95. Amsterdam: Vereniging van Academie-onderzoekers.

  204. 1994
  205. Desain, P., & Honing, H. (1994). Advanced issues in beat induction modeling: syncopation, tempo and timing. In Proceedings of the 1994 International Computer Music Conference. 92-94. San Francisco: International Computer Music Association.
  206. Desain, P., & Honing, H. (1994). Can music cognition benefit from computer music research? From foot-tapper systems to beat induction models. In Proceedings of the ICMPC 1994. 397-398. Liège: ESCOM.
  207. Desain, P., & Honing, H. (1994). CLOSe to the edge? Advanced object oriented techniques in the representation of musical knowledge. (Research Report CT-94-13). Amsterdam: Institute for Logic, Language and Computation (ILLC).
  208. Desain, P., & Honing, H. (1994). Does expressive timing in music performance scale proportionally with tempo? Psychological Research, 56, 285-292.
  209. Desain, P., & Honing, H. (1994). Foot-Tapping: a brief introduction to beat induction. In Proceedings of the 1994 International Computer Music Conference. 78-79. San Francisco: International Computer Music Association.
  210. Desain, P. and Honing, H. (1994). Review of ZIPI: Proposal of a New Networking Interface for Electronic Musical Devices (version 1.0.).
  211. Desain, P., & Honing, H. (1994). Rule-based models of initial beat induction and an analysis of their behavior. In Proceedings of the 1994 International Computer Music Conference. 80-82. San Francisco: International Computer Music Association.
  212. Desain, P., & Honing, H. (1994). Shoes news 2 ( electronic newsletter). Nijmegen: University of Nijmegen.
  213. Desain, P., & Honing, H. (1994). Shoes news 3 ( electronic newsletter). Amsterdam: University of Amsterdam.
  214. Honing, H. (1994). The vibrato problem. Comparing two ways to describe the interaction between the continuous and discrete components in music representation systems. (Research Report CT-94-14). Amsterdam: Institute for Logic, Language and Computation (ILLC).

  215. 1993
  216. Desain, P., & Honing, H. (1993). CLOSe to the edge? Multiple and mixin inheritance, multi methods, and method combination as techniques in the representation of musical knowledge. In Proceedings of the IAKTA Workshop on Knowledge Technology in the Arts. 99-106. Osaka: IAKTA/LIST.
  217. Desain, P., & Honing, H. (1993). Letter to the editor: the mins of Max. Computer Music Journal, 17( 2), 3-11.
  218. Desain, P. and Honing, H. (1993). A computer music composition systems questionaire.
  219. Desain, P., & Honing, H. (1993). Lisp programming for computer music. (Tutorial notes International Computer Music Conference). Tokyo: Waseda University.
  220. Desain, P., & Honing, H. (1993). On continuous musical control of discrete musical objects. In Proceedings of the 1993 International Computer Music Conference. 218-221. San Francisco: International Computer Music Association.
  221. Desain, P., & Honing, H. (1993). Shoes news 1. ( electronic newsletter). Nijmegen: University of Nijmegen.
  222. Desain, P., & Honing, H. (1993). Tempo curves considered harmful. In "Time in contemporary musical thought" J. D. Kramer (ed.), Contemporary Music Review. 7(2). 123-138.
  223. Honing, H. (1993). A microworld approach to the formalization of musical knowledge. Computers and the Humanities, 27, 41-47.
  224. Honing, H. (1993). Issues in the representation of time and structure in music. Contemporary Music Review, 9, 221-239.
  225. Honing, H. (1993). Report on the International Workshop on Models and Representations of Musical Signals, Capri, Italy, 1992. Computer Music Journal, 17( 2), 80-81.
  226. Desain, P., Honing, H., Dannenberg, R., Jacobs, D., Lippe, C., Settel, Z., Pope, S., Puckette, M., & Lewis, G. (1993). A Max Forum. Array, 13( 1), 14-20.

  227. 1992
  228. Desain, P., & Honing, H. (1992). Generalising generalised time functions. In Proceedings of the International workshop on models and representations of musical signals. Napels: Università di Napoli Federico II.
  229. Desain, P., & Honing, H. (1992). Music, Mind and Machine. Studies in Computer Music, Music Cognition and Artificial Intelligence. Amsterdam: Thesis Publishers.
  230. Desain, P., & Honing, H. (1992). Musical machines: can there be? are we? Some observations on- and a possible approach to- the computational modelling of music cognition. In C. Auxiette, C. Drake, & C. Gérard (eds.), Proceedings of the Fourth International Workshop on Rhythm Perception and Production. 129-140. Bourges.
  231. Desain, P., & Honing, H. (1992). Tempo curves considered harmful (part 3). Array, 12(1), 6-9.
  232. Desain, P., & Honing, H. (1992). The quantization problem: traditional and connectionist approaches. In M. Balaban, K. Ebcioglu, & O. Laske (eds.), Understanding Music with AI: Perspectives on Music Cognition. 448-463. Cambridge: MIT Press.
  233. Desain, P., & Honing, H. (1992). Time functions function best as functions of multiple times. Computer Music Journal, 16(2), 17-34.
  234. Desain, P., Honing, H., Jong, P. d., Spek, R. v. d., & Vos, S. d. (1992). Audit report. Portfolio Management System. . Utrecht: Centre for Knowledge Technology.
  235. Honing, H. (1992). Expresso, a strong and small editor for expression. In Proceedings of the 1992 International Computer Music Conference. 215-218. San Francisco: International Computer Music Association.

  236. 1991
  237. Desain, P., & Honing, H. (1991). Generalized time functions. In Proceedings of the 1991 International Computer Music Conference. San Francisco: Computer Music Association.
  238. Desain, P., & Honing, H. (1991). Quantization of musical time: a connectionist approach. In P.M. Todd and D. G. Loy (eds.), Music and Connectionism (pp. 150-167). Cambridge: MIT Press.
  239. Desain, P., & Honing, H. (1991). Tempo curves considered harmful. A critical review of the representation of timing in computer music. In Proceedings of the 1991 International Computer Music Conference. San Francisco: Computer Music Association.
  240. Desain, P., & Honing, H. (1991). Tempo curves considered harmful (part 1). Array, 11(3), 8-9.
  241. Desain, P., & Honing, H. (1991).Tempo curves considered harmful (part 2). Array, 11(4), 8-10.
  242. Desain, P., & Honing, H. (1991). Towards a calculus for expressive timing in music. Computers in Music Research, 3, 43-120.
  243. Honing, H. (1991). Music and the representation of structure: from issues to microworlds. Unpublished doctoral dissertation, City University, London.

  244. 1990
  245. Desain, P., & Honing, H. (1990). LOCO -eine Kompositionsprache. In H. Timmermans, MIDI, Musik und Computer. Theorie und Praxis. 265-285. Aachen: Elektor Verlag.
  246. Honing, H. (1990). POCO: an environment for analysing, modifying, and generating expression in music. In Proceedings of the 1990 International Computer Music Conference. 364-368. San Francisco: Computer Music Association.

  247. 1989
  248. Desain, P., & Honing, H. (1989). LOCO, compositie microwerelden in Logo. In H. Timmermans, MIDI, Muziek en computer. 249-267. Deventer: Kluwer Technische Boeken.
  249. Desain, P., & Honing, H. (1989). LOCO, composition microworlds in Logo. (Research Report). Utrecht: Centre for Knowledge Technology.
  250. Desain, P., & Honing, H. (1989). Quantization of musical time: a connectionist approach. Computer Music Journal, 13(3), 56-66.
  251. Desain, P., & Honing, H. (1989). Report on the first AIM conference. Perspectives of New Music, 27(2), 282-289.
  252. Desain, P., Honing, H., & Rijk, K. d. (1989). A connectionist quantizer. In Proceedings of the 1989 International Computer Music Conference. 80-85. San Francisco: Computer Music Association.

  253. 1988
  254. Desain, P., & Honing, H. (1988). LOCO: a composition microworld in Logo. Computer Music Journal, 12(3), 30-42.
  255. Desain, P., & Honing, H. (1988). LOCO, composition microworld, manual Apple Macintosh. (Research Report). Utrecht: Centre for Art, Media and Technology, Utrecht School of the Arts.
  256. Desain, P., & Honing, H. (1988). LOCO, kompositie microwereld, handleiding Yamaha CX5- MII. (Research Report). Utrecht: Centre for Art, Media and Technology, Utrecht School of the Arts.

  257. 1987
  258. Desain, P., & Honing, H. (1987). LOCO, composition microworld, manual Apple IIe. (Research Report). Utrecht: Centre for Art, Media and Technology, Utrecht School of the Arts.
  259. Desain, P., & Honing, H. (1987). LOCO, kompositie mikrowerelden in Logo. In V. Haars (ed.), Leren met Logo. 181-200. Nijmegen: Stichting Leren met Logo.
  260. Honing, H. (1987). A REACTION TO THE REPORT ON THE 2ND STEIM SYMPOSIUM. Computer Music Journal, 11(1), 14-14.

  261. 1986
  262. Desain, P., & Honing, H. (1986). LOCO, composition microworlds in Logo. In P. Berg (ed.), Proceedings of the 1986 International Computer Music Conference. 109-118. San Francisco: Computer Music Association.



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