David Temperley’s research while affiliated with University of Rochester and other places

Melodies are full of repeated patterns of pitch, interval, and rhythm. It has been suggested that these repeated patterns aid the listener in creating an efficient encoding; this raises the possibility that compositional practice might have evolved to facilitate this process. I propose three specific hypotheses about compositional practice: 1) Repeated intervallic patterns tend to be metrically parallel, with each instance of the pattern falling at the same position in relation to the metrical structure; 2) Purely intervallic repetitions tend to be confined to short distances (longer-distance repetitions tend to involve repetition of scale-degrees as well); 3) Repeated intervallic patterns tend to involve multiple intervals rather than single ones. In each case, I explain how such a compositional strategy might facilitate efficient encoding. Corpus analyses of classical themes and European folk songs find support for all three hypotheses.

A well-known phenomenon in melodic structure is "step inertia": the tendency for a step to be followed by another step in the same direction. There is strong evidence of step inertia in three corpora of Western common-practice melodies: European folk songs, classical instrumental themes, and English hymn tunes. Surprisingly, modern Western popular music does not reflect step inertia. In Billboard's Hot 100, and Rolling Stone magazine's list of "greatest songs," inertial (same-direction) steps are less likely than non-inertial ones. To further explore the role of step inertia in different corpora, we created a generative model that assigns probabilities to melodies, considering just four factors: range, pitch proximity, scale-degree frequency within a key, and step inertia. We optimized the weights of these factors for the Essen Folksong Collection and the Billboard corpus, and compared them with n-gram models. The optimal (normalized) weight of the inertia factor is large and positive for the Essen collection (.51) and small for the Billboard corpus (.02). This is further evidence that step inertia plays a much smaller role in popular melodies than common-practice ones, and that non-inertial steps are slightly favored.

Rare syntactic constructions show an especially strong tendency to be repeated, but some rare constructions exhibit this tendency much more strongly than others. The reasons for this variation are not well understood. This exploratory study examines five rare noun-phrase (NP) expansions in English: < the A> ( the rich ), < a N prop N prop > ( a Bob Gates) , ( architect Julia Morgan ), ( the jobs data ), and ( home electronic equipment ). Repetition tendencies are very strong in the first and second of these and somewhat strong in the third; in the fourth and fifth they are much weaker, only slightly higher than those of common NP expansions such as ( the black dog ). To explain this variation, we suggest that constructions may be associated with different types of discourse: constructions with high repetition tendencies tend to occur in persuasive rather than informative discourse.

This review presents a highly selective survey of connections between music and language. I begin by considering some fundamental differences between music and language and some nonspecific similarities that may arise out of more general characteristics of human cognition and communication. I then discuss an important, specific interaction between music and language: the connection between linguistic stress and musical meter. Next, I consider several possible connections that have been widely studied but remain controversial: cross-cultural correlations between linguistic and musical rhythm, effects of musical training on linguistic abilities, and connections in cognitive processing between music and linguistic syntax. Finally, I discuss some parallels regarding the use of repetition in music and language, which until now has been a little-explored topic.

The origins of syncopation in 20th-century American popular music have been a source of controversy. I offer a new account of this historical process. I distinguish between second-position syncopation, an accent on the second quarter of a half-note or quarter-note unit, and fourth-position syncopation, an accent on the fourth quarter of such a unit. Unlike second-position syncopation, fourth-position syncopation tends to have an anticipatory character. In an earlier study I presented evidence suggesting British roots for second-position syncopation. in contrast, fourth-position syncopation – the focus of the current study – seems to have had no presence in published 19th-century vocal music, British or American. It first appears in notation in ragtime songs and piano music at the very end of the 19th century; it was also used in recordings by African-American singers before it was widely notated.

I define a second-position syncopation as one involving a long note or accent on the second quarter of a half-note or quarter-note unit. I present a corpus analysis of second-position syncopation in 19th-century European and American vocal music. I argue that the analysis of syncopation requires consideration of other musical features besides note-onset patterns, including pitch contour, duration, and text-setting. The corpus analysis reveals that second-position syncopation was common in English, Scottish, Euro-American, and African-American vocal music, but rare in French, German, and Italian vocal music. This suggests that the prevalence of such syncopations in ragtime and later popular music was at least partly due to British influence.

The theory of Uniform Information Density states that communication is optimal when information is presented at a moderate and uniform rate. Three predictions follow for music: (1) low-probability events should be longer in duration than high-probability events; (2) low-probability events should be juxtaposed with high-probability events; (3) an event that is low in probability in one dimension should be high in probability in other dimensions. I present evidence supporting all three of these predictions from three diverse areas of musical practice: Renaissance counterpoint, expressive performance, and common-practice themes.

Main clause phenomena (MCPs) are syntactic constructions that occur predominantly or exclusively in main clauses. I propose a processing explanation for MCPs. Sentence processing is easiest at the beginning of the sentence (requiring less search); this follows naturally from widely held assumptions about sentence processing. Because of this, a wider variety of constructions can be allowed at the beginning of the sentence without overwhelming the sentence‐processing mechanism. Unlike pragmatic and grammatical accounts of MCPs, the processing account predicts avoidance of MCPs in non‐initial main clauses (non‐initial coordinate clauses and premodified clauses). A corpus study supports these predictions, but it is somewhat inconclusive. A further corpus study examines another type of syntactic construction, premodifying adjunct phrases (“openers”); the prediction here is that less common types of opener will be especially avoided in non‐initial contexts. The prediction is confirmed, supporting the processing view of rare constructions.

While syncopation generally refers to any conflict between surface accents and underlying meter, in rock and other recent popular styles it takes a more specific form in which accented notes occur just before strong beats. Such “anticipatory” syncopations suggest that there is an underlying cognitive representation in which the accented notes and strong beats align. Syllabic stress is crucial to the identification of such syncopations; to facilitate this, we present a corpus of rock melodies annotated with lyrics and syllabic stress values. We propose a new measure of syncopation that incorporates syllabic stress; we also propose a measure of anticipatory syncopation, and show that it reveals a strong presence of this type of syncopation in rock music. We then use these measures to explore other aspects of syncopation in rock, including its occurrence in different parts of the 4/4 measure, its dependence on tempo, its historical evolution, and its aesthetic functions.