| What is Rhythm? | p. 1 |
| Rhythm, Periodicity, Regularity, Recurrence | p. 3 |
| Perception and Time Scale | p. 6 |
| Illusions of Sound Perception | p. 9 |
| Illusions of Pitch | p. 11 |
| Why Illusions Happen | p. 12 |
| Why Illusions Matter | p. 14 |
| Beat Tracking | p. 14 |
| Why Study Rhythm? | p. 16 |
| Overview of Rhythm and Transforms | p. 19 |
| Sound Examples: Teasers | p. 21 |
| Visualizing and Conceptualizing Rhythm | p. 23 |
| Symbolic Notations | p. 24 |
| Lyrical Notation | p. 24 |
| Musical Notation | p. 26 |
| Necklace Notation | p. 28 |
| Numerical Notations | p. 29 |
| Functional Notation | p. 31 |
| Drum/Percussion Tablature | p. 31 |
| Schillinger's Notation | p. 32 |
| MIDI Notation | p. 33 |
| Harmonic Rhythm | p. 36 |
| Dance Notation | p. 38 |
| Juggling Notation | p. 39 |
| Literal Notations | p. 41 |
| Waveforms | p. 42 |
| Spectrograms | p. 43 |
| Granular Representations | p. 46 |
| Visual and Physical Metaphors for Rhythm | p. 49 |
| Varieties of Rhythmic Experience | p. 53 |
| Fluid, Unmeasured, and Beatless | p. 54 |
| Meter | p. 54 |
| Additive vs. Divisive | p. 57 |
| Timelines | p. 58 |
| The Clave | p. 62 |
| Samba | p. 63 |
| Vodou Drumming | p. 63 |
| Tala | p. 65 |
| Polyrhythms | p. 67 |
| Inner Melody and the Gamelan | p. 69 |
| Funk | p. 71 |
| Hip-Hop | p. 72 |
| Simultaneous Tempos | p. 74 |
| Synthesis | p. 74 |
| Auditory Perception | p. 77 |
| How the Ear Works | p. 78 |
| Perception of Loudness | p. 80 |
| Critical Band and JND | p. 81 |
| Models of the Auditory System | p. 82 |
| Auditory Boundaries | p. 84 |
| Regular Successions | p. 86 |
| Perceptions of Rate | p. 87 |
| Regular Successions as a Single Perception | p. 89 |
| Perceptual Cues for Clustering of Notes | p. 91 |
| Perceptual Cues for Clustering of Rhythms | p. 92 |
| Filled vs. Empty Durations | p. 93 |
| Framework for Rhythm Perception | p. 94 |
| A Rhythmic Theory of Perception | p. 96 |
| Rhythm Without Notes | p. 97 |
| Changes to Regular Successions | p. 99 |
| Multiple Regular Successions | p. 102 |
| One-hundred Metronomes | p. 102 |
| Feature Vectors: Perceptually Motivated Preprocessing | p. 103 |
| Critical Band Feature Vectors | p. 103 |
| Listening to Feature Vectors I | p. 104 |
| Extracting Auditory Boundaries from a Signal | p. 105 |
| Listening to Feature Vectors II | p. 108 |
| Perception vs. Reality | p. 108 |
| Transforms | p. 111 |
| Inner Product: The Angle Between Two Signals | p. 112 |
| Correlation and Autocorrelation | p. 113 |
| The Fourier Transform | p. 115 |
| Frequency via the DFT/FFT | p. 117 |
| Three Mistakes | p. 119 |
| Short-time Fourier Transform | p. 122 |
| The Phase Vocoder | p. 124 |
| Wavelet Transforms | p. 128 |
| Periodicity Transforms | p. 131 |
| Periodic Subspaces | p. 131 |
| Projection onto Periodic Subspaces | p. 134 |
| Algorithms for Periodic Decomposition | p. 136 |
| Signal Separation | p. 140 |
| Choice of Effective Sampling Rate | p. 143 |
| Discussion of PT | p. 144 |
| Summary | p. 145 |
| Adaptive Oscillators | p. 147 |
| Entrainment and Synchronization | p. 148 |
| Systems Notation | p. 150 |
| Oscillators | p. 152 |
| Adaptive Oscillators | p. 157 |
| The Phase Locked Loop | p. 158 |
| Adaptive Wavetable Oscillators | p. 161 |
| Adaptive Phase-reset Oscillators | p. 165 |
| Adaptive Clocking | p. 166 |
| Behavior of Adaptive Oscillators | p. 168 |
| Regular Pulse Trains | p. 169 |
| Irregular Pulse Trains | p. 171 |
| Statistical Models | p. 175 |
| Probability and Inference | p. 176 |
| Statistical Models of Periodic Phenomenon | p. 177 |
| Regularities in Binary Sequences | p. 179 |
| A Model for Symbolic Pulse Detection | p. 182 |
| A Model for Symbolic Pulse Tracking | p. 184 |
| A Model for Audio Feature Vectors | p. 188 |
| Automated Rhythm Analysis | p. 193 |
| Analysis From a Musical Score: La Marseillaise | p. 194 |
| Rule-based Approaches | p. 195 |
| Transform Techniques | p. 196 |
| Statistical Methods | p. 198 |
| Adaptive Oscillators | p. 199 |
| MIDI Beat Tracking | p. 201 |
| Adaptive Oscillators | p. 203 |
| Statistical Methods | p. 206 |
| Audio Beat Tracking | p. 209 |
| Transform Techniques | p. 209 |
| Statistical Beat Tracking | p. 215 |
| Beat Tracking Using Adaptive Oscillators | p. 219 |
| Summary | p. 221 |
| Beat-based Signal Processing | p. 223 |
| Manipulating the Beat | p. 224 |
| Beat-synchronous Filters | p. 227 |
| Beat-based Time Reversal I | p. 229 |
| Beat-based Averaging | p. 229 |
| Separating Signal from Noise | p. 230 |
| Spectral Mappings | p. 233 |
| Mapping to a Harmonic Template | p. 234 |
| Mapping to a n-tet Template | p. 236 |
| The Make Believe Rag | p. 239 |
| Nonlinear Beat-based Processing | p. 240 |
| Spectral Band Filter | p. 240 |
| Spectral Freeze | p. 240 |
| The Harmonic Sieve | p. 241 |
| Instantaneous Harmonic Templates | p. 243 |
| The Phase Vocoder vs. the Beat-synchronous FFT | p. 244 |
| Implementations | p. 244 |
| Perceptual Comparison | p. 248 |
| Musical Composition and Recomposition | p. 251 |
| Friend of the Devil of the Friend | p. 253 |
| ""New"" Pieces from Old | p. 253 |
| The Maple Leaf Waltz, Julie's March, and Take Four | p. 254 |
| Beat-based Time Reversal II | p. 256 |
| Beat Randomization | p. 257 |
| Beat-synchronous Sound Collages | p. 259 |
| Beat-synchronous Cross-performance | p. 260 |
| Musical Analysis via Feature Scores | p. 263 |
| Accuracy of Performance | p. 264 |
| Beat Regularization | p. 268 |
| Beat-synchronous Feature Scores | p. 269 |
| Julie's Waltz: An Analysis | p. 273 |
| Speculations, Interpretations, Conclusions | p. 277 |
| Which Comes First, the Notes or the Beat? | p. 277 |
| Name That Tune | p. 279 |
| Variations on a Theme | p. 281 |
| What is a Song? | p. 282 |
| Time and Perceived Time | p. 285 |
| The Technologies for Finding Patterns | p. 287 |
| Beat Tracked Musical Performances | p. 289 |
| Glossary | p. 291 |
| Sound Examples on the CD-ROM | p. 295 |
| Bibliography | p. 309 |
| Discography | p. 321 |
| World Wide Web and Internet References | p. 323 |
| Index | p. 325 |
| Table of Contents provided by Publisher. All Rights Reserved. |
