Faculty of Humanities
H.J. Honing
prof.dr. H.J. (Henkjan) Honing
Capaciteitsgroep Muziekwetenschap University of Amsterdam


POSTBUS 94242
1090 GE Amsterdam
Room: C3.118, Science Park 904, Amsterdam

Telephone
0205254698
0205254443

http://home.medewerker.uva.nl/h.j.honing/
Email



Publications

key publications (8)


2012

  • H. Honing (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.

2011

  • H. Honing (2011). The illiterate listener. On music cognition, musicality and methodology. Amsterdam: Amsterdam University Press.
  • H. Honing (2011). Musical Cognition. A Science of Listening. New Brunswick, N.J.: Transaction Publishers.

2010

  • H. Honing (2010). Lure(d) into listening: The potential of cognition-based music information retrieval. Empirical Musicology Review, 5(4), 121-126.

2009

2008

refereed academic publications (89)


2012

  • H. Honing (2012). Structure and interpretation of rhythm in music. In Psychology of Music, 3rd edition. London: Elsevier.
  • H. Honing & A. Ploeger (in press). Cognition and the Evolution of Music: Pitfalls and Prospects. Topics in Cognitive Science.
  • F.L. Bouwer & H. Honing (2012). Rhythmic regularity revisited: Is beat induction indeed pre-attentive? In International Conference on Music Perception and Cognition (pp. 1-4). Thessaloniki: Aristotle University of Thessaloniki.
  • G. Haden, H. Honing & I. Winkler (2012). Newborn infants are sensitive to sound timing. In International Conference on Music Perception and Cognition. Thessaloniki: Aristotle University of Thessaloniki.
  • H. Honing, H. Merchant, G. Haden, L. Prado & R Bartolo (2012). Probing beat induction in rhesus monkeys: Is beat induction species-specific? In International Conference on Music Perception and Cognition. Thessaloniki: Aristotle University of Thessaloniki.
  • H. Honing (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.

2011

  • H. Honing & J.W. Romeijn (2011). Surprise! Assessing the value of risky predictions. In Proceedings of the thirteenth International Conference on Informatics and Semiotics in Organisations - Problems and Possibilities of Computational Humanities ( (pp. 185). Leeuwarden: Fryske Academy, series FA 1053.
  • H. Honing (2011). The role of surprise in theory testing. In All models are wrong. Conference on model uncertainty & selection in complex models. Groningen: Rijksuniversiteit Groningen.
  • O. Ladinig, H. Honing, G. Haden & I. Winkler (2011). Erratum to Probing attentive and pre-attentive emergent meter in adult listeners with no extensive music training. Music Perception, 26(4), 444.
  • H. Honing & F. Bouwer (2011). Is hierarchy in rhythm perception consciously learned? In Rhythm Perception and Production Workshop (RPPW). Leipzig: Max Planck Institute for Human Cognitive and Brain Sciences.

2010

  • H. Honing (2010). Beat-induction as a fundamental musical skill. In S.M. Demorest, S.J. Morrison & P.S. Campbell (Eds.), Proceedings of the International Conference on Music Perception and Cognition. Seattle: University of Washington.
  • F. Willekens, H. Honing & L.W.M. Bod (2010). Computational Humanities. Report of the Computational Humanities Programme Committee of the KNAW. Amsterdam: Royal Netherlands Academy of Arts and Sciences.
  • H. Honing (2010). Lure(d) into listening: The potential of cognition-based music information retrieval. Empirical Musicology Review, 5(4), 121-126.

2009

2008

2007

  • H. Honing (2007). The role of ICT in music research: a bridge too far? International Journal of Humanities and Arts Computing, 1(1), 61-69.
  • M. Coath, S.L. Denham, L.M. Smith, H. Honing, A. Hazan & H. Purwins (2007). An auditory model for the detection of perceptual onsets and beat tracking in singing. In H..Purwins D.R. Hardoon (Ed.), Workshop at Neural Information Processing Systems (NIPS) conference. Whistler, CA: NIPS.
  • H. Honing (2007). Is expressive timing relational invariant under tempo transformation? Psychology of Music, 35(2), 276-285.
  • H. Honing (2007). Preferring the best fitting, least flexible, and most surprising prediction: Towards a Bayesian approach to model selection in music cognition. In Proceedings of the Society for Music Perception and Cognition (SMPC) (pp. 37). Montreal, CA: Concordia University.
  • O. Ladinig & H. Honing (2007). Complexity judgments as a measure for metric salience: Is there indeed a difference between musicians and non-musicians? In Proceedings of the Society for Music Perception and Cognition (SMPC) (pp. 27). Montreal, CA.: Concordia University.
  • L.M. Smith & H. Honing (2007). Evaluation of multiresolution representations of musical rhythm. In E. Schubert, K. Buckley, R. Eliott, B. Koboroff, J. Chen & C. Stevens (Eds.), Proceedings of the International Conference on Music Communication Science. Sydney, AUS: MARCS.

2006

  • H. Honing (2006). Music and Cognition: What cognitive science can learn from music cognition. In Proceedings of the Annual Conference of the Cognitive Science Society (pp. 2655). New Jersey: Lawrence Erlbaum Associates.
  • H. Honing (2006). The role of surprise in theory testing: Some preliminary observations. In Proceedings of the International Conference on Music Perception and Cognition (pp. 38-42). Bologna: University of Bologna.
  • H. Honing (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.
  • H. Honing (2006). Computational modeling of music cognition: a case study on model selection. Music Perception, 23(5), 365-376.
  • H. Honing (2006). On the growing role of observation, formalization and experimental method in musicology. Empirical Musicology Review, 1(1), 2-5.
  • H. Honing & O. Ladinig (2006). The effect of exposure and expertise on timing judgments: Preliminary results. In Proceedings of the International Conference on Music Perception and Cognition (pp. 80-85). Bologna, Italy: University of Bologna.
  • L.M. Smith & H. Honing (2006). Evaluating and extending computational models of rhythmic syncopation in music. In Proceedings of the International Computer Music Conference (pp. 688-691). San Francisco: ICMA.
  • M. Sadakata, P. Desain & H. Honing (2006). The Bayesian way to relate rhythm perception and production. Music Perception, 23(3), 269-288.

2005

  • H. Honing (2005). Is there a perception-based alternative to kinematic models of tempo rubato? Music Perception, 23(1), 79-85.
  • M.L.A. Jongsma, T. Eichele, R. Quian Quiroga, P. Desain & H. Honing (2005). The effect of expectancy on ommision evoked potentials (OEPs) in musicians and nonmusicians. Psychophysiology, 42(2), 191-201.
  • H. Honing (2005). Timing is tempo-specific. In Proceedings of the International Computer Music Conference (pp. 359-362). Barcelona: UPF.
  • H. Honing (Ed.). (2005). Journal of New Music Research.
  • H. Honing (Ed.). (2005). Empirical Musicology Review.

2004

  • H. Honing (2004). When a good fit is not good enough: a case study on the final ritard. In Ashley, R & Lipscomb, S. (Eds.), Proceedings of the International Conference on Music Perception and Cognition (ICMPC) (pp. 510-513). Evanston: Northwestern University.
  • H. Honing, P. Desain & M. Sadakata (2004). An analysis of rhythmic ratios in scores of various kinds of music. In Ashley, R & Lipscomb, S. (Eds.), Proceedings of the International Conference on Music Perception and Cognition (ICMPC). Evanston: Northwestern University.
  • H. Honing (2004). The comeback of systematic musicology: new empiricism and the cognitive revolution. Dutch Journal of Music Theory, 9(3), 241-244.
  • M.A. Jongsma, P. Desain & H. Honing (2004). Rhythmic context influences the auditory evoked potentials of musicians and nonmusicians. Biological Psychology, 66, 129-152.
  • M. Sadakata, P. Desain, H. Honing, A. Patel & J.R. Iversen (2004). A cross-cultural study of the rhythm in English and Japanese popular music. In Proceedings of the International Symposium on Musical Acoustics (pp. 41-44). Nara: Nara University.

2003

  • M.M. van Zaanen, R. Bod & H. Honing (2003). A memory-based approach to meter induction. In Proceedings of the ESCOM (pp. 250-253). Luik: ESCOM.
  • H. Honing, P. Desain & R. Timmers (2003). Music Performance Panel: NICI / MMM Position Statement. In Proceedings of the MOSART Midterm Meeting (pp. 318-322). Kopenhagen, Denemarken: DIKU.
  • P. Desain & H. Honing (2003). The formation of rhythmic categories and metric priming. Perception, 32(3), 341-365.
  • P. Desain & H. Honing (2003). Single trial ERP allows Detection of Perceived and Imagined Rhythm. In K. Hirata (Ed.), Proceedings of the RENCON workshop, International Joint Conference on Artificial Intelligence (IJCAI) (pp. 1-4). Kyoto: NTT Communication Science Laboratories.
  • P. Desain, H. Honing, C.M. van Rijn & M.L.A. Jongsma (2003). Evoked potentials to test rhythm perception theories. In G. Avanzin, et al. (Ed.), Annuals of the New York Academy of Sciences (pp. 180-183). New York: New York Academy of Sciences.
  • H. Honing (2003). The final ritard: on music, motion, and kinematic models. Computer Music Journal, 27(3), 66-72.
  • H. Honing (2003). Some comments on the relation between music and motion. Music Theory Online, 9(1).
  • H. Honing, A. Patel, M. Sadakata, P. Desain & J.R. Iversen (2003). An analysis of rhythm in japanese and english popular music. In T. Taguti, et al. (Ed.), Proceedings of the Annual meeting of the Japanese Society for Music Perception and Cognition (pp. 1-4). Nara, Japas: International Symposium on Musiacl Acoustics.

2002

  • H. Honing & T. Timmers (2002). Issuing an empirical musicology of performance. In Freedom and constraints in timing and ornamentation. Investigations of music performance (pp. 19-49\). Shaker Publishing.
  • H. Honing, H.M. Sadakata & P. Desain (2002). The relation between rhythm perception and production: towards a bayesian model. In K. Ogushi (Ed.), Proceedings of the Japanese Society of Music Perception and Cogntion (pp. 123-127). Kyoto, Japan.
  • H. Honing, T. van Rijn, M.A. Jongsma & P. Desain (2002). Aep p300 modulation by two different temporal contexts in both rhythmically trained and nontrained subjects. Journal of Cognitive Neuroscience, A94.
  • H. Honing, T. van Rijn, T. Coenen, K. Jenks & P. Desain (2002). Omission evoked potentials (OEPS) in rhythmically trained and non-trained subjects. Journal of Cognitive Neuroscience, B90.
  • H. Honing (2002). Structure and interpretation of rhythm and timing. Dutch Journal of Music Theory, 7(3), 227-232.
  • P. Desain & H. Honing (2002). Rhythmic stability as explanation of category size. In K. Stevens (Ed.), Proceedings of the International Conference on Music Perception and Cognition (pp. 111-115). Sydney, Australia: University of New South Wales.
  • P. Desain, H. Honing, L. Windor, R. Timmers & R. Ashley (2002). Timing of ornaments in the theme of Beethoven's paisiello variations: Empirical data and a model. Music Perception, 20(1), 3-33.
  • R. Timmers & H. Honing (2002). On music performance, theories, measurement and diversity. Cognitive Processing International Quartely of Cognitive Sciences), 1/2, 1-19.

2001

  • S. Rossignol, P. Desain & H. Honing (2001). Refined knowledge-based pitch tracking: Comparing Three Frequency Extraction Methods. In Proceedings of the International Computer Music Conference. San Fransisco: ICMA.
  • A.T. Cemgil, B. Kappen, P. Desain & H. Honing (2001). On tempo tracking: tempogram Representation and Kalman filtering. Journal of New Music Research, 29(4), 259-273.
  • H. Honing (2001). From time to time: The representation of timing and tempo. Computer Music Journal, 35(3), 50-61.
  • P. Trilsbeek, P. Desain & H. Honing (2001). Spectral Analysis of Timing Profiles of Piano Performances. In Proceedings of the International Computer Music Conference. San Fransisco: ICMA.
  • S. Rossignol, P. Desain & H. Honing (2001). State-of-the-art in fundamental frequency tracking. In Proceedings of workshop on Current Research Directions in Computer Music (pp. 244-245). Barcelona: UPF.

2000

  • W.L. Windsor, P. Desain, H. Honing, R. Aarts & H. Heijink (2000). On time: the influence of tempo, structure and style on the timing of grace notes in skilled musical perfomance. In Desain, P. & Windsor, W. L. (Eds.), Rhythm perception and production (pp. 217-223). Lisse: Swets & Zeitlinger.
  • R. Timmers, P. Desain & H. Honing (2000). Timing of grace notes in piano performances of a Beethoven theme. In Proceedings of the 8th Rhythm Perception and Production Workshop.
  • H. Heijink, P. Desain, H. Honing & W.L. Windsor (2000). Make me a match: an evaluation of different approaches to score-performance macthing. Computer Music Journal, 24(1), 43-56.
  • P. Desain, H. Honing, R. Aarts & R. Timmers (2000). Rhythmic aspects of vibrato. In Desain, P. & Windsor, W.L. (Eds.), Rhythm Perception and Production (pp. 203-216). Lisse: Swets & Zeitlinger.
  • A.T. Cemgil, B. Kappen, P. Desain & H. Honing (2000). On tempo-tracking: tempogram representation and Kalman filtering. In Proceedings of the International Computer Music Conference (pp. 352-355).
  • P. Desain, C. Jansen & H. Honing (2000). How identification of rhythmic categories depends on tempo and meter. In Proceedings of the International Conference of Music perception and Cognition.

1999

  • P. Desain & H. Honing (1999). Modeling vibrato and portamento in music performance. Bulletin of the Council for Research in Music Education.
  • P. Desain & H. Honing (1999). Computational models of beat induction: the rule-based approach. Journal of New Music Research, 28(1), 29-42.

1998

  • P. Desain & H. Honing (1998). A reply to S. W. Smoliar's "Modelling musical perception: a critical view". In Griffith, N. & Todd, P. (Eds.), Musical networks, parallel distributed perception and performance (pp. 111-114). Cambridge: MIT Press.
  • P. Desain, H. Honing, R. Aarts & R. Timmers (1998). Rhythmic aspects of vibrato. In Proceedings of the 1998 rhythm Perception and Production Workshop (pp. 34-34).
  • P. Desain, H. Honing, H. Thienen & W.L. Windsor (1998). Computational modeling of music cognition: problem or solution? Music Perception, 16(1), 151-166.

1997

  • R. Dannenberg, P. Desain & H. Honing (1997). Programming language design for music. In de Poli, G. & Picalli, A (Eds.), Musical Signal Processing (pp. 271-315). Lisse: Swets & Zeitlinger.
  • P. Desain & H. Honing (1997). CLOSe to the edge? Adavnced object oriented techniques in the representation of musical knowledge. Journal of New Music Research, 2, 1-16.
  • P. Desain & H. Honing (1997). Computational modelling of rhythm perception. In Proceedings of the workshop on Language and Music Perception.
  • P. Desain & H. Honing (1997). How to evaluate generative models of expression in music performance. In IJCAI workshop: Issues in AI and music evaluation and assessment (pp. 5-7).
  • W.L. Windsor, P. Desain, H. Honing, R. Aarts & H. Heijink (1997). Graceful timing: ornaments, tempo and musical structure. In Proceedings of the 7t Rhythm Perception and Production Workshop (pp. 35-35).
  • P. Desain, H. Honing & H. Heijink (1997). Robust score-performance matching: taking advantage of structural information. In Proceedings of the 1997 International Computer Music Conference (pp. 337-340).
  • P. Desain & H. Honing (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 (pp. 38-38).

1996

  • P. Desain & H. Honing (1996). Physical motion as a metaphor for timing in music: the final ritard. In Proceedings of the 1996 International Computer Music Conference (pp. 458-460). San Francisco: ICMA.

1995

  • H. Honing (1995). The vibrato problem: comparing two solutions. Computer Music Journal, 19(3), 32-49.

academic publications (17)


2011

  • H. Honing (2011). The illiterate listener. On music cognition, musicality and methodology. Amsterdam: Amsterdam University Press.
  • H. Honing (2011). Musical Cognition. A Science of Listening. New Brunswick, N.J.: Transaction Publishers.

2010

2009

  • H. Honing (2009). Iedereen is muzikaal: Wat we weten over het luisteren naar muziek. Amsterdam: Nieuw Amsterdam Uitgevers.

2008

  • L.M. Smith & H. Honing (2008). A multiresolution model of rhythmic expectancy. In K. Miyazaki, Y. Hiraga, M. Adachi, Y. Nakajima & M. Tsuzaki (Eds.), Proceedings of the 10th International Conference on Music Perception and Cognition (ICMPC 10), Sapporo, Japan (pp. 360-365). Sapporo: Hokkaido University.

2005

1996

  • P. Desain & H. Honing (1996). Modeling Continuous Aspects of Music Performance: Vibrato and Portamento. In Proceedings of the 4th International Music Perception and Cognition Conference. Montreal: McGill University.
  • P. Desain & H. Honing (1996). Mentalist and physicalist models of expressive timing. In Abstracts of the 1996 Rhythm Perception and Production Workshop (pp. 14). Munchen: Max Planck-Institute.

1995

  • H. Honing & P. Desain (1995). Computational models of beat induction: the rule-based approach. In G. Widmer (Ed.), Working Notes: Artificial Intelligence and Music (pp. 1-10). Montreal: IJCAI.
  • H. Honing & P. Desain (1995). Computational models of beat induction: the rule-based approach. In G. Widmer (Ed.), Working Notes: Artificial Intelligence and Music (pp. 1-10). Montreal: IJCAI.
  • P. Kappert, P. Desain & H. Honing (1995). Expresso: het retoucheren (en analyseren) van pianouitvoeringen. In Abstracts vijfde congres Nederlandse Vereniging voor Psychonomie (pp. 20-21). Leiden: Vereniging voor Psychonomie.

1994

  • H. Honing & P. Desain (1994). Foot-tapping: a brief introduction to beat induction. Proceedings of the 1994 International Computer Music Conference, 20, 78-79.
  • H. Honing & P. Desain (1994). Does expressive timing in music performance scale proportionally with tempo? Psychological Research, 56(4), 285-292.
  • H. Honing & P. Desain (1994). Can music cognition benefit from computer music research? From foot-tapper systems to beat induction models. Proceedings of the ICMPC 1994, 3, 397-398.
  • H. Honing & P. Desain (1994). Advanced issues in beat induction modeling: syncopation, tempo and timing. Proceedings of the 1994 International Computer Music Conference, 20, 92-94.
  • H. Honing & P. Desain (1994). Rule-based models of initial beat induction and an analysis of their behaviour. Proceedings of the 1994 International Computer Music Conference, 20, 80-82.
  • H. Honing & P. Desain (1994). Towards algorithmic descriptions for continuous modulations of musical parameters. In Proceedings of the 1995 International Computer Music Conference (pp. 393-395). San Francisco: ICMA.

professional publications (11)


2011

  • H. Honing (2011). Muziek is geen luxe ... maar wat dan wel? [Review of the book The music instinct: How music works and why we can't do without it]. .

2010

2008

2007

2006

  • H. Honing (2006). How to make a machine listen? Intensive Science (Sony Computer Science Laboratoy), 21.

2004

  • H. Honing (2004). Wiskunde en muziekcognitie. Nieuw Archief voor Wiskunde, 5(3), 228-231.
  • H. Honing (2004). Muziek de maat genomen. Over de groeiende rol van theorie en observatie in de musicologie. De Academische Boekengids, 4(7), 23-23.
  • H. Honing (2004). Een vertelling over muziek, motoriek en metafoor. Mens en Melodie, 59(5), 5-9.

1998

  • H. Honing (1998). Vergelijking MIDI-files: deskundige rapport (rechtzaak Utrecht). Nijmegen: Universiteit van Amsterdam / Universiteit van Nijmegen.

1997

  • P. Desain & H. Honing (1997). Music, Mind, Machine: beatinductie computationeel modelleren. Informatie, 48-53.

popular scientific publications (11)


2011

  • H. Honing (05-21-2011). We zijn het enige dier met maatgevoel. Algemeen Dagblad
  • H. Honing (05-05-2011). We zijn het enige dier met maatgevoel. Parool
  • H. Honing, E.J.A. Scherder & D. Swaab (06-18-2011). Amuzikaal zijn is de grote uitzondering. Volkskrant, Opinie & Debat
  • H. Honing (10-10-2011). De mensen zijn muzikaal, de dieren niet. Friesch Dagblad

2006

  • H. Honing (03-18-2006). De analfabetische luisteraar (kan ook Groot Luisteren) [The illiterate listener]. NRC Handelsblad, pp. 19.

2004

  • H. Honing (11-03-2004). Het geheim van de syncope. Over muziekcognitie, meten aan uitvoeringen, spannende ritmes, en de aandacht van baby's. De Groene Amsterdammer 45, pp. 28-29.

1996

  • P. Desain & H. Honing (1996). Pas op voor de tempocurve! [Beware of the Tempo Curve]. Nieuwsbrief Nederlandse Vereniging voor Psychonomie, 2, 11-13.
  • P. Desain & H. Honing (1996). Pas op voor de tempocurve! [Beware of the Tempo Curve]. Nieuwsbrief Nederlandse Vereniging voor Psychonomie, 1, 4-7.
  • P. Desain & H. Honing (1996). Pas op voor de tempocurve! [Beware of the Tempo Curve]. Nieuwsbrief Nederlandse Vereniging voor Psychonomie, 3, 8-11.

1995

  • H. Honing & P. Desain (1995). Computationeel modelleren van beat-inductie. In Van frictie tot wetenschap. Jaarboek 1994-1995 (pp. 83-95). Vereniging van Academie-onderzoekers.
  • H. Honing & P. Desain (1995). Computationeel modelleren van beat-inductie. In @ @ (Ed.), Van frictie tot wetenschap. Jaarboek 1994-1995 (pp. 83-95). Amsterdam: Vereniging van Akademie-onderzoekers.
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