Embedded Files
2026
2026
Acosta, E. A. M., & Sears, D. R. W. (2026). On edge: Multimodal expectations for jump scares in horror films. Psychology of Aesthetics, Creativity, and the Arts. Advance online publication. https://doi.org/10.1037/aca0000855 [pdf here]
Acosta, E. A. M., & Sears, D. R. W. (2026). (Re)Considering the jump scare in four elements. Frontiers in Psychology, 16, 1569394. https://doi.org/10.3389/fpsyg.2025.1569394 [pdf here]
Windholz, M. O., Sears, D. R. W., & Moss, F. C. (2026). Harmonic patterns in Brazilian choro, Western classical, and Anglophone popular music: A data-driven comparison. MusMat: Brazilian Journal of Music and Mathematics, 10(1), 54–71. https://doi.org/10.46926/musmat.2026v10.54-71 [pdf here]
2025
2025
Henry, M. J., Obleser, J., Crusey, M. R., et al. (2025). How strong is the rhythm of perception? A registered replication of Hickok et al. (2015). Royal Society Open Science, 12(6), 220497. https://doi.org/10.1098/rsos.220497 [pdf here]
Sears, D. R. W. (2025). Music listening and the priming paradigm: Then and now. Journal of Experimental Psychology: Human Perception and Performance, 51(7), 834–836. https://doi.org/10.1037/xhp0001305 [pdf here] [RIS here]
Sears, D. R. W. (2025). Review of How sonata forms: A bottom-up approach to musical form. Music Theory Spectrum. 47. 10.1093/mts/mtaf007
2024
2024
Nguyen, N. V. T., Acosta, E. A. M., Dang, T., & Sears, D. R. W. (2024). Exploring internet radio across the globe with the MIRAGE online dashboard. Proceedings of the 25th International Society for Music Information Retrieval Conference, 251–255. https://doi.org/10.5281/zenodo.13905024 [pdf here]
Sears, D. R. W. (2024). String-Based Methods for Tonal Harmony: A Corpus Study of Haydn String Quartets' (21 Mar. 2024), in Daniel Shanahan, John Ashley Burgoyne, and Ian Quinn (eds), The Oxford Handbook of Music and Corpus Studies (online edn, Oxford Academic, 14 Feb. 2022 - ), https://doi.org/10.1093/oxfordhb/9780190945442.013.17 [pdf here] [RIS here]
Sears, D. R. W. (2024). Editorial. Music Perception 1 September 2024; 42 (1): 1–2. doi: https://doi.org/10.1525/mp.2024.42.1.1
2023
2023
Sears, D. R. W., Verbeten, J. E., & Percival, H. M. (2023, May 25). Does Order Matter? Harmonic Priming Effects for Scrambled Tonal Chord Sequences. Journal of Experimental Psychology: Human Perception and Performance. https://dx.doi.org/10.1037/xhp0001103
2021
2021
Abri, F., Gutierrez, L. F., Datta, P., Sears, D. R. W., Namin, A. S., & Jones, K. S. (2021). A comparative analysis of modeling perceived and induced emotions in sonification. Electronics, 10(20), 2519. doi: 10.3390/electronics10202519 [pdf here] [RIS here]
Forrest, D., Beavers, J., Clifton, K., & Sears, D. R. W. (2021). Review of The Routledge Companion to Music Theory Pedagogy. Journal of Music Theory Pedagogy. [pdf here] [RIS here]
Harasim, D., Finkensiep, C., Bigo, L., Giraus, M., Leve, F., Sears, D. R. W., Shanahan, D., & Rohrmeier, M. (2021). Music cognition: The complexity of musical structure. In Proceedings of the Annual Meeting of the Cognitive Science Society, 43. Vienna, Austria.
Sears, D. R. W. (In press). String-based methods for tonal harmony. In D. Shanahan, J. A. Burgoyne, & I. Quinn (Ed.), Oxford Handbook of Music & Corpus Studies. Oxford: Oxford University Press. [pdf here] [RIS here]
Sears, D. R. W., & Forrest, D. (2021). Triadic patterns across classical and popular music corpora: Stylistic conventions, or characteristic idioms? Journal of Mathematics and Music, 15(2), 140–153. doi: 10.1080/17459737.2021.1925762 [pdf here] [RIS here]
Sears, D. R. W., Verbeten, J. E., & Percival, H. M. (2021). Intonation discrimination for tonal chord sequences in a priming paradigm: Effects of target predictability and musical expertise. Auditory Perception & Cognition. doi: 10.1080/25742442.2021.1972744 [pdf here] [RIS here]
Weintraub, M. S., & Sears, D. R. W. (2021). Why making matters online: The Pinterest-DIY data set. In Association of Internet Research (AoIR) Selected Papers of Internet Research, Online. doi: 10.5210/spir.v2021i0.12262 [pdf here] [RIS here]
2020
2020
Abri, F., Namin, A. S., Sears, D. R. W., & Jones, K. (2020). Predicting emotions perceived from sounds. In Proceedings of the IEEE Conference on BigData 2020, 2057-64. Atlanta, Georgia. doi: 10.1109/BigData50022.2020.9377842 [pdf here] [RIS here]
Sears, D. R. W., Spitzer, J., Caplin, W. E., & McAdams, S. (2020). Expecting the end: Continuous expectancy ratings for tonal cadences. Psychology of Music, 48(3), 358–375. doi: 10.1177/0305735618803676 [pdf here] [RIS here]
Sears, D. R. W., & Widmer, G. (2020). Beneath (or beyond) the surface: Discovering voice-leading patterns with skip-grams. Journal of Mathematics and Music, 15(3), 209–234. doi: 10.1080/17459737.2020.1785568 [pdf here] [RIS here]
2019
2019
Sears, D. R. W., Pearce, M. T., Spitzer, J., Caplin, W. E., & McAdams, S. (2019). Expectations for tonal cadences: Sensory and cognitive priming effects. Quarterly Journal of Experimental Psychology, 72(6), 1422-38. doi: 10.1177/1747021818814472 [pdf here] [RIS here]
2018
2018
Korzeniowski, F., Sears, D. R. W., & Widmer, G. (2018). "A large-scale study of language models for chord prediction." In Proceedings of the 2018 IEEE International Conference on Acoustics, Speech and Signal Processing (ICASSP 2018). Calgary, Canada. doi: 10.1109/ICASSP.2018.8462285 [pdf here] [RIS here]
Sears, D. R. W., Korzeniowski, F., & Widmer, G. (2018). "Evaluating language models of tonal harmony." In Proceedings of the 19th International Society for Music Information Retrieval (ISMIR), 211–217. Paris, France. [pdf here] [RIS here]
Sears, D. R. W., Pearce, M. T., Caplin, W. E., & McAdams, S. (2018). Simulating melodic and harmonic expectations for tonal cadences using probabilistic models. Journal of New Music Research, 47(1), 29–52. doi: 10.1080/09298215.2017.1367010 [pdf here] [RIS here]
2017
2017
Cancino-Chacón, C. E., Grachten, M., Sears, D. R. W., & Widmer, G. (2017). "What were you expecting? Using expectancy features to predict expressive performances of classical piano music." In Music and Machine Learning (MML), 7–12. Barcelona, Spain. [pdf here] [RIS here]
Nikrang, A., Sears, D. R. W., & Widmer, G. (2017). "Automatic estimation of harmonic tension by distributed representation of chords." In Proceedings of the 13th International Symposium on Computer Music Multidisciplinary Research (CMMR), 21–32. doi: 10.1007/978-3-030-01692-0_2 [pdf here] [RIS here]
Ogg, M., Sears, D. R. W., Marin, M., & McAdams, S. (2017). Psychophysiological indices of music-evoked emotions in musicians. Music Perception, 35(1), 38–59. doi: 10.1525/mp.2017.35.1.38 [pdf here] [RIS here]
Sears, D. R. W., Arzt, A., Frostel, H., Sonnleitner, R., & Widmer, G. (2017). "Modeling harmony with skip-grams." In Proceedings of the 18th International Society for Music Information Retrieval (ISMIR), 332–338. Suzhou, China. [pdf here] [RIS here]
2016
2016
Chuen, L., Sears, D. R. W., & McAdams, S. (2016). Psychophysiological responses to auditory change. Psychophysiology, 53(6), 891–904. doi: 10.1111/psyp.12633 [pdf here] [RIS here]
2015
2015
Pre-2015
Pre-2015
Sears, D. R. W., Caplin, W. E., & McAdams, S. (2014). Perceiving the classical cadence. Music Perception, 31(5), 397–417. doi: 10.1525/mp.2014.31.5.397 [pdf here] [RIS here]
Trochidis, K., Sears, D. R. W., Trân, D.-L., & McAdams, S. (2013). Psychophysiological measures of emotional response to romantic orchestral music and their musical and acoustic correlates. In M. Aramaki, M. Barthet, R. Kronland-Martinet, & S. Ystad (Eds.), From Sounds to Music and Emotions (pp. 44–57). Berlin, Heidelberg: Springer Berlin Heidelberg. [pdf here] [RIS here]
Sears, D. R. W. (2011). What is a cadence? Theoretical and analytical perspectives on cadences in the classical repertoire. Conference Report. Eighteenth Century Music, 8(2), 361–364. doi: 10.1017/S1478570611000248 [pdf here] [RIS here]
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