Eric Clarke | Academic Influence

Eric Clarke 's AcademicInfluence.com Rankings

Eric Clarke

Philosophy

#11345

World Rank

#15617

Historical Rank

Logic

#8173

World Rank

#10182

Historical Rank

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Philosophy

Eric Clarke 's Degrees

Bachelors Music University of Oxford

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Why Is Eric Clarke Influential?

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According to Wikipedia, Eric Fillenz Clarke, has been the Heather Professor of Music at the University of Oxford since 2007. He was educated at the University of Sussex, where he obtained a BA and an MA in Music, and then at the University of Exeter, obtaining a PhD in Psychology. He taught at the City University London from 1981 to 1993, becoming Reader in Music in 1991. He was James Rossiter Hoyle Professor of Music at the University of Sheffield from 1993 to 2007, when he moved to Oxford University. His publications include Ways of Listening and various articles on the perception and psychology of music. He was appointed a Fellow of the British Academy in July 2010.

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Eric Clarke 's Published Works

Number of citations in a given year to any of this author's works

Total number of citations to an author for the works they published in a given year. This highlights publication of the most important work(s) by the author

Published Works

Ways of Listening: An Ecological Approach to the Perception of Musical Meaning (2005) (459)
Rhythm and Timing in Music (1999) (279)
Generative principles in music performance. (1988) (261)
Syncopation, Body-Movement and Pleasure in Groove Music (2014) (226)
Dyslexia and music: measuring musical timing skills. (2003) (190)
Perceiving Musical Time (1990) (151)
An Ergonomic Model of Keyboard Fingering for Melodic Fragments (1997) (99)
Metre and rhythm in piano playing (1985) (98)
The perception of expressive timing in music (1989) (94)
Meaning and the Specification of Motion in Music (2001) (83)
Imitating and Evaluating Real and Transformed Musical Performances (1993) (80)
The Practice of Performance: Expression in performance: generativity, perception and semiosis (1995) (79)
Timing in the performance of Erik Satie's ‘Vexations’ ☆ (1982) (77)
Music and Consciousness: Philosophical, Psychological, and Cultural Perspectives (2011) (73)
25th Annual Computational Neuroscience Meeting: CNS-2016 (2016) (71)
Empirical Methods in the Study of Performance (2004) (69)
Levels of structure in the organization of musical time (1987) (68)
Expressive Timing and Dynamics in Real and Artificial Musical Performances: Using an Algorithm as an Analytical Tool (1997) (66)
Determinants of finger choice in piano sight-reading. (1998) (64)
Crossmodal interactions in the perception of expressivity in musical performance (2014) (56)
Analyzing Musical Sound (2004) (49)
The Imitation of Perceived Rubato: A Preliminary Study (1987) (48)
Some Aspects of Rhythm and Expression in Performances of Erik Satie's "Gnossienne No. 5" (1985) (41)
Syncopation affects free body-movement in musical groove (2017) (40)
Interpretation and performance in Bryn Harrison's être-temps (2005) (39)
Real and Simulated Expression: A Listening Study (2000) (36)
Mind the gap: formal structures and psychological processes in music (1989) (34)
Effects of Polyphonic Context, Instrumentation, and Metrical Location on Syncopation in Music (2014) (33)
Subject-position and the specification of invariants in music by Frank Zappa and P. J. Harvey (1999) (33)
The perception of audiovisual relationships : A preliminary study (1994) (29)
Expression and communication in musical performance (1991) (28)
Generativity, mimesis and the human body in music performance (1993) (27)
Talking Fingers: An Interview Study of Pianists' Views on Fingering (1997) (26)
Creativity in performance (2005) (26)
Musical Performance: Understanding the psychology of performance (2002) (24)
Theory, Analysis and the Psychology of Music: A Critical Evaluation of Lerdahl, F. and Jackendoff, R., A Generative Theory of Tonal Music (1986) (21)
INTERACTION OF SIGHT AND SOUND IN THE PERCEPTION AND EXPERIENCE OF MUSICAL PERFORMANCE (2016) (21)
Interdependence of Right and Left Hands in Sight‐Read, Written, and Rehearsed Fingerings of Parallel Melodic Piano Music (1999) (19)
Do visual cues intensify the emotional responses evoked by musical performance? A psychophysiological investigation. (2016) (17)
The semiotics of expression in musical performance (1998) (16)
Issues in language and music (1989) (16)
Correction: Syncopation, Body-Movement and Pleasure in Groove Music (2015) (15)
Making and Hearing Virtual Worlds: John Culshaw and the Art of Record Production (2007) (14)
Musical Performance: Listening to performance (2002) (12)
Music perception and musical consciousness (2011) (10)
The Tulving-Wiseman law and the recognition of recallable music (1990) (10)
Making and Hearing Meaning in Performance (2006) (9)
Creativity, Collaboration and Development in Jeremy Thurlow’s Ouija for Peter Sheppard Skærved (2016) (7)
Expressive Performance in Contemporary Concert Music (2014) (7)
Fluid practices, solid roles? : The Evolution of Forlorn Hope (2017) (7)
Music, Sound and Space: Music, space and subjectivity (2013) (7)
Music and Consciousness 2: Worlds, Practices, Modalities (2019) (5)
The body in performance (2017) (5)
Boundaries, Expectations and Empirical Research: A Commentary on Judith Becker's "Crossing Boundaries" (2009) (5)
Christopher Longuet-Higgins (2004) (4)
'...and I feel good!' The relationship between body-movement, pleasure and groove in music (2013) (4)
Musical events and perceptual ecologies (2018) (3)
Music and consciousness: A continuing project* (2014) (2)
Jimi Hendrix's “Star Spangled Banner” (2005) (2)
Processos cognitivos na performance musical (1999) (2)
Commentary on Huovinen's "Varieties of Musical Empiricism" (2006) (2)
A Discussion on the Relationships between Music Therapy and The Psychology of Music (1988) (2)
Commentary on Huovinen ’ s “ Varieties of Musicological Empiricism ” (2006) (2)
Rhythmic complexity, body-movement and pleasure in groove music (2014) (2)
Empathic entanglements : Music, motion, dance (2017) (2)
Technologies for investigating large ensemble performance (2021) (2)
Distributed Creativity and Ecological Dynamics in Liza Lim’s Tongue of the Invisible (2013) (1)
Perception and Critique: Ecological Acoustics, Critical Theory and Music (1997) (1)
Digital Methods for the Study of the Nineteenth-Century Orchestra (2020) (1)
25th Annual Computational Neuroscience Meeting: CNS-2016 (2016) (0)
Distributed Creativity in 'Tongue of the Invisible' (2012) (0)
Book Review (1993) (0)
Subject‐Position in Music (2005) (0)
Proceedings of the Society, 1996 (1997) (0)
Notes on Article Contributors (2021) (0)
Music, Motion, and Subjectivity (2005) (0)
Running head : INTERACTION OF SIGHT AND SOUND Interaction of Sight and Sound in the Perception and Experience of Musical Performance Authors : (2017) (0)
Perceiving Musical Time Author ( s ) : (2008) (0)
Crossmodal interactions in the perception of expressivity in musical performance (2013) (0)
Perceiving Musical Time Author ( s ) : (2008) (0)
Rhythmogram analysis of human and synthetic performance (1994) (0)
The Set Ensemble at the "Concept as Score - Wandelweiser and Fluxus" concert, Audiograft 2011 (2011) (0)
The First Movement of Beethoven's String Quartet in A Minor, Op. 132 (2005) (0)
Proceedings of the Experimental Psychology Society 1997 (1997) (0)
Autonomy/Heteronomy and Perceptual Style (2005) (0)
Empathy and the ecology of musical consciousness (2019) (0)
Portfolio of compositions (Canti Sacri, Cantico, …ed erra l’armonia…, Pneuma) and dissertation (An exploration of the connections between music theory and cognition in composition) (2012) (0)
Reviews: Cognition through Colour, Music and Connectionism (1993) (0)
Perception, Ecology, and Music (2005) (0)
Cultural Studies, the English Major, and Doctoral Education (2004) (0)
Analysing musical sounds (ˆ para”tre) (2003) (0)
Syncopation affects free body-movement in musical groove (2016) (0)
Setting the Record Straight. A Material History of Classical Recording by Colin Symes. Middletown, CT: Wesleyan University Press, 2004. 384 pp, £27.95, hardback. ISBN 0819567213 (2007) (0)
Sonic Multiplicities: Hong Kong Pop and the Global Circulation of Sound and Image by Yiu Fai Chow and Jeroen de Kloet (review) (2013) (0)
Acoustical specification and musical meaning (1999) (0)

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