Rainer Polak

• Rainer Polak, Anne Danielsen, Nori Jacoby, Lara Pearson, Samuel Horlor & Stephane Vincent B Aubinet [Show all 8 contributors for this article] (2026). Culture in psychology and neuroscience: Concepts, relevance, and empirical evidence in rhythm perception. Physics of Life Reviews. ISSN 1571-0645. 58, p. 196–222. doi: 10.1016/j.plrev.2026.07.002. Full text in Research Archive Show summary

  Perceptual systems adapt through individual experience across the lifespan, an ability referred to as plasticity. To understand perceptual plasticity, a promising avenue is to investigate how perception is shaped by cultural experience, as a process deeply embedded within collective practices of cultural production and social learning. The current review synthesizes findings from recent behavioral experiments investigating cross-cultural variation in rhythm perception. Specifically, these studies show that fundamental perceptual processes, such as event timing and rhythm categorization, display shared features but also systematic differences across cultural groups. Critically, these differences correlate with statistically prominent and socially relevant features of cultural production, revealing how perceptual systems are tuned to their music-cultural environments. Yet, how can cross-cultural differences in perception be related back to the collective practices that produce the diversity of cultural environments in the first place? To bridge this gap, we propose perceptual niche construction as an evolutionary approach that positions culture as both a source and a product of perceptual plasticity. That is, cultural experience tunes individual perception, yielding culturally diverse perceptual processes. These processes, in turn, function as cultural selection pressures shaping collective practices across nested timescales, thus contributing back to the diversity of cultural environments in which perception is tuned. Notably, this approach has important implications for research in psychology and neuroscience: it operationalizes culture as communities of practice, highlights the relevance of contextually situated research, and accounts for the coevolutionary nature of culture-driven perceptual plasticity.

• Rainer Polak (2026). Performance in the Round: Embedded Audiency at Music–Dance Events in Mali. Journal of the Royal Musical Association. ISSN 0269-0403. 151(1), p. 161–181. doi: 10.1017/rma.2026.10066. Full text in Research Archive Show summary

  Abstract In many West African dance-drumming genres, the emphasis is on involving the gathered community in the performance, inviting them to take turns dancing. In such performance contexts, there is no audience in the strict sense, no group of participants who are not themselves directly involved as performers. Based on ethnographic case studies of music–dance events in rural southern Mali, this article argues for the concept of embedded audiency, showing how musicians provide dancers with the crucial contributions of audiency to performance: focused attention, social recognition, and meaning.

• Rainer Polak, Lara Pearson & Samuel Horlor (2026). Round Table: Audiency beyond the Concert Hall: Theory and Ethnographic Case Studies. Journal of the Royal Musical Association. ISSN 0269-0403. 151(1), p. 147–160. doi: 10.1017/rma.2026.10064. Full text in Research Archive Show summary

  In recent years, the neologism audiency has found traction as a direct counterpart to the term performance , not least among theatre and performance scholars. 1 It announces audience research that is inclined to understand phenomena of witnessing as action and as involved in processes that stand in a mutually constitutive relationship with performance. This contrasts with the more familiar focus on groups of people (‘audiences’) and their constituent role identities (‘audience members’). Building on existing work, this round table seeks to further develop the audiency perspective by applying it to contexts outside of concert scenarios and other events characterized by a stable separation of counterposed performer and audience groups. We propose that considering audiency as action and opening it up to a wider range of musical contexts, ranging from rituals to games and from work to healing, can bring a deeper sense of its centrality in musical life.

• Diego Marin-Bucio, Anne Danielsen, Noumouke Doumbia & Rainer Polak (2026). Memory in performance: kinesthetic and procedural dimensions of skill acquisition in dance improvisation. Frontiers in Psychology. 17. doi: 10.3389/fpsyg.2026.1751590. Full text in Research Archive Show summary

  Improvisation is central to creative behavior across artistic and everyday domains, yet it is often portrayed as either pure freedom or rule-bound execution. While research in music and dance has shown that improvisation draws on structured kinesthetic vocabularies, less is known about how cultural rhythm and embodied memory interact in real time within and across genres. This study addresses that gap through ethnographic fieldwork in West Africa, where the first author, trained in contemporary dance, engaged in learning and performing Malian djembe dance. Drawing on autoethnography with a phenomenological orientation, alongside participant observation and conversations with Malian drummers and dancers, the analysis examines how kinesthetic and procedural memories inform real-time performance. Findings suggest that improvisation operates through culturally specific ways of sensing and attending to movement: dancers navigate genre-specific repertoire, rhythmic cues, and bodily affordances to evoke and transform embodied material. However, rather than merely reproducing fixed repertorial units , dancers also reconfigure embodied resources such as movement qualities in responsive and inventive ways. Our research supports the view of improvisation as structured play rather than unbound invention and advances the discourse by emphasizing the reconstructive play of embodied recall—how cultural and personal memories are recomposed in performance. Overall, the study contributes to understanding improvisation as a cognitive and cultural process: not the free invention of form but the creative reorganization of embodied memories within shared perceptual and rhythmic systems.

• Emmanuel Coulon, Sacha Baum, Tomas Lenc, Rainer Polak & Sylvie Nozaradan (2025). Neural representation of the musical beat is facilitated but not contingent on the repetition of rhythmic patterns. Scientific Reports. 16(1). doi: 10.1038/s41598-025-30780-1. Full text in Research Archive Show summary

  Music often entails perception of periodic beats which serve as internal temporal references to coordinate movements to music. Crucially, beat perception arises even in syncopated musical rhythms, which only weakly cue the beat periodicity. However, syncopated rhythms are often looped in music, suggesting that repetition of rhythmic patterns may facilitate beat perception by providing a periodic structure at a supra-second timescale. Here, we tested this hypothesis by recording separately electroencephalographic (EEG) and behavioral responses (finger tapping) while participants listened to different syncopated rhythmic sequences. These sequences either consisted of a repeated pattern (repetition of 4.8 and 9.6-s-long patterns) or were generated without repetition. Despite the degradation of pattern repetition, neural activity showed a periodized representation of the rhythmic input across conditions, at periodicities corresponding to those expressed in behavioral responses. However, this neural activity was further enhanced in the condition with shorter repeated patterns. Thus, pattern repetition was not necessary but strengthened the neural representation of the beat, demonstrating that supra-second periodicities in the rhythmic input further enhance sub-second periodicities in neural activity. These findings highlight the multiscale temporal processing of musical rhythm, and, more generally, complex rhythmic inputs involved in interpersonal interaction and communication.

• Cédric Lenoir, Tomas Lenc, Rainer Polak & Sylvie Nozaradan (2025). Behavior-Relevant Periodized Neural Representation of Acoustic But Not Tactile Rhythm in Humans. Journal of Neuroscience. ISSN 0270-6474. 45(46), p. 1–14. doi: 10.1523/jneurosci.0664-25.2025. Full text in Research Archive Show summary

  Music makes people move. This human propensity to coordinate movement with musical rhythm requires multiscale temporal integration, allowing fast sensory events composing rhythmic input to be mapped onto slower, behavior-relevant, internal templates such as periodic beats. Relatedly, beat perception has been shown to involve an enhanced representation of the beat periodicities in neural activity. However, the extent to which this ability to move to the beat and the related “periodized” neural representation are shared across the senses beyond audition remains unknown. Here, we addressed this question by recording separately the electroencephalographic (EEG) responses and finger tapping to a rhythm conveyed either through acoustic or tactile inputs in healthy volunteers of either sex. The EEG responses to the acoustic rhythm, spanning a low-frequency range (below 15 Hz), showed enhanced representation of the perceived periodic beat, compatible with behavior. In contrast, the EEG responses to the tactile rhythm, spanning a broader frequency range (up to 25 Hz), did not show significant beat-related periodization and yielded less stable tapping. Together, these findings suggest a preferential role of low-frequency neural activity in supporting neural representation of the beat. Most importantly, we show that this neural representation, as well as the ability to move to the beat, is not systematically shared across the senses. More generally, these results, highlighting multimodal differences in beat processing, reveal a process of multiscale temporal integration that allows the auditory system to go beyond mere tracking of onset timing and to support higher-level internal representation and motor entrainment to rhythm.

• Rainer Polak (2025). From Mali to Ghana: Pulsation Non-Isochrony in West African Percussion Music Genres. Analytical Approaches to African Music. 1(1). doi: https:/africa.iftawm.org/aaam-vol-1-iss-1/https:/africa.iftawm.org/aaam-vol-1-iss-1/. Full text in Research Archive Show summary

  Most theories of African music emphasize the diversity of musical styles in Africa. Still, many also hold on to the notion of Africa being a uniform area with a high degree of stylistic coherence. This paper questions that latter notion by comparing different genres of West African percussion ensemble music from Mali and Ghana concerning the temporal structure of the fast pulse (metric beat division). On this basis, the paper asks whether it is empirically plausible to represent African music by identifying a singular ideal type of African rhythm. The main result is that uneven beat subdivision timing patterns (pulsation non-isochrony) and the superimposition (nesting) of binary and ternary subdivision layers play a substantial role in genres from Mali (Mande) and northern Ghana (Dagbamba) but not in southern and central Ghana (Ewe, Asante). This finding contradicts the widespread assumption that, in African rhythmic systems, the fast pulse in general is structurally isochronous and either binary or ternary. The paper concludes that African rhythmic systems exhibit a greater diversity than theories of African rhythm have indicated and that Africanist music research should emphasize this diversity more consistently than it has done so far.

• Francesca M. Barbero, Tomas Lenc, Nori Jacoby, Rainer Polak, Manuel Varlet & Sylvie Nozaradan (2025). Revealing rhythm categorization in human brain activity. Science Advances. 11(31). doi: 10.1126/sciadv.adu9838. Full text in Research Archive Show summary

  Humans across cultures show an outstanding capacity to perceive, learn, and produce musical rhythms. These skills rely on mapping the infinite space of possible rhythmic sensory inputs onto a finite set of internal rhythm categories. What is the nature of the brain processes underlying rhythm categorization? We used electroencephalography to measure brain activity as human participants listened to a continuum of rhythmic sequences characterized by repeating patterns of two interonset intervals. Using frequency and representational similarity analyses, we show that brain activity does not merely track the temporal structure of rhythmic inputs but, instead, produces categorical representation of rhythms. These neural rhythm categories arise automatically, independent of any motor- or timing-related tasks, yet exhibit strong similarity with categorization observed in overt behavior. Together, these results and methodological advances constitute a critical step toward understanding the biological roots and diversity of musical behaviors across cultures.

• Tomas Lenc, Cédric Lenoir, Peter Keller, Rainer Polak, Dounia Mulders & Sylvie Nozaradan (2025). Measuring self-similarity in empirical signals to understand musical beat perception. European Journal of Neuroscience. ISSN 0953-816X. 61(2). doi: 10.1111/ejn.16637. Full text in Research Archive Show summary

  Experiencing music often entails the perception of a periodic beat. Despite being a widespread phenomenon across cultures, the nature and neural underpinnings of beat perception remain largely unknown. In the last decade, there has been a growing interest in developing methods to probe these processes, particularly to measure the extent to which beat-related information is contained in behavioral and neural responses. Here, we propose a theoretical framework and practical implementation of an analytic approach to capture beat-related periodicity in empirical signals using frequency-tagging. We highlight its sensitivity in measuring the extent to which the periodicity of a perceived beat is represented in a range of continuous time-varying signals with minimal assumptions. We also discuss a limitation of this approach with respect to its specificity when restricted to measuring beat-related periodicity only from the magnitude spectrum of a signal and introduce a novel extension of the approach based on autocorrelation to overcome this issue. We test the new autocorrelation-based method using simulated signals and by re-analyzing previously published data and show how it can be used to process measurements of brain activity as captured with surface EEG in adults and infants in response to rhythmic inputs. Taken together, the theoretical framework and related methodological advances confirm and elaborate the frequency-tagging approach as a promising window into the processes underlying beat perception and, more generally, temporally coordinated behaviors.

• Nori Jacoby, Rainer Polak, Jessica A. Grahn, Daniel J. Cameron, Kyung Myun Lee & Ricardo Godoy [Show all 34 contributors for this article] (2024). Commonality and variation in mental representations of music revealed by a cross-cultural comparison of rhythm priors in 15 countries. Nature Human Behaviour. p. 846–877. doi: 10.1038/s41562-023-01800-9. Full text in Research Archive Show summary

  Music is present in every known society but varies from place to place. What, if anything, is universal to music cognition? We measured a signature of mental representations of rhythm in 39 participant groups in 15 countries, spanning urban societies and Indigenous populations. Listeners reproduced random ‘seed’ rhythms; their reproductions were fed back as the stimulus (as in the game of ‘telephone’), such that their biases (the prior) could be estimated from the distribution of reproductions. Every tested group showed a sparse prior with peaks at integer-ratio rhythms. However, the importance of different integer ratios varied across groups, often reflecting local musical practices. Our results suggest a common feature of music cognition: discrete rhythm ‘categories’ at small-integer ratios. These discrete representations plausibly stabilize musical systems in the face of cultural transmission but interact with culture-specific traditions to yield the diversity that is evident when mental representations are probed across many cultures.

• Kelly Jakubowski, Rainer Polak, Martín Rocamora, Luis Jure & Nori Jacoby (2022). Aesthetics of musical timing: Culture and expertise affect preferences for isochrony but not synchrony. Cognition. ISSN 0010-0277. 227. doi: 10.1016/j.cognition.2022.105205. Full text in Research Archive Show summary

  Expressive communication in the arts often involves deviations from stylistic norms, which can increase the aesthetic evaluation of an artwork or performance. The detection and appreciation of such expressive deviations may be amplified by cultural familiarity and expertise of the observer. One form of expressive communication in music is playing “out of time,” including asynchrony (deviations from synchrony between different instruments) and non-isochrony (deviations from equal spacing between subsequent note onsets or metric units). As previous research has provided somewhat conflicting perspectives on the degree to which deviations from synchrony and isochrony are aesthetically relevant, we aimed to shed new light on this topic by accounting for the effects of listeners' cultural familiarity and expertise. We manipulated (a)synchrony and (non-)isochrony separately in excerpts from three groove-based musical styles (jazz, candombe, and jembe), using timings from real performances. We recruited musician and non-musician participants (N = 176) from three countries (UK, Uruguay, and Mali), selected to vary in their prior experience of hearing and performing these three styles. Participants completed both an aesthetic preference rating task and a perceptual discrimination task for the stimuli. Our results indicate an overall preference toward synchrony in these styles, but culturally contingent, expertise-dependent preferences for deviations from isochrony. This suggests that temporal processing relies on mechanisms that vary in their dependence on low-level and high-level perception, and emphasizes the role of cultural familiarity and expertise in shaping aesthetic preferences.

• Rainer Polak & Doumbia Noumouké (2022). Learning to dance in rural Mali. In Anne von Bibra Wharton & Dalia Urbanavičienė (Ed.), Dance and Economy, Dance Transmission: Proceedings of the 31st Symposium of the International Council for Traditional Music (ICTM) Study Group on Ethnochoreology. Lithuanian Academy of Music and Theatre. ISSN 9783496028406. p. 282–290. doi: 10.17613/v38jb-wys18. Full text in Research Archive
• Rainer Polak & Justin London (2022). Tempo, meter, and form: An analysis of “Dansa” from Mali. In Lawrence Beaumont Shuster, Somangshu Mukherji & Noe Dinnerstein (Ed.), Trends in Word Music Analysis. Routledge. ISSN 9780367470548. p. 132–159. Full text in Research Archive
• Justin London, Nori Jacoby & Rainer Polak (2022). Theoretical and Practical Aspects of Cross-Cultural Corpus Studies: Two Case Studies from Mali. In Shanahan Daniel, Burgoyne John Ashley & Quinn Ian (Ed.), The Oxford Handbook of Music and Corpus Studies. Oxford University Press. ISSN 9780190945473. doi: 10.1093/oxfordhb/9780190945442.001.0001. Full text in Research Archive
• Rainer Polak (2021). Non-isochronous Metre in Music from Mali. In Mark Doffman, Emily Payne & Toby Young (Ed.), The Oxford Handbook of Time in Music. Oxford University Press. ISSN 9780190947279. p. 252–274. doi: 10.1093/oxfordhb/9780190947279.013.22. Full text in Research Archive
• Nori Jacoby, Rainer Polak & Justin London (2021). Extreme precision in rhythmic interaction is enabled by role-optimized sensorimotor coupling: analysis and modeling of West-African drum ensemble music. Philosophical Transactions of the Royal Society of London. Biological Sciences. ISSN 0962-8436. doi: 10.1098/rstb.2020.0331. Full text in Research Archive
• Melanie Wald-Fuhrmann, Lara Pearson, Tina Roeske, Christian Grüny & Rainer Polak (2021). Music as a trait in evolutionary theory: A musicological perspective. Behavioral and Brain Sciences. ISSN 0140-525X. doi: 10.1017/S0140525X20001193. Full text in Research Archive

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• Rainer Polak (2010). Festmusik als Arbeit, Trommeln als Beruf: Jenbe-Spieler in einer westafrikanischen Großstadt. Dietrich Reimer Verlag. ISBN 9783496028406. 370 p. Full text in Research Archive

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• Rainer Polak (2026). Performance and audiency in djembe music and dance. doi: https:/www.uio.no/ritmo/english/projects/djembedance/events/djembedance-symposium/. Full text in Research Archive
• Rainer Polak (2026). Multimodal cueing of meter in audio and motion data. doi: https:/www.uio.no/ritmo/english/projects/djembedance/events/djembedance-symposium/. Full text in Research Archive
• Rainer Polak (2026). Rhythm perception in djembe music and dance: experimental approaches. doi: https:/www.uio.no/ritmo/english/projects/djembedance/events/djembedance-symposium/. Full text in Research Archive
• Rainer Polak (2026). DjembeDance Symposium. doi: https:/www.uio.no/ritmo/english/projects/djembedance/events/djembedance-symposium/. Full text in Research Archive Show summary

  The DjembeDance Symposium explores what rhythm reveals when understood as a fundamentally multimodal phenomenon—integrating music and dance rather than sound alone.

• Rainer Polak & Sylvie Nozaradan (2026). Meter as Perceptual Categorization: Insights from Empirical Ethnomusicology and Cognitive Neuroscience. doi: https:/conferences.iftawm.org/conferences/schedule-registration-durham/. Full text in Research Archive Show summary

  Perceptual systems, despite exposure to constantly varying sensory inputs, do not treat each stimulus as unique. Through categorization, they differentiate between stimuli from distinct categories and generalize across those within a category. The convergence of perceptual representations into categories makes perception shareable across individuals, enabling collective social practices and cultural transmission. Growing evidence shows that cultural experience shapes individuals' perceptual categories, yielding cross-cultural differences in perception. Perceptual categorization can therefore be conceived both as a source and a product of social practice and cultural transmission. This paper advances the understanding of perceptual categorization through an interdisciplinary perspective on rhythm and meter perception, combining cognitive neuroscience (EEG) — which offers insights into how perceptual categories of rhythm develop from birth and are tuned by cultural experience — with ethnomusicology, which connects these EEG-captured rhythm categories to musical rhythm as a culture-specific process and product of collective social practice. The talk builds on recent research positing that rhythmic patterns anchored to fast non-isochronous pulses constitute metric categories, as observed in music from Mali and neighboring countries. First, using ethnography and performance-timing measurement in recordings, the authors show that fast non-isochronous metric categories are widespread across regions (e.g., Morocco, Iran, Romania) and persist across cultural conditions, from traditional live performance to digitally produced popular music (e.g., Iranian Bandari pop produced in Los Angeles). Second, the authors report ongoing cross-cultural EEG experiments comparing metric categories in brain responses of participants familiar vs. unfamiliar with music genres involving non-isochronous categories. Preliminary findings confirm that perceptual rhythm categories are significantly shaped by music-cultural environments, and that this cultural diversity in rhythm perception may in turn contribute to the rhythmic diversity in the music genres forming these cultural environments. This evidence on culture-driven perceptual plasticity has implications for music analysis, whose modeling of musical experience depends on an informed understanding of how perception operates within specific cultural groups.

• Rainer Polak (2026). Djembe Music/Dance Performance as Interaction. doi: https:/conferences.iftawm.org/conferences/schedule-registration-durham/. Full text in Research Archive Show summary

  Many West African dance-drumming genres, including djembe music/dance performance from Mali, can be understood as interaction systems in which music sustains, guides, and publicly validates community members' participation in dance. In previous research, the author has argued that, beyond motivation, multimodal coordination, collective energy, and cultural framing, a key function of music is audiency: musicians elevate participants' dance actions to the status of performance by providing focused attention and public recognition. At the same time, these systems are designed not only for predominantly adult "central" participation as dancers but also for children's "peripheral" participation, supporting informal learning and reproduction of the practice. Drawing on long-term ethnographic observation, complemented by the author's own participation as a drummer and interviews with practitioners, the talk shows that this participation framework — performance-in-the-round — is organized around three constitutive features: (1) it affords public self-presentation through "floor-taking," the dynamic negotiation of obligations and rights for participatory agency; (2) it structures floor-taking through recurring alternation between group dancing and individual dance–drum encounters, including rapid turn-taking; (3) it negotiates participation on the fly through role-switching and role-blurring between performers and audiency. The talk compares this interactional design with other settings drawing on the same repertoire: staged performance (emphasizing group coherence via pre-arranged coordination), teaching (breaking repertoire into memorizable routines via teacher–student demonstration/imitation), and urban praise-singing contexts (where song is prioritized over dance and recognition centers on donors' financial contributions). Rather than ranking these by "how participatory" they are, the paper offers a comparative account of how participation is distributed and coordinated, how these designs shape function and meaning, and how this correlates with historical trends in musical-style dynamics.

• Rainer Polak (2025). The musical beat is multimodal. Full text in Research Archive
• Rainer Polak (2025). Music is Multimodal: A Multi-Data Corpus of Music and Dance Derformance. Full text in Research Archive
• Francesca Barbero, Tomas Lenc & Rainer Polak (2025). Rhythm categorization is present in human newborns and further shaped across the lifespan. Full text in Research Archive
• Tomas Lenc, Francesca Barbero & Rainer Polak (2025). Revealing rhythm categorization in human brain activity. Full text in Research Archive
• Ségolène Guérin, Emmanuel Coulon, Tomas Lenc, Rainer Polak, Peter Keller & Sylvie Nozaradan (2025). Culture-Driven Plasticity and Imprints of Body-Movement Pace on Musical Rhythm Processing. Full text in Research Archive
• Rainer Polak, Sagar Dutta, Georgios Psaroudakis, Justin London & Nori Jacoby (2025). The musical beat is multimodal. Full text in Research Archive
• Rainer Polak, Sagar Dutta, Georgios Psaroudakis, Justin London & Nori Jacoby (2025). Music is multimodal: introducing a multi-data corpus of music and dance performance. Full text in Research Archive
• Rainer Polak (2024). Embedded Audiency: Performing as Audiencing at Music-Dance Circle Events in Mali. Full text in Research Archive
• Rainer Polak & Nori Jacoby (2024). Biological Constraints and Cultural Possibilities in Rhythm Perception. Full text in Research Archive
• Rainer Polak, Pearson Lara & Horlor Samuel (2024). Audiency Beyond the Concert Hall: An Interaction-Based, Music-Theoretical Approach. Full text in Research Archive
• Diego Antonio Marín Bucio & Rainer Polak (2024). Exploring motion capture systems in dance research: a case study of djembe dance from West Africa. Full text in Research Archive
• Rainer Polak, Andre Holzapfel & Stella Paschalidou (2024). Motion capture in the field: three reports of hardships in data collection and processing. Full text in Research Archive
• Rainer Polak (2023). Djembe Dance-Drumming from Mali and Beyond. Full text in Research Archive
• Tobias Harmeling & Rainer Polak (2023). Kann man Rhythmusgefühl lernen? (Episode in the podcast "Obligato" hosted by the German music magazine "Stereo"). [Internet]. https://obligato.blogs.julephosting.de/5-kann-man-rhythmusge. Full text in Research Archive
• Rainer Polak (2023). DjembeDance – Multimodal rhythm in music and dance from West Africa. Full text in Research Archive
• Rainer Polak, Lara Pearson & Sam Horlor (2023). Theorizing audiency. Full text in Research Archive
• Rainer Polak (2023). From Mali to Ghana: An Empirical Critique of the Theory of African Rhythm. Full text in Research Archive
• Rainer Polak (2023). Metric beat subdivision non-isochrony in African music: A comparative perspective. Full text in Research Archive
• Rainer Polak (2023). Stephen Blum: Theory for Ethnomusicology (Panel). Full text in Research Archive
• Rainer Polak (2023). Embedded audiency: Performing as audiencing at music-dance events in Mali. Full text in Research Archive
• Rainer Polak (2023). Cultural plasticity of cognitive constraints on rhythm perception in listeners from Mali: An interdisciplinary approach. Full text in Research Archive
• Rainer Polak (2022). Empirical research in rhythm performance and perception. Full text in Research Archive
• Rainer Polak (2022). Swing-based Meter in Music from Mali. Full text in Research Archive
• Rainer Polak & Justin London (2022). Roundtable discussion: Analysis, Cognition and World Music. Full text in Research Archive
• Rainer Polak (2022). Data graphs as context for music analysis: Examples from research on drum ensemble music from Mali. Full text in Research Archive

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