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Three experiments examined the perceptual validity and parsimony of 2 musical segmentation modelsthe perceived phrase structure (PPS) model (Temperley, 2001) and the generative structural grammar of music (GSGM) model (Lerdahl & Jackendoff, 1983) . Each of these models is composed of a set of rules that specifies where the perception of a natural break in musical phraseology is most likely to occur. In 3 experiments assessing the models from different perspectives, participants listened todoi:10.1037/pmu0000085 fatcat:adr65woy6jazfliccafgg5dtgy