1. Cohen, D., and R. Katz, “Exploration in the Music of the Samaritans: An Illustration of the Utility of Graphic Notation,” Ethnomusicology, vol. 2, 1960, pp. 67–74.
  2. Cohen, D., “An Investigation into the Tonal Structures of the Maqamat,” The Journal of the International Folk Music Council, vol. 16 (1964), pp. 103–106.
  3. Cohen, D., and R. Katz, “Some Remarks Concerning the Use of the Melograph,” Yuval, 1967, pp. 155–168.
  4. Cohen, D., and R. Katz, “The Melograph in Ethnomusicological Studies,” Ariel 21 (1967), pp. 60–64.
  5. Cohen, D., “Patterns and Frameworks of Intonation,” Journal of Music Theory, vol. 13/1 (1969), pp. 66–92.
  6. Cohen, D., The Meaning of Modal Frameworks in the Singing of Religious Hymns by Christian Arabs in Israel,” Yuval, vol. 11 (1971), pp. 23–57.
  7. Cohen, D., Palestrina Counterpoint—A Musical Expression of Unexcited Speech,” Journal of Music Theory, vol. 15 (1971), pp. 84–111.
  8. Cohen, D., “Theory and Practice in the Liturgical Music of Christian Arabs in Israel,” Studies in Eastern Chant, vol. 3, Oxford University Press (1973), pp. 1–50.
  9. Cohen, D., and R. Katz, “An Attempt at Defining the Style of the Israeli Folk Song with the Aid of the Computer” (Hebrew), Congress Report of the Fifth World Conference on Jewish Studies in 1960 (1973), pp. 71–92.
  10. Cohen, D., and R. Katz, “Quantitative Analysis of Monophonic Music: Towards a More Precise Definition of Style with the Aid of the Computer,” Orbis Musicae, vol. 2 (1973/4), pp. 83–96.
  11. Cohen, D. “Musical Traditions in Israel’s Native Churches,” Christian News from Israel, vol. 26, no. 2 (1977), pp. 81–83.
  12. Cohen, D., Articles on musical instruments in the Hebrew Encyclopedia*.
  13. Cohen, D., “Rhythm and Meter in Music and Poetry,” Year Book, Israel Studies in Musicology, 1978, pp. 99–141.
  14. Cohen, D., and R. Katz. “The Interdependence of Notation Systems and Musical Information,” Yearbook of the International Folk Music Council, vol. 11 (1979), pp. 101–113.
  15. Cohen, D., “Melograph,” The New Grove Dictionary of Music. London: Macmillan, 1980.
  16. Cohen, D., “Separation and Directivity as Guiding Principles in the Comparison between Eastern and Western Music,” in Proceedings of the World Congress on Jewish Music, Jerusalem, 1978 (1982), pp. 127–147.
  17. Cohen, D., and R. Katz, “Inscription and Transcription,” in Proceedings of the World Congress on Jewish Music, Jerusalem, 1978 (1982), pp. 60–78.
  18. Cohen, D., “Birdcalls and the Rules of Palestrina Counterpoint: Towards the Discovery of Universal Qualities in Vocal Expression,” Israel Studies in Musicology, vol. 3 (1983), pp. 96–123.
  19. Cohen, D., “The Performance Practice of the Rig Veda: A Musical Expression of Excited Speech.” Yuval, vol. 6 (1986), pp. 292–317.
  20. Cohen, D., “Some More about Style: On Comparison of Musical Styles of the East and of the West,” Israel Studies in Musicology, vol. 4 (1987), pp. 1–20.
  21. Cohen, D., and R. Katz, “Some Timbre Characteristics of the Singing of a Number of Ethnic Groups in Israel,” in Proceedings of the Ninth Congress of Jewish Studies, Jerusalem, 1986, pp. 241–248.
  22. Cohen, D., and D. Weil, “Progress in Deductive Research on the Original Performance of Tiberian Accents,” in Proceedings of the Ninth Congress of Jewish Studies, Jerusalem, 1986, pp. 265–286.
  23. Cohen, D., and D. Weil, “The Original Performance of the Tiberian Masoretic Accents, a Deductive Approach: 1. The Syntactic Function” (Hebrew). Leshoneinu, 1989, pp. 1–25.
  24. Cohen, D., and D. Weil, “The Scale System and Scale of Tiberian Masoretic Cantillation: Were They Pentatonic? Theoretical Considerations,” Orbis Musicae, vol. 10, 1991, pp. 98–117.
  25. Cohen, D., A. Herzog, U. Sharvit, and D. Weil, “Characterization of the System of ‘Te’amim’ in Practice in Light of Theoretical Findings about the Original Performance,” in Proceedings of the Tenth Congress of Jewish Studies, 1990, pp. 149–156.
  26. Cohen, D., and A. Erez, “On the ERP Measurement of Cognitive Components in Response to Pitch Patterns,” Music Perception, vol. 8, no. 4, 1991, pp. 405–430.
  27. Katz, R., and Cohen, D., “From Abstract to Concrete, from Sound to Idea, and from Idea to Sound,” in Proceedings of the International Musicological Symposium Held at Castle Nieborow in Poland, 1985, 1993, pp. 94–104.
  28. Cohen, D., J. Mendel, H. Pratt, and A. Barneah, “Response to Intervals as Revealed by Brainwave Measurement and Verbal Means,” The Journal of New Music Research, vol. 23, 1994, pp. 265–290.
  29. Cohen, D., R. Granot, H. Pratt, and A. Barneah, “Cognitive Meanings of Musical Elements as Disclosed by ERP and Verbal Experiments,” Music Perception, vol. 2, no. 2, 1993, pp. 153–184.
  30. Cohen, D., “The Human Voice in Music,”* Opus, vol. 8, 1992, pp. 15–31.
  31. Cohen, D., and R. Granot, “Constant and Variable Influences on Stages of Musical Activities: Research Based on Experiments Using Behavioral and Electrophysiological Indices,” Journal of New Music Research, vol. 24, 1995, pp. 197–229
  32. Cohen, D., V. Cohen, and J. Cohen, “Kodaly Project in Israel,” Opus, vol. 11, 1994, pp. 61–78.
  33. Cohen, D., “Hierarchical Levels in the Musical Raw Material,” in Proceedings of the HISM Conference, 1988, 1996.
  34. Cohen, D., and R. Katz, “Musico-Poetic Arabic Tradition: A Comparison between the Oral Palestinian and the Written Medieval Spanish,” Revista de Musicología, vol. 16, no. 4, 1993, pp. 1–13.
  35. Cohen, D., and R. Katz, “Structural Aspects of Musico-Poetic Genres in Practice and of the Medieval Hebrew Muwassah,” in Proceedings of the Eleventh World Congress of Jewish Studies, 1994, pp. 227–234.
  36. Cohen, D., “Directionality and Complexity in Music,” Musikometrica, vol. 6, 1994, pp. 27–77.
  37. Dubnov, S., N. Tishbi. and D. Cohen, “Hearing beyond the Spectrum,” The Journal of New Music Research, vol. 24, no. 4, 1995, pp. 342–368.
  38. Cohen, D. “The Meaning of Colour in Music,” Musika, vol. 1, 1996, pp. 52–56.
  39. Cohen, D., and R. Katz, “The Degree of Ornamentation as a Distinguishing Feature of Genres in Arabic Song” (Hebrew), Motar (Tel Aviv University, Faculty of the Arts), vol. 4, 1995, pp. 169–174.
  40. Cohen, D., and R. Katz, “Attitudes to the Time Axis and Cognitive Constraints: The Case of Arabic Vocal Folk Music,” in Perception and Cognition of Music (ed. by Deliege and Sloboda). Hove, England: Psychology Press, 1996, pp. 51–60.
  41. Cohen, D., and S. Dubnov, “Gestalt Phenomena in Musical Texture,” in Music, Gestalt and Computing (ed. by M. Leman). Berlin: Springer, 1997, pp. 386–405.
  42. Cohen, D., S. Dubnov, and N. Wagner, “Uncertainty in Distinguishing between Structure and Ornamentation in Music,” in Proceedings of the IFSA ‘95.
  43. Dubnov, S., N. Tishbi, and D. Cohen, “Clustering of Musical Sounds, Using Polyspectral Distance Measures,” in Proceedings of the International Computer Music Conference (ICMC), Banff, 1995.
  44. Dubnov, S., N. Tishbi, and D. Cohen, “Polyspectra as Measures of Sound Texture and Timbre,” Journal of New Music Research, vol. 26, 1997, pp. 274–314.
  45. Cohen, D., “Aspects of Symmetry in Music,” Symmetry, Culture and Science, vol. 7, no. 4, 1996 (special issue: In Memoriam Erno Lendvai, 2; ed. by S. Bruhn). Cohen, D., and H. Mundri, “Learned and Natural Schemata in Music,” in Proceedings of the Third Triennial ESCOM Conference, Uppsala, 1997, pp. 605–610.
  46. Cohen, D., “Contrast in Music,” in Contrasts and Unity: An Interdisciplinary Look at the Contrasts and Unity of Human Existence (Hebrew) (ed. by D. Kahan). Jerusalem: Carmel, 1998, pp. 98–140.
  47. Cohen, D., and I. Michelson, “Directionality and the Meaning of Harmonic Patterns,” in Music and Sign: Semiotic and Cognitive Studies in Music, Systematica Musicologica, vol. 2 (ed. by I. Zamos). Bratislava: Asco Art and Science, 1999, pp. 278–298.
  48. Cohen, D., and J. Cohen, “Symmetry in Music: A Historical Perspective,” Symmetry: Culture and Science, vol. 10, nos. 1–2, 1999, pp. 89–126.
  49. Cohen, D., and R. Katz, “Melisma as a Parameter in Jewish and Non-Jewish Eastern Musical Traditions,” Pe’amim, vol. 77, 1999, pp. 1–26.
  50. Cohen, D., and N. Wagner, “Concurrence and Nonconcurrence between Learned and Natural Schemata: The Case of Johann Sebastian Bach’s Saraband in C Minor for Cello Solo,” New Music Research, vol. 29, no. 1, 2000, pp. 23–36.
  51. Cohen, D., “More on the Meaning of Natural Schemata: Their Role in Shaping Types of Directionality,” in Proceedings of the Sixth ICMPC, Keele (UK), 2000.
  52. Cohen, D., and E. Inbar, “Musical Imagery as Related to Schemata of Emotional Expression in Music and the Prosodic Level of Speech,” in Musical Imagery (ed. by R. I. Godøy). The Netherlands: Swets & Zeitlinger, 2001, pp. 91–113.
  53. Cohen, D., and R. Katz, “Universal Constraints Concerning the Choice of Stylistic Rules in Various Cultures,” European Meetings in Ethnomusicology, vol. 8, 2001, pp. 73–93.
  54. Cohen, D., and R. Katz, “The Meaning of Melisma among Parameters That Shape the Style of Monophonic Music,” Journal of European Seminar of Ethnomusicology, no. 2. Cohen, D., “Incorporating Natural Schemata into Musical Analysis,” Orbis Musicae, vol. 13, 2003, pp. 195–211. Cohen, D., “The Relationship between the Treatment of Time and Rules of Musical Style in Different Cultures,” Proceedings of the VII International Symposium on Systematic and Comparative Musicology, Jyväskylä, Finland, 2001.
  55. Cohen, D., “The Importance of Awareness of Learned and Natural Schemata in Music Education” (Hebrew), Lewinsky College Library, http://www.levinsky.ac.il/.upload/56/Articles%20Music%20Education/cohen_dalia1.pdf
  56. Cohen, D., and G. Stern, “The Experiential Meaning of Musical Rules,” in Proceedings of the Seventh International Congress on Musical Signification (Imatra, Finland), 2001 (in press).
  57. Cohen, D., “Order/Disorder as a Factor in Shaping a Style: Schemata of Repetition and Form,” Symmetry, Culture and Science, vol. 9, nos. 2–4, 1998, pp. 143–164. Cohen, D., and S. Rosemarin, “Analytical Aspects of Musical and Numerical Memory,” in Development of Human Potential: Investment into Our Future (ed. by F. J. Mönks and H. Wagner). Bad Honnef, Germany: K. H. Bock, 2003.
  58. Cohen, D., “Perception and Responses to Schemata in Different Cultures: Western and Arab Music,” in Music in Altered States (ed. by D. Aldridge and J. Fachner). London: Jessica Kingsley, 2004.
  59. Cohen, D., “Remarks on the Significance of Rules of Musical Style,” in Proceedings of the AAAI 2004 Symposium: Style and Meaning in Language, Art, Music and Design, Washington, DC, 2004.
  60. Cohen, D. “The Meaning of Musical Notation,” Dimuy: Journal of Literature and Art, vol. 28, 2006, pp. 61–72. Cohen, D., and Y. Greenberg, “Computerized Performance of Palestrina Counterpoint, Whose Rules Are Based on Natural Schemata That Express Tranquility,” Proceedings of the Fifth International Conference on Understanding and Creating Music, 2005. Cohen, D., and I. Michelson, “Characteristics of Harmonic Patterns and Their Contribution to the Stylistic Ideal: An ERP Study,” Proceedings of the Ninth International Conference of Music Perception and Cognition, 2006.
  61. Cohen, D., and Y. Saporta, “Analysis of Stylistic Rules of Folk Music from the Standpoint of the Rules of Excitement,” Proceedings of the Ninth International Conference of Music Perception and Cognition, 2006.
  62. Cohen, D., “Music in Different Cultures: Shared and Divergent Features,” Music in Time, 2007, pp. 1–29.
  63. Cohen, D., and R. Katz, “Rhythmic Patterns Reflecting Cognitive Constraints and Aesthetic Ideals,” Journal of New Music Research, vol. 37, no. 4, 2008, pp. 15–35.
  64. Cohen, D. “Bach: Forerunner of the Future through Exploration of the Potential of Learned and Natural Schemata.” Understanding Bach, vol. 3, 2008, pp. 9–30. www.bachnetwork.co.uk/ub3/COHEN.pdf