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  1. Cross-Cultural Similarities and Differences.William Forde Thompson & Balkwill & Laura-Lee - 2010 - In Patrik N. Juslin & John Sloboda (eds.), Handbook of Music and Emotion: Theory, Research, Applications. Oxford University Press.
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  • The Role of Expectation in the Constitution of Subjective Musical Experience.Elisa Negretto - unknown
    The present study is a theoretical discussion concerning some of the important processes that characterize human perception, which is understood as a fundamental structure of consciousness. The aim is to acquire new insights for a better comprehension of the human experience in the world and the way individual subjects become familiar with their environment. To accomplish this task, the experience of listening to music is analysed due to the widespread acceptance of music as an important aspect of human life. With (...)
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  • The Relative Importance of Local and Global Structures in Music Perception.Barbara Tillmann & Emmanuel Bigand - 2004 - Journal of Aesthetics and Art Criticism 62 (2):211–222.
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  • Incidental Learning of Melodic Structure of North Indian Music.Martin Rohrmeier & Richard Widdess - 2017 - Cognitive Science 41 (5):1299-1327.
    Musical knowledge is largely implicit. It is acquired without awareness of its complex rules, through interaction with a large number of samples during musical enculturation. Whereas several studies explored implicit learning of mostly abstract and less ecologically valid features of Western music, very little work has been done with respect to ecologically valid stimuli as well as non-Western music. The present study investigated implicit learning of modal melodic features in North Indian classical music in a realistic and ecologically valid way. (...)
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  • Implicit Learning and Acquisition of Music.Martin Rohrmeier & Patrick Rebuschat - 2012 - Topics in Cognitive Science 4 (4):525-553.
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  • Auditory Expectation: The Information Dynamics of Music Perception and Cognition.Marcus T. Pearce & Geraint A. Wiggins - 2012 - Topics in Cognitive Science 4 (4):625-652.
    Following in a psychological and musicological tradition beginning with Leonard Meyer, and continuing through David Huron, we present a functional, cognitive account of the phenomenon of expectation in music, grounded in computational, probabilistic modeling. We summarize a range of evidence for this approach, from psychology, neuroscience, musicology, linguistics, and creativity studies, and argue that simulating expectation is an important part of understanding a broad range of human faculties, in music and beyond.
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  • Music Cognition and the Cognitive Sciences.Marcus Pearce & Martin Rohrmeier - 2012 - Topics in Cognitive Science 4 (4):468-484.
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  • Expectancy in Melody: Tests of the Implication-Realization Model.E. Schellenberg - 1996 - Cognition 58 (1):75-125.
  • Music Perception and Cognition: A Review of Recent Cross‐Cultural Research. [REVIEW]Catherine J. Stevens - 2012 - Topics in Cognitive Science 4 (4):653-667.
    Experimental investigations of cross-cultural music perception and cognition reported during the past decade are described. As globalization and Western music homogenize the world musical environment, it is imperative that diverse music and musical contexts are documented. Processes of music perception include grouping and segmentation, statistical learning and sensitivity to tonal and temporal hierarchies, and the development of tonal and temporal expectations. The interplay of auditory, visual, and motor modalities is discussed in light of synchronization and the way music moves via (...)
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  • Learning and Liking of Melody and Harmony: Further Studies in Artificial Grammar Learning.Psyche Loui - 2012 - Topics in Cognitive Science 4 (4):554-567.
    Much of what we know and love about music is based on implicitly acquired mental representations of musical pitches and the relationships between them. While previous studies have shown that these mental representations of music can be acquired rapidly and can influence preference, it is still unclear which aspects of music influence learning and preference formation. This article reports two experiments that use an artificial musical system to examine two questions: (1) which aspects of music matter most for learning, and (...)
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  • Learning Harmony: The Role of Serial Statistics.Erin McMullen Jonaitis & Jenny R. Saffran - 2009 - Cognitive Science 33 (5):951-968.
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  • Origins of Music in Credible Signaling.Samuel A. Mehr, Max M. Krasnow, Gregory A. Bryant & Edward H. Hagen - 2021 - Behavioral and Brain Sciences 44:1-41.
    Music comprises a diverse category of cognitive phenomena that likely represent both the effects of psychological adaptations that are specific to music and the effects of adaptations for non-musical functions. How did music evolve? Here, we show that prevailing views on the evolution of music – that music is a byproduct of other evolved faculties, evolved for social bonding, or evolved to signal mate quality – are incomplete or wrong. We argue instead that music evolved as a credible signal in (...)
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  • A Comparison of Human and Computational Melody Prediction Through Familiarity and Expertise.Matevž Pesek, Špela Medvešek, Anja Podlesek, Marko Tkalčič & Matija Marolt - 2020 - Frontiers in Psychology 11.
    Melody prediction is an important aspect of music listening. The success of prediction, i.e., whether the next note played in a song is the same as the one predicted by the listener, depends on various factors. In the paper, we present two studies, where we assess how music familiarity and music expertise influence melody prediction in human listeners, and, expressed in appropriate data/algorithmic ways, computational models. To gather data on human listeners, we designed a melody prediction user study, where familiarity (...)
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  • Music and Emotion—A Case for North Indian Classical Music.Jeffrey M. Valla, Jacob A. Alappatt, Avantika Mathur & Nandini C. Singh - 2017 - Frontiers in Psychology 8.
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  • Evolution of Tonal Organization in Music Mirrors Symbolic Representation of Perceptual Reality. Part-1: Prehistoric.Aleksey Nikolsky - 2015 - Frontiers in Psychology 6.
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  • Emotional Responses to Hindustani Raga Music: The Role of Musical Structure.Avantika Mathur, Suhas H. Vijayakumar, Bhismadev Chakrabarti & Nandini C. Singh - 2015 - Frontiers in Psychology 6.
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  • Prosodic Structure as a Parallel to Musical Structure.Christopher C. Heffner & L. Robert Slevc - 2015 - Frontiers in Psychology 6.
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  • A Grammar of Action Generates Predictions in Skilled Musicians.Giacomo Novembre & Peter E. Keller - 2011 - Consciousness and Cognition 20 (4):1232-1243.
    The present study investigates shared representations of syntactic knowledge in music and action. We examined whether expectancy violations in musical harmonic sequences are also perceived as violations of the movement sequences necessary to produce them. Pianists imitated silent videos showing one hand playing chord sequences on a muted keyboard. Results indicate that, despite the absence of auditory feedback, imitation of a chord is fastest when it is congruent with the preceding harmonic context. This suggests that the harmonic rules implied by (...)
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  • Varieties of Musical Experience.Jamshed J. Bharucha, Meagan Curtis & Kaivon Paroo - 2006 - Cognition 100 (1):131-172.