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Carol L. Krumhansl [9]Carol Lynne Krumhansl [1]
  1.  9
    Tracing the Dynamic Changes in Perceived Tonal Organization in a Spatial Representation of Musical Keys.Carol L. Krumhansl & Edward J. Kessler - 1982 - Psychological Review 89 (4):334-368.
  2.  37
    Cross-Modal Interactions in the Perception of Musical Performance.Bradley W. Vines, Carol L. Krumhansl, Marcelo M. Wanderley & Daniel J. Levitin - 2006 - Cognition 101 (1):80-113.
    We investigate the dynamics of sensory integration for perceiving musical performance, a complex natural behavior. Thirty musically trained participants saw, heard, or both saw and heard, performances by two clarinetists. All participants used a sliding potentiometer to make continuous judgments of tension (a measure correlated with emotional response) and continuous judgments of phrasing (a measure correlated with perceived musical structure) as performances were presented. The data analysis sought to reveal relations between the sensory modalities (vision and audition) and to quantify (...)
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  3.  42
    Music to My Eyes: Cross-Modal Interactions in the Perception of Emotions in Musical Performance.Bradley W. Vines, Carol L. Krumhansl, Marcelo M. Wanderley, Ioana M. Dalca & Daniel J. Levitin - 2011 - Cognition 118 (2):157-170.
  4.  8
    Concerning the Applicability of Geometric Models to Similarity Data: The Interrelationship Between Similarity and Spatial Density.Carol L. Krumhansl - 1978 - Psychological Review 85 (5):445-463.
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  5.  4
    Tonal Hierarchies in the Music of North India.Mary A. Castellano, J. J. Bharucha & Carol L. Krumhansl - 1984 - Journal of Experimental Psychology: General 113 (3):394-412.
  6.  10
    Density Versus Feature Weights as Predictors of Visual Identifications: Comment on Appelman and Mayzner.Carol L. Krumhansl - 1982 - Journal of Experimental Psychology: General 111 (1):101-108.
  7.  58
    Musical Expectancy: The Influence of Musical Structure on Emotional Response.Carol L. Krumhansl & Kat R. Agres - 2008 - Behavioral and Brain Sciences 31 (5):584-585.
    When examining how emotions are evoked through music, the role of musical expectancy is often surprisingly under-credited. This mechanism, however, is most strongly tied to the actual structure of the music, and thus is important when considering how music elicits emotions. We briefly summarize Leonard Meyer's theoretical framework on musical expectancy and emotion and cite relevant research in the area.
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  8. Musical Change Deafness: The Inability to Detect Change in a Non-Speech Auditory Domain.Kat R. Agres & Carol L. Krumhansl - 2008 - In B. C. Love, K. McRae & V. M. Sloutsky (eds.), Proceedings of the 30th Annual Conference of the Cognitive Science Society. Cognitive Science Society. pp. 969--974.
  9. Shifting Listening Niches: Effects of the COVID-19 Pandemic.Emily Rose Hurwitz & Carol Lynne Krumhansl - 2021 - Frontiers in Psychology 12.
    The term “listening niche” refers to the contexts in which people listen to music including what music they are listening to, with whom, when, where, and with what media. The first experiment investigates undergraduate students’ music listening niches in the initial COVID-19 lockdown period, 4 weeks immediately after the campus shut down abruptly. The second experiment explores how returning to a hybrid semester, the “new normal,” further affected these listening habits. In both experiments, the participants provided a list of their (...)
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  10.  6
    Testing the Density Hypothesis: Comment on Corter.Carol L. Krumhansl - 1988 - Journal of Experimental Psychology: General 117 (1):101-104.
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