22 found
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  1. The nature of music from a biological perspective.Isabelle Peretz - 2006 - Cognition 100 (1):1-32.
  2.  36
    A developmental study of the affective value of tempo and mode in music.Simone Dalla Bella, Isabelle Peretz, Luc Rousseau & Nathalie Gosselin - 2001 - Cognition 80 (3):B1-B10.
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  3.  33
    Liking for happy- and sad-sounding music: Effects of exposure.E. Glenn Schellenberg, Isabelle Peretz & Sandrine Vieillard - 2008 - Cognition and Emotion 22 (2):218-237.
    We examined liking for happy- and sad-sounding music as a function of exposure, which varied both in quantity (number of exposures) and in quality (focused or incidental listening). Liking ratings were higher for happy than for sad music after focused listening, but similar after incidental listening. In the incidental condition, liking ratings increased linearly as a function of exposure. In the focused condition, liking ratings were an inverted U-shaped function of exposure, with initial increases in liking (after 2 exposures) followed (...)
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  4.  49
    Happy, sad, scary and peaceful musical excerpts for research on emotions.Sandrine Vieillard, Isabelle Peretz, Nathalie Gosselin, Stéphanie Khalfa, Lise Gagnon & Bernard Bouchard - 2008 - Cognition and Emotion 22 (4):720-752.
    Three experiments were conducted in order to validate 56 musical excerpts that conveyed four intended emotions (happiness, sadness, threat and peacefulness). In Experiment 1, the musical clips were rated in terms of how clearly the intended emotion was portrayed, and for valence and arousal. In Experiment 2, a gating paradigm was used to evaluate the course for emotion recognition. In Experiment 3, a dissimilarity judgement task and multidimensional scaling analysis were used to probe emotional content with no emotional labels. The (...)
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  5.  69
    Mode and tempo relative contributions to “happy-sad” judgements in equitone melodies.Lise Gagnon & Isabelle Peretz - 2003 - Cognition and Emotion 17 (1):25-40.
  6.  88
    Songs as an aid for language acquisition.Daniele Schön, Maud Boyer, Sylvain Moreno, Mireille Besson, Isabelle Peretz & Régine Kolinsky - 2008 - Cognition 106 (2):975-983.
  7. Towards a neurobiology of musical emotions.Isabelle Peretz - 2011 - In Patrik N. Juslin & John Sloboda (eds.), Handbook of Music and Emotion: Theory, Research, Applications. Oxford University Press.
     
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  8.  25
    Enhancement of Pleasure during Spontaneous Dance.Nicolò F. Bernardi, Antoine Bellemare-Pepin & Isabelle Peretz - 2017 - Frontiers in Human Neuroscience 11.
  9.  35
    Editorial: Music, Brain, and Rehabilitation: Emerging Therapeutic Applications and Potential Neural Mechanisms.Teppo Särkämö, Eckart Altenmüller, Antoni Rodríguez-Fornells & Isabelle Peretz - 2016 - Frontiers in Human Neuroscience 10.
  10. The genetic basis of music ability.Yi Ting Tan, Gary E. McPherson, Isabelle Peretz, Samuel F. Berkovic & Sarah J. Wilson - 2014 - Frontiers in Psychology 5.
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  11. The Cognitive Neuroscience of Music.Isabelle Peretz & Robert J. Zatorre (eds.) - 2003 - Oxford University Press UK.
    Music offers a unique opportunity to better understand the organization of the human brain. Like language, music exists in all human societies. Like language, music is a complex, rule-governed activity that seems specific to humans, and associated with a specific brain architecture. Yet unlike most other high-level functions of the human brain - and unlike language - music is a skill at which only a minority of people become proficient. The study of music as a major brain function has for (...)
     
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  12.  13
    The singing voice is special: Persistence of superior memory for vocal melodies despite vocal-motor distractions.Michael W. Weiss, Anne-Marie Bissonnette & Isabelle Peretz - 2021 - Cognition 213 (C):104514.
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  13.  21
    Speech vs. singing: infants choose happier sounds.Marieve Corbeil, Sandra E. Trehub & Isabelle Peretz - 2013 - Frontiers in Psychology 4.
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  14.  30
    Processing interactions between phonology and melody: Vowels sing but consonants speak.Régine Kolinsky, Pascale Lidji, Isabelle Peretz, Mireille Besson & José Morais - 2009 - Cognition 112 (1):1-20.
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  15.  31
    Neurobiological, Cognitive, and Emotional Mechanisms in Melodic Intonation Therapy.Dawn L. Merrett, Isabelle Peretz & Sarah J. Wilson - 2014 - Frontiers in Human Neuroscience 8.
  16.  23
    Differentiation of classical music requires little learning but rhythm.Simone Dalla Bella & Isabelle Peretz - 2005 - Cognition 96 (2):B65-B78.
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  17.  21
    Tone Language Fluency Impairs Pitch Discrimination.Isabelle Peretz, Sébastien Nguyen & Stéphanie Cummings - 2011 - Frontiers in Psychology 2.
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  18.  28
    Children Using Cochlear Implants Capitalize on Acoustical Hearing for Music Perception.Talar Hopyan, Isabelle Peretz, Lisa P. Chan, Blake C. Papsin & Karen A. Gordon - 2012 - Frontiers in Psychology 3.
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  19.  8
    Influence of Background Musical Emotions on Attention in Congenital Amusia.Natalia B. Fernandez, Patrik Vuilleumier, Nathalie Gosselin & Isabelle Peretz - 2021 - Frontiers in Human Neuroscience 14.
    Congenital amusia in its most common form is a disorder characterized by a musical pitch processing deficit. Although pitch is involved in conveying emotion in music, the implications for pitch deficits on musical emotion judgements is still under debate. Relatedly, both limited and spared musical emotion recognition was reported in amusia in conditions where emotion cues were not determined by musical mode or dissonance. Additionally, assumed links between musical abilities and visuo-spatial attention processes need further investigation in congenital amusics. Hence, (...)
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  20.  13
    What Makes Musical Prodigies?Chanel Marion-St-Onge, Michael W. Weiss, Megha Sharda & Isabelle Peretz - 2020 - Frontiers in Psychology 11.
    Musical prodigies reach exceptionally high levels of achievement before adolescence. Despite longstanding interest and fascination in musical prodigies, little is known about their psychological profile. Here we assess to what extent practice, intelligence, and personality make musical prodigies a distinct category of musician. Nineteen former or current musical prodigies were compared to 35 musicians with either an early or late start but similar amount of musical training, and 16 non-musicians. All completed a Wechsler IQ test, the Big Five Inventory, the (...)
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  21.  4
    Modularity in music relative to speech: framing the debate.Isabelle Peretz - 2011 - In Patrick Rebuschat, Martin Rohrmeier, John A. Hawkins & Ian Cross (eds.), Language and Music as Cognitive Systems. Oxford University Press. pp. 310.
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  22.  35
    The need to consider underlying mechanisms: A response from dissonance.Isabelle Peretz - 2008 - Behavioral and Brain Sciences 31 (5):590-591.
    Current research on emotional responses to dissonance has yielded consistent data in both developmental psychology and neuroscience. What seems to be lacking is a definition of what might constitute dissonance in non-musical domains. Thus, contrary to Juslin & Vll's (J&V) proposal for the need to distinguish between six broad mechanisms, I argue that future research should rather focus on perceptual determinants of each basic emotion.
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