Western listeners detect boundary hierarchy in Indian music: a segmentation study
暂无分享,去创建一个
[1] T. Popescu,et al. Musical features emerging from a biocultural musicality , 2021, Behavioral and Brain Sciences.
[2] W Tecumseh Fitch,et al. Dynamic hierarchical cognition: Music and language demand further types of abstracta , 2020, Behavioral and Brain Sciences.
[3] Josh H. McDermott,et al. Perceptual fusion of musical notes by native Amazonians suggests universal representations of musical intervals , 2020, Nature Communications.
[4] Patrick E. Savage,et al. Cross-Cultural Work in Music Cognition: Challenges, Insights, and Recommendations. , 2020, Music perception.
[5] Alan S. Cowen,et al. UvA-DARE (Digital Academic Repository) What music makes us feel: At least 13 dimensions organize subjective experiences associated with music across different cultures , 2022 .
[6] T. Yarkoni,et al. The generalizability crisis , 2019, Behavioral and Brain Sciences.
[7] W. Fitch,et al. The world in a song , 2019, Science.
[8] D. Pressnitzer,et al. Auditory Perception: Relative Universals for Musical Pitch , 2019, Current Biology.
[9] Josh H. McDermott,et al. Universal and Non-universal Features of Musical Pitch Perception Revealed by Singing , 2019, Current Biology.
[10] São Luís Castro,et al. Domain-Specific Expectations in Music Segmentation , 2019, Brain sciences.
[11] Emery Schubert,et al. Cultural stereotyping of emotional responses to music genre , 2019 .
[12] Josh H. McDermott,et al. Perceptual fusion of musical notes suggests universal representations of dissonance despite culture-dependent aesthetic associations , 2019, The Journal of the Acoustical Society of America.
[13] Joshua K. Hartshorne,et al. Universality and diversity in human song , 2019, Science.
[14] Joshua K. Hartshorne,et al. Universality and diversity in human song , 2018 .
[15] Marcus T. Pearce,et al. Musical Syntax I: Theoretical Perspectives , 2018 .
[16] Marcus T. Pearce,et al. Musical Syntax II: Empirical Perspectives , 2018 .
[17] Martin Rohrmeier,et al. Incidental Learning of Melodic Structure of North Indian Music , 2017, Cogn. Sci..
[18] Petri Toiviainen,et al. Interaction features for prediction of perceptual segmentation: Effects of musicianship and experimental task , 2017 .
[19] Nori Jacoby,et al. Integer Ratio Priors on Musical Rhythm Revealed Cross-culturally by Iterated Reproduction , 2017, Current Biology.
[20] M. Kaya,et al. Perceiving Boundaries in Unfamiliar Turkish Makam Music: Evidence for Gestalt Universals? , 2017 .
[21] O. Lartillot,et al. Multi-scale Modelling of Segmentation: Effect of Musical Training and Experimental Task , 2016 .
[22] Yufang Yang,et al. Perception of hierarchical boundaries in music and its modulation by expertise , 2016, Neuropsychologia.
[23] Stefan Koelsch,et al. Neurophysiological Correlates of Musical and Prosodic Phrasing: Shared Processing Mechanisms and Effects of Musical Expertise , 2016, PloS one.
[24] Thomas E. Currie,et al. Statistical universals reveal the structures and functions of human music , 2015, Proceedings of the National Academy of Sciences.
[25] Geraint A. Wiggins,et al. Principles of structure building in music, language and animal song , 2015, Philosophical Transactions of the Royal Society B: Biological Sciences.
[26] I. Cross,et al. Modelling unsupervised online-learning of artificial grammars: Linking implicit and statistical learning , 2014, Consciousness and Cognition.
[27] T. Wheatley,et al. Music and movement share a dynamic structure that supports universal expressions of emotion , 2012, Proceedings of the National Academy of Sciences.
[28] Martin Rohrmeier,et al. Implicit Learning and Acquisition of Music , 2012, Top. Cogn. Sci..
[29] I. Cross,et al. Incidental and online learning of melodic structure , 2011, Consciousness and Cognition.
[30] O. Lartillot,et al. Cultural impact in listeners' structural understanding of a Tunisian traditional modal improvisation, studied with the help of computational models , 2011 .
[31] Geraint A. Wiggins,et al. The Role of Expectation and Probabilistic Learning in Auditory Boundary Perception: A Model Comparison , 2010, Perception.
[32] Angela D. Friederici,et al. Non-musicians’ perception of phrase boundaries in music: A cross-cultural ERP study , 2009, Biological Psychology.
[33] Olivier Lartillot,et al. Segmentation of Tunisian Modal Improvisation: Comparing Listeners' Responses with Computational Predictions , 2009 .
[34] Thomas R Knösche,et al. Cross‐cultural music phrase processing: An fMRI study , 2008, Human brain mapping.
[35] Angela D. Friederici,et al. The perception of musical phrase structure: A cross-cultural ERP study , 2006, Brain Research.
[36] E. Bigand,et al. Are we “experienced listeners”? A review of the musical capacities that do not depend on formal musical training , 2006, Cognition.
[37] B. Tillmann. Implicit Investigations of Tonal Knowledge in Nonmusician Listeners , 2005, Annals of the New York Academy of Sciences.
[38] Stephen McAdams,et al. Aural Analysis of Arabic Improvised Instrumental Music (Taqsīīm) , 2003 .
[39] Bruno Nettl. An ethnomusicologist contemplates universals in musical sound and musical culture , 2000 .
[40] Steven Brown,et al. The Origins of Music: Edited by Nils L. Wallin, Björn Merker, and Steven Brown, Cambridge, MA: The MIT Press, 2000, xii+ 498 pages, ISBN 0-262-23206-5, US$60.00 , 2000 .
[41] Philippe Bruguière,et al. The Raga Guide. A Survey of 74 Hindustani Ragas , 2000 .
[42] W. Thompson,et al. A Cross-Cultural Investigation of the Perception of Emotion in Music: Psychophysical and Cultural Cues , 1999 .
[43] Patricia M. Greenfield,et al. Toward a neurology of grammar , 1998, Behavioral and Brain Sciences.
[44] Irène Deliège,et al. Musical Schemata in Real-Time Listening to a Piece of Music , 1996 .
[45] C. Krumhansl. A Perceptual Analysis of Mozart's Piano Sonata K. 282: Segmentation, Tension, and Musical Ideas , 1996 .
[46] Richard Widdess,et al. Involving the Performers in Transcription and Analysis: A Collaborative Approach to Dhrupad , 1994 .
[47] E. Narmour. The Analysis and Cognition of Melodic Complexity: The Implication-Realization Model , 1992 .
[48] Neil A. Macmillan,et al. Detection Theory: A User's Guide , 1991 .
[49] Eugene Narmour,et al. The Analysis and Cognition of Basic Melodic Structures: The Implication-Realization Model , 1990 .
[50] Carol L. Krumhansl,et al. Perceiving Musical Time , 1990 .
[51] Peter Kivy,et al. Sound Sentiment: An Essay on the Musical Emotions, including the complete text of The Corded Shell , 1989 .
[52] Irène Deliège. Grouping Conditions in Listening to Music: An Approach to Lerdahl & Jackendoff's Grouping Preference Rules , 1987 .
[53] J. Swain,et al. The Need for Limits in Hierarchical Theories of Music , 1986 .
[54] Robert B. Cantrick,et al. A Generative Theory of Tonal Music , 1985 .
[55] D. M. Green,et al. Signal detection theory and psychophysics , 1966 .