Are we "experienced listeners"? A review of the musical capacities that do not depend on formal musical training.
about
Words and melody are intertwined in perception of sung words: EEG and behavioral evidence.Replacing the Orchestra? - The Discernibility of Sample Library and Live Orchestra SoundsFour principles of bio-musicology.Cognitive representation of "musical fractals": Processing hierarchy and recursion in the auditory domain.Learning lyrics: to sing or not to sing?Pleasurable music affects reinforcement learning according to the listenerEnculturation to musical pitch structure in young children: evidence from behavioral and electrophysiological methods.Expectations in culturally unfamiliar music: influences of proximal and distal cues and timbral characteristicsThe musicality of non-musicians: an index for assessing musical sophistication in the general population.Musical friends and foes: The social cognition of affiliation and control in improvised interactions.Perceiving individuality in harpsichord performance.You know when: event-related potentials and theta/beta power indicate boundary prediction in music.Empirical evidence for musical syntax processing? Computer simulations reveal the contribution of auditory short-term memoryCerebellar patients demonstrate preserved implicit knowledge of association strengths in musical sequencesInfluence of a tone's tonal function on temporal change detection.Predictive uncertainty in auditory sequence processingImpaired socio-emotional processing in a developmental music disorderNeuroplasticity beyond Sounds: Neural Adaptations Following Long-Term Musical Aesthetic ExperiencesThe neural processing of hierarchical structure in music and speech at different timescales.The effect of task and pitch structure on pitch-time interactions in music.Naïve Learners Show Cross-Domain Transfer after Distributional Learning: The Case of Lexical and Musical PitchActive Drumming Experience Increases Infants' Sensitivity to Audiovisual Synchrony during Observed Drumming Actions.Layman versus Professional Musician: Who Makes the Better Judge?Emotional experience in music fosters 18-month-olds' emotion-action understanding: a training study.Effects of asymmetric cultural experiences on the auditory pathway: evidence from music.The Nature and Nurture of Melody: A Twin Study of Musical Pitch and Rhythm Perception.Surface and structural effects of pitch and time on global melodic expectancies.Shared cultural knowledge: Effects of music on young children's social preferencesAesthetic Emotions Across Arts: A Comparison Between Painting and Music.An fMRI investigation of the cultural specificity of music memory.Preserved processing of musical structure in a person with agrammatic aphasia.The Conductor As Visual Guide: Gesture and Perception of Musical Content.Bimusicalism: The Implicit Dual Enculturation of Cognitive and Affective Systems.Musicianship and Tone Language Experience Are Associated with Differential Changes in Brain Signal Variability.Short and long term representation of an unfamiliar tone distributionTesting the Role of Dorsal Premotor Cortex in Auditory-Motor Association Learning Using Transcranical Magnetic Stimulation (TMS)"If You Have to Ask, You'll Never Know": Effects of Specialised Stylistic Expertise on Predictive Processing of MusicIncidental Learning of Melodic Structure of North Indian Music.Preserved appreciation of aesthetic elements of speech and music prosody in an amusic individual: A holistic approachPerception of Leitmotives in Richard Wagner's Der Ring des Nibelungen
P2860
Q27332159-71FF595B-A895-438F-813C-7B11C8BC0F43Q27335881-A56C3CC6-1E26-4171-88F8-8534B062C94AQ28650316-715E02DB-FCCF-4C16-A774-647B67DB4F04Q30010513-DB71ECD4-16DC-4E8B-9FC0-D817AC76AC94Q30011010-03D8BC08-8C9E-43FE-A7E0-7BF5AFB8A0B3Q30353093-92B0CE01-F471-4BB0-AC0F-6FCE18CD8604Q30355383-6409EDC4-D1B8-4F0D-AD6B-0A63E6E32683Q30355525-96541590-6982-4077-9AC0-ECFA6B98D39EQ30359677-8A9ABD2F-ECFE-4B33-BD46-BC17EA5EEE76Q30359697-52D4FBF7-6929-466B-A168-C59BFA0612A3Q30359898-BD0A3067-6851-4E90-9EE0-8037E175122CQ30361419-28411B1D-58E3-4E4A-9A02-52DC2F8DDEA9Q30363681-F8E6CB5E-AB24-4EAA-8F45-86A37C354EF6Q30364724-D8277BB4-2F68-4D15-8AD5-42C1DD1AB49CQ30366497-A138E76D-053D-47CB-B397-C8F7EC56C319Q30367610-7A340A44-9FD7-463A-BDBF-79C37580FB7DQ30371955-F567CBC8-767B-433A-B186-2AFAB9E55379Q30373013-CD1124DA-7BDC-4DBA-9915-65138CD70035Q30375136-4756A7A5-905C-481F-97D0-BA887316A766Q30375201-3063D11B-B1DA-4AC9-BC79-6EE8382235BAQ30376049-1DF55A26-893C-4041-B516-9EFD3C44F17BQ30376070-913F857F-CE09-4A4F-85A3-F2F1F14A0B0EQ30378388-B956E366-5868-4ACE-A1A5-18D279780059Q30378998-670978F9-2475-4F7C-9D38-72F5F0F993E8Q30379684-E24CF521-67BA-4382-B6B7-0529B410AAEAQ30382311-4260DAEF-1343-4600-B5FB-A2F2AAC82308Q30383461-CE7A38AF-3FF6-4725-8E83-871BF2F00473Q30383563-4B79E8BB-2CC4-4A94-ACC5-1F43F7CA6F73Q30383620-3EB04786-85B4-49F6-B9EA-E3A5BD8356E0Q30383914-495693A6-EAE6-4FD7-8647-AA46925CA240Q30387308-F593A8BE-88A3-4FE5-AE20-32C398510AFFQ30390975-CAB03218-C32F-4611-8547-664E0BC3F57DQ30391802-106114DE-4470-4AED-845E-D397D45CCFB2Q30392374-92AEB59D-C1FF-453F-8E76-6652AAEDAFC7Q30393016-1F478477-A87E-4930-A984-A7E9F005AF74Q30393571-DD414402-79C5-405B-96DD-AFA26C8F7B0CQ30394026-9FF4B443-E6C9-4692-AC45-6CF2E2C04764Q30395339-126700FF-3643-4604-8132-D1655AA1ACE6Q30400645-271F7469-DB23-4983-9F28-1D4114CC1845Q30402153-10A94380-F4BA-4F92-8B4E-8469B5A014D5
P2860
Are we "experienced listeners"? A review of the musical capacities that do not depend on formal musical training.
description
2006 nî lūn-bûn
@nan
2006 թուականի Յունուարին հրատարակուած գիտական յօդուած
@hyw
2006 թվականի հունվարին հրատարակված գիտական հոդված
@hy
2006年の論文
@ja
2006年論文
@yue
2006年論文
@zh-hant
2006年論文
@zh-hk
2006年論文
@zh-mo
2006年論文
@zh-tw
2006年论文
@wuu
name
Are we "experienced listeners" ...... nd on formal musical training.
@ast
Are we "experienced listeners" ...... nd on formal musical training.
@en
type
label
Are we "experienced listeners" ...... nd on formal musical training.
@ast
Are we "experienced listeners" ...... nd on formal musical training.
@en
prefLabel
Are we "experienced listeners" ...... nd on formal musical training.
@ast
Are we "experienced listeners" ...... nd on formal musical training.
@en
P1433
P1476
Are we "experienced listeners" ...... nd on formal musical training.
@en
P2093
Poulin-Charronnat B
P304
P356
10.1016/J.COGNITION.2005.11.007
P577
2006-01-17T00:00:00Z