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Defining the biological bases of individual differences in musicalityStructural Classification of Wild Boar (Sus scrofa) VocalizationsThe Eye is Listening: Music-Induced Arousal and Individual Differences Predict Pupillary Responses.Phylogenetic signal in the acoustic parameters of the advertisement calls of four clades of anurans.Cognitive representation of "musical fractals": Processing hierarchy and recursion in the auditory domain.Harmonic context influences pitch class equivalence judgments through gestalt and congruency effects.Pitch enhancement facilitates word learning across visual contexts.Overtone-based pitch selection in hermit thrush song: unexpected convergence with scale construction in human music.Exploring shamanic journeying: repetitive drumming with shamanic instructions induces specific subjective experiences but no larger cortisol decrease than instrumental meditation musicBeyond intensity: Spectral features effectively predict music-induced subjective arousal.Primate drum kit: a system for studying acoustic pattern production by non-human primates using acceleration and strain sensors.A three-parameter model for classifying anurans into four genera based on advertisement calls.Multiple varieties of musical meaning: Comment on "Towards a neural basis of processing musical semantics" by Stefan Koelsch.Individuality in harpsichord performance: disentangling performer- and piece-specific influences on interpretive choices.The musicality of non-musicians: an index for assessing musical sophistication in the general population.Perceiving individuality in harpsichord performance.Emotional intelligence predicts individual differences in proneness for flow among musicians: the role of control and distributed attention.Individuality in music performance: introduction to the research topic.Evolutionary considerations on complex emotions and music-induced emotions: Comment on "The quartet theory of human emotions: An integrative and neurofunctional model" by S. Koelsch et al.Affective evaluation of simultaneous tone combinations in congenital amusia.Linking melodic expectation to expressive performance timing and perceived musical tension.Crossmodal transfer of arousal, but not pleasantness, from the musical to the visual domain.Perception of musical timbre in congenital amusia: categorization, discrimination and short-term memory.Perceiving musical individuality: performer identification is dependent on performer expertise and expressiveness, but not on listener expertise.Zoomusicology.
P50
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P50
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Bruno Gingras
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Bruno Gingras
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Bruno Gingras
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Bruno Gingras
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Bruno Gingras
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Bruno Gingras
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Bruno Gingras
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Bruno Gingras
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Bruno Gingras
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Bruno Gingras
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Bruno Gingras
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Bruno Gingras
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Bruno Gingras
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Bruno Gingras
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Bruno Gingras
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