text:
Determinants of Behavioral Distraction by Deviant Auditory Stimuli: A Review},
  volume = {78},
  issn = {03400727},
  url = {http://search.ebscohost.com/login.aspx?direct=true&db=bth&AN=95659916&site=ehost-live},
  doi = {10.1007/s00426-013-0534-4},
  shorttitle = {The Cognitive Determinants of Behavioral Distraction by Deviant Auditory Stimuli},
  abstract = {Numerous studies have demonstrated that rare and unexpected changes in an otherwise repetitive or structured sound sequence ineluctably break through selective attention and impact negatively on performance in an unrelated task. While the electrophysiological responses to unexpected sounds have been extensively studied, behavioral distraction has received relatively less attention until recently. In this paper, I review work examining the cognitive underpinnings of behavioral distraction by deviant sounds and highlight some of its key determinants. Evidence indicates that deviance distraction (1) derives from the time penalty associated with the involuntary orientation of attention to and away from the deviant sound and from resulting effects such as the reactivation of the relevant task set upon the presentation of the target stimulus; and (2) is mediated by a number of factors (some increasing distraction, such as aging or induced emotions; some decreasing it, such as a memory load or cognitive control). Contrary to the received view that deviants ineluctably elicit distraction, recent work demonstrates that it is contingent upon auditory distractors acting as unspecific warning signals in the service of goal-oriented behavior, and that deviants do not elicit distraction because they are rare but because they violate the cognitive system's predictions (which can be manipulated through implicit rule learning or explicit cueing). Evidence is also presented indicating that the capture of attention by spoken deviant sounds is followed by an involuntary evaluation of their semantic properties, the outcome of which can be robust enough to linger in working memory and interfere with subsequent behavior. Finally, I review studies suggesting that behavioral deviance distraction is not the mere byproduct of the mismatch negativity, P3a and re-orientation negativity electrophysiological responses and highlight a number of outstanding questions for future research.},
  number = {3},
  journaltitle = {Psychological Research},
  shortjournal = {Psychological Research},
  urldate = {2015-06-17},
  date = {2014-05},
  pages = {321-338},
  keywords = {Attention,cognition,Auditory Perception,electrophysiology,TASK performance,DISTRACTION (Psychology),SOUND},
  author = {Parmentier, Fabrice},
  file = {D\:\\Sauve\\Zotero\\storage\\UD2D8G5M\\Parmentier - 2014 - The cognitive determinants of behavioral distracti.pdf}
}

@article{daltonAuditoryAttentionalCapture2014,
  title = {Auditory Attentional Capture: Implicit and Explicit Approaches},
  volume = {78},
  issn = {03400727},
  url = {http://search.ebscohost.com/login.aspx?direct=true&db=bth&AN=95659914&site=ehost-live},
  doi = {10.1007/s00426-014-0557-5},
  shorttitle = {Auditory Attentional Capture},
  abstract = {The extent to which distracting items capture attention despite being irrelevant to the task at hand can be measured either implicitly or explicitly (e.g., Simons, Trends Cogn Sci 4:147-155, ). Implicit approaches include the standard attentional capture paradigm in which distraction is measured in terms of reaction time and/or accuracy costs within a focal task in the presence (vs. absence) of a task-irrelevant distractor. Explicit measures include the inattention paradigm in which people are asked directly about their noticing of an unexpected task-irrelevant item. Although the processes of attentional capture have been studied extensively using both approaches in the visual domain, there is much less research on similar processes as they may operate within audition, and the research that does exist in the auditory domain has tended to focus exclusively on either an explicit or an implicit approach. This paper provides an overview of recent research on auditory attentional capture, integrating the key conclusions that may be drawn from both methodological approaches.},
  number = {3},
  journaltitle = {Psychological Research},
  shortjournal = {Psychological Research},
  urldate = {2015-06-17},
  date = {2014-05},
  pages = {313-320},
  keywords = {Attention,Auditory Perception,HEARING,AUDITORY attention,TASK performance,REACTION time},
  author = {Dalton, Polly and Hughes, Robert},
  file = {D\:\\Sauve\\Zotero\\storage\\UDJ59WG6\\Dalton and Hughes - 2014 - Auditory attentional capture implicit and explici.pdf}
}

@article{kondoEffectsSelfmotionAuditory2012,
  title = {Effects of Self-Motion on Auditory Scene Analysis},
  volume = {109},
  issn = {0027-8424},
  doi = {10.1073/pnas.1112852109},
  abstract = {Auditory scene analysis requires the listener to parse the incoming flow of acoustic information into perceptual “streams,” such as sentences from a single talker in the midst of background noise. Behavioral and neural data show that the formation of streams is not instantaneous; rather, streaming builds up over time and can be reset by sudden changes in the acoustics of the scene. Here, we investigated the effect of changes induced by voluntary head motion on streaming. We used a telepresence robot in a virtual reality setup to disentangle all potential consequences of head motion: changes in acoustic cues at the ears, changes in apparent source location, and changes in motor or attentional processes. The results showed that self-motion influenced streaming in at least two ways. Right after the onset of movement, self-motion always induced some resetting of perceptual organization to one stream, even when the acoustic scene itself had not changed. Then, after the motion, the prevalent organization was rapidly biased by the binaural cues discovered through motion. Auditory scene analysis thus appears to be a dynamic process that is affected by the active sensing of the environment. (PsycINFO Database Record (c) 2012 APA, all rights reserved). (journal abstract)},
  number = {17},
  journaltitle = {PNAS Proceedings of the National Academy of Sciences of the United States of America},
  shortjournal = {PNAS Proceedings of the National Academy of Sciences of the United States of America},
  date = {2012-04-24},
  pages = {6775-6780},
  keywords = {acoustics,auditory scene analysis,acoustic information,Motion Perception,self-motion effects},
  author = {Kondo, Hirohito M. and Pressnitzer, Daniel and Toshima, Iwaki and Kashino, Makio}
}

@article{arnottNeuralGeneratorsUnderlying2011,
  title = {Neural Generators Underlying Concurrent Sound Segregation},
  volume = {1387},
  issn = {0006-8993},
  doi = {10.1016/j.brainres.2011.02.062},
  abstract = {Although an object-based account of auditory attention has become an increasingly popular model for understanding how temporally overlapping sounds are segregated, relatively little is known about the cortical circuit that supports such ability. In the present study, we applied a beamformer spatial filter to magnetoencephalography (MEG) data recorded during an auditory paradigm that used inharmonicity to promote the formation of multiple auditory objects. Using this unconstrained, data-driven approach, the evoked field component linked with the perception of multiple auditory objects (i.e., the object-related negativity; ORNm), was found to be associated with bilateral auditory cortex sources that were distinct from those coinciding with the P1m, N1m, and P2m responses elicited by sound onset. The right hemispheric ORNm source in particular was consistently positioned anterior to the other sources across two experiments. These findings are consistent with earlier proposals of multiple auditory object detection being associated with generators in the auditory cortex and further suggest that these neural populations are distinct from the long latency evoked responses reflecting the detection of sound onset. (PsycINFO Database Record (c) 2012 APA, all rights reserved). (journal abstract)},
  journaltitle = {Brain Research},
  shortjournal = {Brain Research},
  date = {2011-04-28},
  pages = {116-124},
  keywords = {Evoked Potentials,Auditory Stimulation,Auditory Localization,magnetoencephalography,sound segregation,Biological Neural Networks,neural generators},
  author = {Arnott, Stephen R. and Bardouille, Tim and Ross, Bernhard and Alain, Claude}
}

@article{hengImpairedPerceptionTemporal2011,
  title = {Impaired Perception of Temporal Fine Structure and Musical Timbre in Cochlear Implant Users},
  volume = {280},
  issn = {0378-5955},
  doi = {10.1016/j.heares.2011.05.017},
  abstract = {Cochlear implant (CI) users demonstrate severe limitations in perceiving musical timbre, a psycho-acoustic feature of sound responsible for ‘tone color’ and one’s ability to identify a musical instrument. The reasons for this limitation remain poorly understood. In this study, we sought to examine the relative contributions of temporal envelope and fine structure for timbre judgments, in light of the fact that speech processing strategies employed by CI systems typically employ envelope extraction algorithms. We synthesized “instrumental chimeras” that systematically combined variable amounts of envelope and fine structure in 25\% increments from two different source instruments with either sustained or percussive envelopes. CI users and normal hearing (NH) subjects were presented with 150 chimeras and asked to determine which instrument the chimera more closely resembled in a single-interval two-alternative forced choice task. By combining instruments with similar and dissimilar envelopes, we controlled the valence of envelope for timbre identification and compensated for envelope reconstruction from fine structure information. Our results show that NH subjects utilize envelope and fine structure interchangeably, whereas CI subjects demonstrate overwhelming reliance on temporal envelope. When chimeras were created from dissimilar envelope instrument pairs, NH subjects utilized a combination of envelope (p = 0.008) and fine structure information (p = 0.009) to make timbre judgments. In contrast, CI users utilized envelope information almost exclusively to make timbre judgments (p {$<$} 0.001) and ignored fine structure information (p = 0.908). Interestingly, when the value of envelope as a cue was reduced, both NH subjects and CI users utilized fine structure information to make timbre judgments (p {$<$} 0.001), although the effect was quite weak in CI users. Our findings confirm that impairments in fine structure processing underlie poor perception of musical timbre in CI users. (PsycINFO Database Record (c) 2012 APA, all rights reserved). (journal abstract)},
  number = {1-2},
  journaltitle = {Hearing Research},
  shortjournal = {Hearing Research},
  date = {2011-10},
  pages = {192-200},
  keywords = {Auditory Stimulation,acoustics,cochlear implants,Hearing Disorders,music perception,Musical Instruments,chimeras,musical instrument identification,musical timbre judgment,temporal envelope,temporal fine structure},
  author = {Heng, Joseph and Cantarero, Gabriela and Elhilali, Mounya and Limb, Charles J.}
}

@article{looiMelodiesFamiliarAustralian2003,
  title = {Melodies {{Familiar}} to the {{Australian Population Across}} a {{Range}} of {{Hearing Abilities}}},
  volume = {25},
  issn = {0157-1532},
  doi = {10.1375/audi.25.2.75.31118},
  abstract = {This study aimed to identify a small set of melodies that were judged as most familiar by the Australian adult population. Responses were obtained from a questionnaire completed by 88 men and women (49 with normal hearing or mild hearing losses, 14 hearing-aid users and 25 cochlear implant users). The questionnaire listed 57 potentially familiar melodies. For each melody, respondents were asked to indicate if they could recognise the name of the tune, recognise the tune if it were played to them, or sing that tune "in their head". After analysis of the responses, short lists of familiar melodies were compiled for each of the three participant groups, as well as for all respondents. The results showed that "Happy Birthday", "Jingle Bells", "Silent Night", "Twinkle Twinkle Little Star", "Waltzing Matilda" and "Old MacDonald" were consistently judged the most familiar melodies, both within each of the three participant groups and overall. Further analysis revealed that the cochlear implant users reported being able to sing tunes "in their head" more than they could recognise them aurally, whereas the results of the normal hearing or mild hearing-loss group showed the opposite pattern. (PsycINFO Database Record (c) 2012 APA, all rights reserved). (journal abstract)},
  number = {2},
  journaltitle = {Australian and New Zealand Journal of Audiology},
  shortjournal = {Australian and New Zealand Journal of Audiology},
  date = {2003-11},
  pages = {75-83},
  keywords = {Auditory Perception,Music,Hearing Disorders,music perception,hearing abilities,Australian population,cochlear implant users,Familiarity,hearing aid users,Hearing Aids,hearing losses,melodies},
  author = {Looi, Valerie and Sucher, Catherine and McDermott, Hugh}
}

@article{koelschDifferentiatingERANMMN2001,
  title = {Differentiating {{ERAN}} and {{MMN}}: {{An ERP Study}}},
  volume = {12},
  abstract = {In the present study, the early right-anterior negativity (ERAN) elicited by harmonically inappropriate chords during listening to music was compared to the frequency mismatch negativity (MMN) and the abstract-feature MMN. Results revealed that the amplitude of the ERAN, in contrast to the MMN, is specifically dependent on the degree of harmonic appropriateness. Thus, the ERAN is correlated with the cognitive processing of complex rule-based information, i.e. with the application of music–syntactic rules. Moreover, results showed that the ERAN, compared to the abstract-feature MMN, had both a longer latency, and a larger amplitude. The combined findings indicate that ERAN and MMN reflect different mechanisms of pre-attentive irregularity detection, and that, although both components have several features in common, the ERAN does not easily fit into the classical MMN framework. The present ERPs thus provide evidence for a differentiation of cognitive processes underlying the fast and pre-attentive processing of auditory information.},
  number = {7},
  journaltitle = {NeuroReport: For Rapid Communication of Neuroscience Research},
  date = {2001},
  pages = {1385-1389},
  author = {Koelsch, Stefan and Gunter, Thomas C. and Schröger, Erich and Tervaniemi, Mari and Sammler, Daniela and Friederici, Angela D.}
}

@article{bratticoMusicalScaleProperties2006,
  title = {Musical Scale Properties Are Automatically Processed in the Human Auditory Cortex},
  volume = {1117},
  issn = {0006-8993},
  url = {http://www.sciencedirect.com/science/article/pii/S000689930602364X},
  doi = {10.1016/j.brainres.2006.08.023},
  abstract = {While listening to music, we immediately detect ‘wrong’ tones that do not match our expectations based on the prior context. This study aimed to determine whether such expectations can occur preattentively, as indexed by event-related potentials (ERPs), and whether these are modulated by attentional processes. To this end, we recorded ERPs in nonmusicians while they were presented with unfamiliar melodies, containing either a pitch deviating from the equal-tempered chromatic scale (out-of-tune) or a pitch deviating from the diatonic scale (out-of-key). ERPs were recorded in a passive experiment in which subjects were distracted from the sounds and in an active experiment in which they were judging how incongruous each melody was. In both the experiments, pitch incongruities elicited an early frontal negativity that was not modulated by attentional focus. This early negativity, closely corresponding to the mismatch negativity (MMN) of the ERPs, was mainly originated in the auditory cortex and occurred in response to both pitch violations but with larger amplitude for the more salient out-of-tune pitch than the less salient out-of-key pitch. Attentional processes leading to the conscious access of musical scale information were indexed by the late parietal positivity (resembling the P600 of the ERPs) elicited in response to both incongruous pitches in the active experiment only. Our results indicate that the relational properties of the musical scale are quickly and automatically extracted by the auditory cortex even before the intervention of focused attention.},
  number = {1},
  journaltitle = {Brain Research},
  shortjournal = {Brain Research},
  urldate = {2016-03-15},
  date = {2006-10-30},
  pages = {162-174},
  keywords = {Auditory Perception,Music,mismatch negativity,pitch,Event-related potential,Temporal cortex},
  author = {Brattico, Elvira and Tervaniemi, Mari and Näätänen, Risto and Peretz, Isabelle},
  file = {D\:\\Sauve\\Zotero\\storage\\SRHS86HD\\S000689930602364X.html}
}

@article{bratticoSimultaneousStorageTwo2002,
  title = {Simultaneous Storage of Two Complex Temporal Sound Patterns... : {{NeuroReport}}},
  volume = {13},
  url = {http://journals.lww.com/neuroreport/Fulltext/2002/10070/Simultaneous_storage_of_two_complex_temporal_sound.11.aspx},
  shorttitle = {Simultaneous Storage of Two Complex Temporal Sound Patterns...},
  abstract = {We wished to determine whether multiple sound patterns can be simultaneously represented in the temporary auditory buffer (auditory sensory memory), when subjects have no task related to the sounds. To this end we used the mismatch negativity (MMN) event-related potential, an electric brain respo...},
  number = {14},
  journaltitle = {Neuroreport: An International Journal for the Rapid Communication of Research in Neuroscience},
  urldate = {2016-03-14},
  date = {2002},
  pages = {1747-1751},
  author = {Brattico, Elvira and Winkler, Istvan and Näätänen, Risto and Paavilainen, Petri and Tervaniemi, Mari},
  file = {D\:\\Sauve\\Zotero\\storage\\BTKVKUMG\\Simultaneous_storage_of_two_complex_temporal_sound.11.html;D\:\\Sauve\\Zotero\\storage\\HM7NNH36\\Simultaneous_storage_of_two_complex_temporal_sound.11.html}
}

@article{paavilainenNeuronalPopulationsHuman1999,
  title = {Neuronal Populations in the Human Brain Extracting Invariant Relationships from Acoustic Variance},
  volume = {265},
  issn = {0304-3940},
  url = {http://www.sciencedirect.com/science/article/pii/S0304394099002372},
  doi = {10.1016/S0304-3940(99)00237-2},
  abstract = {The ability to extract invariant relationships from physically varying stimulation is critical for example to categorical perception of complex auditory information such as speech and music. Human subjects were presented with tone pairs randomly varying over a wide frequency range, there being no physically constant tone pair at all. Instead, the invariant feature was either the direction of the tone pairs (ascending: the second tone was higher in frequency than the first tone) or the frequency ratio (musical interval) of the two tones. The subjects ignored the tone pairs, and instead attended a silent video. Occasional deviant pairs (either descending in direction or having a different frequency ratio) elicited the mismatch negativity (MMN) of the event-related potential, demonstrating the existence of neuronal populations which automatically (independently of attention) extract invariant relationships from acoustical variance.},
  number = {3},
  journaltitle = {Neuroscience Letters},
  shortjournal = {Neuroscience Letters},
  urldate = {2016-03-14},
  date = {1999-04-23},
  pages = {179-182},
  keywords = {music perception,mismatch negativity,Speech Perception,event-related potentials,Cognitive neuroscience,Invariance detection,Sensory memory},
  author = {Paavilainen, Petri and Jaramillo, Maria and Näätänen, Risto and Winkler, István},
  file = {D\:\\Sauve\\Zotero\\storage\\TICQF2K4\\S0304394099002372.html}
}

@incollection{vuustNeuralUnderpinningsMusic2014,
  langid = {english},
  title = {Neural {{Underpinnings}} of {{Music}}: {{The Polyrhythmic Brain}}},
  isbn = {978-1-4939-1781-5 978-1-4939-1782-2},
  url = {http://link.springer.com/chapter/10.1007/978-1-4939-1782-2_18},
  shorttitle = {Neural {{Underpinnings}} of {{Music}}},
  abstract = {Musical rhythm, consisting of apparently abstract intervals of accented temporal events, has the remarkable ability to move our minds and bodies. Why do certain rhythms make us want to tap our feet, bop our heads or even get up and dance? And how does the brain process rhythmically complex rhythms during our experiences of music? In this chapter, we describe some common forms of rhythmic complexity in music and propose that the theory of predictive coding can explain how rhythm and rhythmic complexity are processed in the brain. We also consider how this theory may reveal why we feel so compelled by rhythmic tension in music. First, musical-theoretical and neuroscientific frameworks of rhythm are presented, in which rhythm perception is conceptualized as an interaction between what is heard (‘rhythm’) and the brain’s anticipatory structuring of music (‘the meter’). Second, three different examples of tension between rhythm and meter in music are described: syncopation, polyrhythm and groove. Third, we present the theory of predictive coding of music, which posits a hierarchical organization of brain responses reflecting fundamental, survival-related mechanisms associated with predicting future events. According to this theory, perception and learning is manifested through the brain’s Bayesian minimization of the error between the input to the brain and the brain’s prior expectations. Fourth, empirical studies of neural and behavioral effects of syncopation, polyrhythm and groove will be reported, and we propose how these studies can be seen as special cases of the predictive coding theory. Finally, we argue that musical rhythm exploits the brain’s general principles of anticipation and propose that pleasure from musical rhythm may be a result of such anticipatory mechanisms.},
  number = {829},
  booktitle = {Neurobiology of {{Interval Timing}}},
  series = {Advances in {{Experimental Medicine}} and {{Biology}}},
  publisher = {{Springer New York}},
  urldate = {2016-03-14},
  date = {2014},
  pages = {339-356},
  keywords = {Prediction,Music,rhythmic complexity,Neurosciences,Human Physiology,Pleasure},
  author = {Vuust, Peter and Gebauer, Line K. and Witek, Maria A. G.},
  editor = {Merchant, Hugo and de Lafuente, Victor},
  file = {D\:\\Sauve\\Zotero\\storage\\TXIDSFHI\\978-1-4939-1782-2_18.html},
  doi = {10.1007/978-1-4939-1782-2_18}
}

@article{vuustPracticedMusicalStyle2012,
  langid = {english},
  title = {Practiced Musical Style Shapes Auditory Skills},
  volume = {1252},
  issn = {1749-6632},
  url = {http://onlinelibrary.wiley.com/doi/10.1111/j.1749-6632.2011.06409.x/abstract},
  doi = {10.1111/j.1749-6632.2011.06409.x},
  abstract = {Musicians’ processing of sounds depends highly on instrument, performance practice, and level of expertise. Here, we measured the mismatch negativity (MMN), a preattentive brain response, to six types of musical feature change in musicians playing three distinct styles of music (classical, jazz, and rock/pop) and in nonmusicians using a novel, fast, and musical sounding multifeature MMN paradigm. We found MMN to all six deviants, showing that MMN paradigms can be adapted to resemble a musical context. Furthermore, we found that jazz musicians had larger MMN amplitude than all other experimental groups across all sound features, indicating greater overall sensitivity to auditory outliers. Furthermore, we observed a tendency toward shorter latency of the MMN to all feature changes in jazz musicians compared to band musicians. These findings indicate that the characteristics of the style of music played by musicians influence their perceptual skills and the brain processing of sound features embedded in music.},
  number = {1},
  journaltitle = {Annals of the New York Academy of Sciences},
  urldate = {2016-03-14},
  date = {2012-04-01},
  pages = {139-146},
  keywords = {Musicians,Mismatch negativity (MMN),EEG,Learning,multifeature MMN paradigm,musical style},
  author = {Vuust, Peter and Brattico, Elvira and Seppänen, Miia and Näätänen, Risto and Tervaniemi, Mari},
  file = {D\:\\Sauve\\Zotero\\storage\\2CFBZIJ9\\abstract\;jsessionid=28858F0BEC535AB92271EE475858F251.html}
}

@article{takegataPreattentiveRepresentationFeature2005,
  title = {Preattentive Representation of Feature Conjunctions for Concurrent Spatially Distributed Auditory Objects},
  volume = {25},
  issn = {0926-6410},
  url = {http://www.sciencedirect.com/science/article/pii/S0926641005001564},
  doi = {10.1016/j.cogbrainres.2005.05.006},
  abstract = {The role of attention in conjoining features of an object has been a topic of much debate. Studies using the mismatch negativity (MMN), an index of detecting acoustic deviance, suggested that the conjunctions of auditory features are preattentively represented in the brain. These studies, however, used sequentially presented sounds and thus are not directly comparable with visual studies of feature integration. Therefore, the current study presented an array of spatially distributed sounds to determine whether the auditory features of concurrent sounds are correctly conjoined without focal attention directed to the sounds. Two types of sounds differing from each other in timbre and pitch were repeatedly presented together while subjects were engaged in a visual n-back working-memory task and ignored the sounds. Occasional reversals of the frequent pitch–timbre combinations elicited MMNs of a very similar amplitude and latency irrespective of the task load. This result suggested preattentive integration of auditory features. However, performance in a subsequent target-search task with the same stimuli indicated the occurrence of illusory conjunctions. The discrepancy between the results obtained with and without focal attention suggests that illusory conjunctions may occur during voluntary access to the preattentively encoded object representations.},
  number = {1},
  journaltitle = {Cognitive Brain Research},
  shortjournal = {Cognitive Brain Research},
  urldate = {2016-03-14},
  date = {2005-09},
  pages = {169-179},
  keywords = {Attention,Auditory Perception,Mismatch negativity (MMN),auditory memory,Event-related potential (ERP),Feature binding},
  author = {Takegata, Rika and Brattico, Elvira and Tervaniemi, Mari and Varyagina, Olga and Näätänen, Risto and Winkler, István},
  file = {D\:\\Sauve\\Zotero\\storage\\V6RANEN8\\S0926641005001564.html}
}

@article{naatanenEarlySelectiveattentionEffect1978,
  langid = {english},
  title = {Early Selective-Attention Effect on Evoked Potential Reinterpreted},
  volume = {42},
  issn = {0001-6918},
  number = {4},
  journaltitle = {Acta Psychologica},
  shortjournal = {Acta Psychol (Amst)},
  date = {1978-07},
  pages = {313-329},
  keywords = {Attention,Evoked Potentials,Auditory Perception,electroencephalography,humans,Adult,Cerebral Cortex,Dominance; Cerebral},
  author = {Näätänen, R. and Gaillard, A. W. and Mäntysalo, S.},
  eprinttype = {pmid},
  eprint = {685709}
}

@article{pearceRoleExpectationProbabilistic2010,
  title = {The Role of Expectation and Probabilistic Learning in Auditory Boundary Perception: {{A}} Model Comparison},
  volume = {39},
  issn = {0301-0066},
  doi = {10.1068/p6507},
  shorttitle = {The Role of Expectation and Probabilistic Learning in Auditory Boundary Perception},
  abstract = {Grouping and boundary perception are central to many aspects of sensory processing in cognition. We present a comparative study of recently published computational models of boundary perception in music. In doing so, we make three contributions. First, we hypothesise a relationship between expectation and grouping in auditory perception, and introduce a novel information-theoretic model of perceptual segmentation to test the hypothesis. Although we apply the model to musical melody, it is applicable in principle to sequential grouping in other areas of cognition. Second, we address a methodological consideration in the analysis of ambiguous stimuli that produce different percepts between individuals. We propose and demonstrate a solution to this problem, based on clustering of participants prior to analysis. Third, we conduct the first comparative analysis of probabilistic-learning and rule-based models of perceptual grouping in music. In spite of having only unsupervised exposure to music, the model performs comparably to rule-based models based on expert musical knowledge, supporting a role for probabilistic learning in perceptual segmentation of music. (PsycINFO Database Record (c) 2012 APA, all rights reserved). (journal abstract)},
  number = {10},
  journaltitle = {Perception},
  shortjournal = {Perception},
  date = {2010},
  pages = {1365-1389},
  keywords = {cognition,Auditory Perception,Expectations,auditory boundary perception,probabilistic learning,Probability Learning},
  author = {Pearce, M. T. and Müllensiefen, Daniel and Wiggins, Geraint A.},
  file = {D\:\\Sauve\\Zotero\\storage\\FI6EFGUU\\1367.html}
}

@article{knoschePerceptionPhraseStructure2005,
  langid = {english},
  title = {Perception of Phrase Structure in Music},
  volume = {24},
  issn = {1065-9471},
  doi = {10.1002/hbm.20088},
  abstract = {Neither music nor spoken language form uniform auditory streams, rather, they are structured into phrases. For the perception of such structures, the detection of phrase boundaries is crucial. We discovered electroencephalography (EEG) and magnetoencephalography (MEG) correlates for the perception of phrase boundaries in music. In EEG, this process was marked by a positive wave approximately between 500 and 600 ms after the offset of a phrase boundary with a centroparietal maximum. In MEG, we found major activity in an even broader time window (400-700 ms). Source localization revealed that likely candidates for the generation of the observed effects are structures in the limbic system, including anterior and posterior cingulate as well as posterior mediotemporal cortex. The timing and topography of the EEG effect bear some resemblance to a positive shift (closure positive shift, CPS) found for prosodic phrase boundaries during speech perception in an earlier study, suggesting that the underlying processes might be related. Because the brain structures, which possibly underlie the observed effects, are known to be involved in memory and attention processes, we suggest that the CPS may not reflect the detection of the phrase boundary as such, but those memory and attention related processes that are necessary to guide the attention focus from one phrase to the next, thereby closing the former and opening up the next phrase.},
  number = {4},
  journaltitle = {Human Brain Mapping},
  shortjournal = {Hum Brain Mapp},
  date = {2005-04},
  pages = {259-273},
  keywords = {brain,Auditory Perception,Music,electroencephalography,magnetoencephalography,humans,Adult,Female,Male,Brain Mapping,Evoked Potentials; Auditory},
  author = {Knösche, Thomas R. and Neuhaus, Christiane and Haueisen, Jens and Alter, Kai and Maess, Burkhard and Witte, Otto W. and Friederici, Angela D.},
  eprinttype = {pmid},
  eprint = {15678484}
}

@article{schulzEvidenceTraininginducedCrossmodal2003,
  title = {Evidence for Training-Induced Crossmodal Reorganization of Crossmodal Reorganization of Cortical Functions in Trumpet Players},
  volume = {14},
  url = {http://journals.lww.com/neuroreport/Fulltext/2003/01200/Evidence_for_training_induced_crossmodal.29.aspx},
  shorttitle = {Evidence for Training-Induced Crossmodal Reorganization of c...},
  abstract = {The aim of this study was to compare multimodal information processing in the somatosensory and auditory cortices and related multimodal areas in musicians (trumpet players) and non-musicians. Magnetoencephalographic activity (MEG) was recorded in response to five stimulus conditions from 10 professional trumpet players and nine musically untrained control subjects. Somatosensory and auditory stimuli were presented alone or in combination. Our data suggest that musicians, in general, process multisensory stimuli differently to the control group. When stimulating the lip in professional trumpet players, a multimodal interaction (expressed as difference between the multimodal response and the sum of unimodal responses) in the corresponding somatosensory cortex showed a positive peak at 33\,ms, which was not found in the control group. Conversely, the control group shows a significant interaction of opposite polarity around 60–80\,ms. We suggest that training-induced reorganization in musicians leads to a qualitatively different way to process multisensory information. It favors an early stage of cortical processing, which is modified by the connections between multimodal and auditory neurons from thalamus to primary somatosensory area.},
  number = {1},
  journaltitle = {NeuroReport: For Rapid Communication of Neuroscience Research},
  urldate = {2015-12-12},
  date = {2003},
  pages = {157-161},
  author = {{Schulz} and {Ross} and {Pantev}},
  file = {D\:\\Sauve\\Zotero\\storage\\HAAIUUX4\\Evidence_for_training_induced_crossmodal.29.html}
}

@article{baumannNetworkAudioMotor2007,
  title = {A Network for Audio–Motor Coordination in Skilled Pianists and Non-Musicians},
  volume = {1161},
  issn = {0006-8993},
  url = {http://www.sciencedirect.com/science/article/pii/S0006899307012462},
  doi = {10.1016/j.brainres.2007.05.045},
  abstract = {Playing a musical instrument requires efficient auditory and motor processing. Fast feed forward and feedback connections that link the acoustic target to the corresponding motor programs need to be established during years of practice. The aim of our study is to provide a detailed description of cortical structures that participate in this audio–motor coordination network in professional pianists and non-musicians. In order to map these interacting areas using functional magnetic resonance imaging (fMRI), we considered cortical areas that are concurrently activated during silent piano performance and motionless listening to piano sound. Furthermore we investigated to what extent interactions between the auditory and the motor modality happen involuntarily. We observed a network of predominantly secondary and higher order areas belonging to the auditory and motor modality. The extent of activity was clearly increased by imagination of the absent modality. However, this network did neither comprise primary auditory nor primary motor areas in any condition. Activity in the lateral dorsal premotor cortex (PMd) and the pre-supplementary motor cortex (preSMA) was significantly increased for pianists. Our data imply an intermodal transformation network of auditory and motor areas which is subject to a certain degree of plasticity by means of intensive training.},
  journaltitle = {Brain Research},
  shortjournal = {Brain Research},
  urldate = {2015-12-12},
  date = {2007-08-03},
  pages = {65-78},
  keywords = {plasticity,Music,fMRI,auditory,Crossmodal interaction,Motor,Sensory-motor integration},
  author = {Baumann, Simon and Koeneke, Susan and Schmidt, Conny F. and Meyer, Martin and Lutz, Kai and Jancke, Lutz},
  file = {D\:\\Sauve\\Zotero\\storage\\442UKH5P\\S0006899307012462.html;D\:\\Sauve\\Zotero\\storage\\CP6TTZH8\\S0006899307012462.html}
}

@article{fujiokaMusicalTrainingEnhances2004,
  title = {Musical Training Enhances Automatic Encoding of Melodic Contour and Interval Structure},
  volume = {16},
  issn = {0898-929X},
  doi = {10.1162/0898929041502706},
  abstract = {In music, melodic information is thought to be encoded in two forms, a contour code (up/down pattern of pitch changes) and an interval code (pitch distances between successive notes). A recent study recording the mismatch negativity (MMN) evoked by pitch contour and interval deviations in simple melodies demonstrated that people with no formal music education process both contour and interval information in the auditory cortex automatically. However, it is still unclear whether musical experience enhances both strategies of melodic encoding. We designed stimuli to examine contour and interval information separately. In the contour condition there were eight different standard melodies (presented on 80\% of trials), each consisting of five notes all ascending in pitch, and the corresponding deviant melodies (2096) were altered to descending on their final note. The interval condition used one five-note standard melody transposed to eight keys from trial to trial, and on deviant trials the last note was raised by one whole tone without changing the pitch contour. There was also a control condition, in which a standard tone (990.7 Hz) and a deviant tone (1111.0 Hz) were presented. The magnetic counterpart of the MMN (MMNm) from musicians and nonmusicians was obtained as the difference between the dipole moment in response to the standard and deviant trials recorded by magnetoencephalography. Significantly larger MMNm was present in musicians in both contour and interval conditions than in nonmusicians, whereas MMNm in the control condition was similar for both groups. The interval MMNm was larger than the contour MMNm in musicians. No hemispheric difference was found in either group. The results suggest that musical training enhances the ability to automatically register abstract changes in the relative pitch structure of melodies. (PsycINFO Database Record (c) 2012 APA, all rights reserved). (journal abstract)},
  number = {6},
  journaltitle = {Journal of Cognitive Neuroscience},
  shortjournal = {Journal of Cognitive Neuroscience},
  date = {2004-07},
  pages = {1010-1021},
  keywords = {Music,Pitch (Frequency),Pitch Discrimination,musical training,music perception,mismatch negativity,automatic encoding,Human Information Storage,pitch,Form and Shape Perception,interval structure,melodic contour},
  author = {Fujioka, Takako and Trainor, Laurel J. and Ross, Bernhard and Kakigi, Ryusuke and Pantev, Christo},
  file = {D\:\\Sauve\\Zotero\\storage\\GPV74GHM\\Fujioka et al. - 2004 - Musical training enhances automatic encoding of me.pdf;D\:\\Sauve\\Zotero\\storage\\3D22Z7FV\\login.html;D\:\\Sauve\\Zotero\\storage\\GQKAC4QG\\0898929041502706.html}
}

@article{gutschalkNeuromagneticCorrelatesStreaming2005,
  title = {Neuromagnetic {{Correlates}} of {{Streaming}} in {{Human Auditory Cortex}}},
  volume = {25},
  issn = {0270-6474},
  doi = {10.1523/JNEUROSCI.0347-05.2005},
  abstract = {The brain is constantly faced with the challenge of organizing acoustic input from multiple sound sources into meaningful auditory objects or perceptual streams. The present study examines the neural bases of auditory stream formation using neuromagnetic and behavioral measures. The stimuli were sequences of alternating pure tones, which can be perceived as either one or two streams. In the first experiment, physical stimulus parameters were varied between values that promoted the perceptual grouping of the tone sequence into one coherent stream and values that promoted its segregation into two streams. In the second experiment, an ambiguous tone sequence produced a bistable percept that switched spontaneously between one- and two-stream percepts. The first experiment demonstrated a strong correlation between listeners' perception and long-latency ({$>$}60 ms) activity that likely arises in nonprimary auditory cortex. The second demonstrated a covariation between this activity and listeners' perception in the absence of physical stimulus changes. Overall, the results indicate a tight coupling between auditory cortical activity and streaming perception, suggesting that an explicit representation of auditory streams may be maintained within nonprimary auditory areas. (PsycINFO Database Record (c) 2012 APA, all rights reserved). (journal abstract)},
  number = {22},
  journaltitle = {The Journal of Neuroscience},
  shortjournal = {The Journal of Neuroscience},
  date = {2005-06},
  pages = {5382-5388},
  keywords = {brain,Auditory Perception,Auditory Stimulation,Stimulus Parameters,Auditory Cortex,Behavioral Assessment,behavioral measures,Magnetism,neuromagnetic,Neurotransmission},
  author = {Gutschalk, Alexander and Micheyl, Christophe and Melcher, Jennifer R. and Rupp, André and Scherg, Michael and Oxenham, Andrew J.}
}

@article{masutomiSoundSegregationEmbedded2016,
  langid = {english},
  title = {Sound Segregation via Embedded Repetition Is Robust to Inattention.},
  volume = {42},
  issn = {1939-1277, 0096-1523},
  url = {http://doi.apa.org/getdoi.cfm?doi=10.1037/xhp0000147},
  doi = {10.1037/xhp0000147},
  number = {3},
  journaltitle = {Journal of Experimental Psychology: Human Perception and Performance},
  urldate = {2016-02-24},
  date = {2016},
  pages = {386-400},
  author = {Masutomi, Keiko and Barascud, Nicolas and Kashino, Makio and McDermott, Josh H. and Chait, Maria}
}

@article{winklerMultistabilityAuditoryStream2012,
  langid = {english},
  title = {Multistability in Auditory Stream Segregation: A Predictive Coding View},
  volume = {367},
  issn = {0962-8436, 1471-2970},
  url = {http://rstb.royalsocietypublishing.org/cgi/doi/10.1098/rstb.2011.0359},
  doi = {10.1098/rstb.2011.0359},
  shorttitle = {Multistability in Auditory Stream Segregation},
  number = {1591},
  journaltitle = {Philosophical Transactions of the Royal Society B: Biological Sciences},
  urldate = {2016-02-24},
  date = {2012-04-05},
  pages = {1001-1012},
  author = {Winkler, I. and Denham, S. and Mill, R. and Bohm, T. M. and Bendixen, A.}
}

@article{robertsPrimitiveStreamSegregation2002,
  langid = {english},
  title = {Primitive Stream Segregation of Tone Sequences without Differences in Fundamental Frequency or Passband},
  volume = {112},
  issn = {00014966},
  url = {http://scitation.aip.org/content/asa/journal/jasa/112/5/10.1121/1.1508784},
  doi = {10.1121/1.1508784},
  number = {5},
  journaltitle = {The Journal of the Acoustical Society of America},
  urldate = {2016-02-24},
  date = {2002},
  pages = {2074},
  author = {Roberts, Brian and Glasberg, Brian R. and Moore, Brian C. J.}
}

@article{moorePropertiesAuditoryStream2012,
  langid = {english},
  title = {Properties of Auditory Stream Formation},
  volume = {367},
  issn = {0962-8436, 1471-2970},
  url = {http://rstb.royalsocietypublishing.org/cgi/doi/10.1098/rstb.2011.0355},
  doi = {10.1098/rstb.2011.0355},
  number = {1591},
  journaltitle = {Philosophical Transactions of the Royal Society B: Biological Sciences},
  urldate = {2016-02-24},
  date = {2012-04-05},
  pages = {919-931},
  author = {Moore, B. C. J. and Gockel, H. E.},
  file = {D\:\\Sauve\\Zotero\\storage\\Q455D3E9\\Moore and Gockel - 2012 - Properties of auditory stream formation.pdf;D\:\\Sauve\\Zotero\\storage\\7WHNLQPB\\919.html}
}

@article{gutschalkInteractionStreamingAttention2015,
  langid = {english},
  title = {Interaction of {{Streaming}} and {{Attention}} in {{Human Auditory Cortex}}},
  volume = {10},
  issn = {1932-6203},
  url = {http://dx.plos.org/10.1371/journal.pone.0118962},
  doi = {10.1371/journal.pone.0118962},
  number = {3},
  journaltitle = {PLOS ONE},
  urldate = {2016-02-24},
  date = {2015-03-18},
  pages = {e0118962},
  author = {Gutschalk, Alexander and Rupp, André and Dykstra, Andrew R.},
  editor = {Altmann, Christian Friedrich}
}

@article{demanyAuditoryStreamSegregation1982,
  langid = {english},
  title = {Auditory Stream Segregation in Infancy},
  volume = {5},
  issn = {01636383},
  url = {http://linkinghub.elsevier.com/retrieve/pii/S0163638382800362},
  doi = {10.1016/S0163-6383(82)80036-2},
  number = {2-4},
  journaltitle = {Infant Behavior and Development},
  urldate = {2016-02-24},
  date = {1982-01},
  pages = {261-276},
  author = {Demany, Laurent}
}

@article{bizleyWhatWhereHow2013,
  title = {The What, Where and How of Auditory-Object Perception},
  volume = {14},
  issn = {1471-003X, 1471-0048},
  url = {http://www.nature.com/doifinder/10.1038/nrn3565},
  doi = {10.1038/nrn3565},
  number = {10},
  journaltitle = {Nature Reviews Neuroscience},
  urldate = {2016-02-24},
  date = {2013-09-20},
  pages = {693-707},
  author = {Bizley, Jennifer K. and Cohen, Yale E.}
}

@article{bonnelDividedAttentionSimultaneous1998,
  langid = {english},
  title = {Divided Attention between Simultaneous Auditory and Visual Signals},
  volume = {60},
  issn = {0031-5117, 1532-5962},
  url = {http://www.springerlink.com/index/10.3758/BF03206027},
  doi = {10.3758/BF03206027},
  number = {2},
  journaltitle = {Perception \& Psychophysics},
  urldate = {2016-02-24},
  date = {1998-01},
  pages = {179-190},
  author = {Bonnel, Anne-Marie and Haftser, Ervin R.}
}

@article{szalardyForegroundbackgroundDiscriminationIndicated2013,
  langid = {english},
  title = {Foreground-Background Discrimination Indicated by Event-Related Brain Potentials in a New Auditory Multistability Paradigm: {{Auditory}} Foreground-Background Discrimination},
  volume = {50},
  issn = {00485772},
  url = {http://doi.wiley.com/10.1111/psyp.12139},
  doi = {10.1111/psyp.12139},
  shorttitle = {Foreground-Background Discrimination Indicated by Event-Related Brain Potentials in a New Auditory Multistability Paradigm},
  number = {12},
  journaltitle = {Psychophysiology},
  urldate = {2016-02-24},
  date = {2013-12},
  pages = {1239-1250},
  author = {Szalárdy, Orsolya and Winkler, István and Schröger, Erich and Widmann, Andreas and Bendixen, Alexandra}
}

@article{elhilaliInteractionAttentionBottomUp2009,
  langid = {english},
  title = {Interaction between {{Attention}} and {{Bottom}}-{{Up Saliency Mediates}} the {{Representation}} of {{Foreground}} and {{Background}} in an {{Auditory Scene}}},
  volume = {7},
  issn = {1545-7885},
  url = {http://dx.plos.org/10.1371/journal.pbio.1000129},
  doi = {10.1371/journal.pbio.1000129},
  number = {6},
  journaltitle = {PLoS Biology},
  urldate = {2016-02-24},
  date = {2009-06-16},
  pages = {e1000129},
  author = {Elhilali, Mounya and Xiang, Juanjuan and Shamma, Shihab A. and Simon, Jonathan Z.},
  editor = {Griffiths, Timothy D.}
}

@incollection{denhamStabilityPerceptualOrganisation2010,
  langid = {english},
  location = {{New York, NY}},
  title = {Stability of {{Perceptual Organisation}} in {{Auditory Streaming}}},
  isbn = {978-1-4419-5685-9 978-1-4419-5686-6},
  url = {http://link.springer.com/10.1007/978-1-4419-5686-6_44},
  booktitle = {The {{Neurophysiological Bases}} of {{Auditory Perception}}},
  publisher = {{Springer New York}},
  urldate = {2016-02-24},
  date = {2010},
  pages = {477-487},
  author = {Denham, Susan L. and Gyimesi, Kinga and Stefanics, Gábor and Winkler, István},
  editor = {Lopez-Poveda, Enrique A. and Palmer, Alan R. and Meddis, Ray}
}

@article{baylisVisualAttentionObjects1993,
  langid = {english},
  title = {Visual Attention and Objects: {{Evidence}} for Hierarchical Coding of Location.},
  volume = {19},
  issn = {0096-1523},
  url = {http://doi.apa.org/getdoi.cfm?doi=10.1037/0096-1523.19.3.451},
  doi = {10.1037/0096-1523.19.3.451},
  shorttitle = {Visual Attention and Objects},
  number = {3},
  journaltitle = {Journal of Experimental Psychology: Human Perception and Performance},
  urldate = {2016-02-24},
  date = {1993},
  pages = {451-470},
  author = {Baylis, Gordon C. and Driver, Jon}
}

@article{rossInfluenceMusicalGroove2016,
  langid = {english},
  title = {Influence of Musical Groove on Postural Sway.},
  volume = {42},
  issn = {1939-1277, 0096-1523},
  url = {http://doi.apa.org/getdoi.cfm?doi=10.1037/xhp0000198},
  doi = {10.1037/xhp0000198},
  number = {3},
  journaltitle = {Journal of Experimental Psychology: Human Perception and Performance},
  urldate = {2016-02-24},
  date = {2016},
  pages = {308-319},
  author = {Ross, Jessica M. and Warlaumont, Anne S. and Abney, Drew H. and Rigoli, Lillian M. and Balasubramaniam, Ramesh}
}

@article{peretzMusicEmotionPerceptual1998,
  title = {Music and Emotion: Perceptual Determinants, Immediacy, and Isolation after Brain Damage},
  volume = {68},
  url = {http://www.sciencedirect.com/science/article/pii/S0010027798000432},
  shorttitle = {Music and Emotion},
  number = {2},
  journaltitle = {Cognition},
  urldate = {2016-01-27},
  date = {1998},
  pages = {111--141},
  author = {Peretz, Isabelle and Gagnon, Lise and Bouchard, Bernard},
  file = {D\:\\Sauve\\Zotero\\storage\\29CD4RKX\\Peretz et al. - 1998 - Music and emotion perceptual determinants, immedi.pdf;D\:\\Sauve\\Zotero\\storage\\8Z6E7ZM5\\S0010027798000432.html}
}

@book{juslinHandbookMusicEmotion2011,
  title = {Handbook of Music and Emotion: {{Theory}}, Research, Applications},
  url = {https://books.google.co.uk/books?hl=en&lr=&id=e250IFNvw1sC&oi=fnd&pg=PT6&dq=music+and+emotion&ots=U_cVJdhueJ&sig=WJjyrykHIdsA_xfMrv11w0GKDrE},
  shorttitle = {Handbook of Music and Emotion},
  publisher = {{Oxford University Press}},
  urldate = {2016-01-27},
  date = {2011},
  author = {Juslin, Patrik N. and Sloboda, John},
  file = {D\:\\Sauve\\Zotero\\storage\\EBWSH9IX\\books.html}
}

@article{schoonSensoryConsonance2005,
  langid = {english},
  title = {Sensory {{Consonance}}},
  volume = {23},
  issn = {0730-7829, 1533-8312},
  url = {http://mp.ucpress.edu/content/23/2/15},
  doi = {10.1525/mp.2005.23.2.105},
  number = {2},
  journaltitle = {Music Perception: An Interdisciplinary Journal},
  urldate = {2015-12-21},
  date = {2005-12-01},
  pages = {105-118},
  author = {Schöön, Daniele and Regnault, Pascaline and Ystad, Søølvi and Besson, Mireille},
  file = {D\:\\Sauve\\Zotero\\storage\\5QBQEQRH\\Schöön et al. - 2005 - Sensory Consonance.pdf;D\:\\Sauve\\Zotero\\storage\\XQVXUNUJ\\15.html}
}

@article{bratticoNeuralDiscriminationNonprototypical2009,
  langid = {english},
  title = {Neural Discrimination of Nonprototypical Chords in Music Experts and Laymen: An {{MEG}} Study},
  volume = {21},
  issn = {0898-929X},
  doi = {10.1162/jocn.2008.21144},
  shorttitle = {Neural Discrimination of Nonprototypical Chords in Music Experts and Laymen},
  abstract = {At the level of the auditory cortex, musicians discriminate pitch changes more accurately than nonmusicians. However, it is not agreed upon how sound familiarity and musical expertise interact in the formation of pitch-change discrimination skills, that is, whether musicians possess musical pitch discrimination abilities that are generally more accurate than in nonmusicians or, alternatively, whether they may be distinguished from nonmusicians particularly with respect to the discrimination of nonprototypical sounds that do not play a reference role in Western tonal music. To resolve this, we used magnetoencephalography (MEG) to measure the change-related magnetic mismatch response (MMNm) in musicians and nonmusicians to two nonprototypical chords, a "dissonant" chord containing a highly unpleasant interval and a "mistuned" chord including a mistuned pitch, and a minor chord, all inserted in a context of major chords. Major and minor are the most frequently used chords in Western tonal music which both musicians and nonmusicians are most familiar with, whereas the other chords are more rarely encountered in tonal music. The MMNm was stronger in musicians than in nonmusicians in response to the dissonant and mistuned chords, whereas no group difference was found in the MMNm strength to minor chords. Correspondingly, the length of musical training correlated with the MMNm strength for the dissonant and mistuned chords only. Our findings provide evidence for superior automatic discrimination of nonprototypical chords in musicians. Most likely, this results from a highly sophisticated auditory system in musicians allowing a more efficient discrimination of chords deviating from the conventional categories of tonal music.},
  number = {11},
  journaltitle = {Journal of Cognitive Neuroscience},
  shortjournal = {J Cogn Neurosci},
  date = {2009-11},
  pages = {2230-2244},
  keywords = {Attention,Music,Pitch Discrimination,magnetoencephalography,Acoustic Stimulation,humans,Adult,Female,Male,Recognition (Psychology),Discrimination (Psychology),Reference Values,Young Adult,Cerebral Cortex,Evoked Potentials; Auditory},
  author = {Brattico, Elvira and Pallesen, Karen Johanne and Varyagina, Olga and Bailey, Christopher and Anourova, Irina and Järvenpää, Miika and Eerola, Tuomas and Tervaniemi, Mari},
  eprinttype = {pmid},
  eprint = {18855547}
}

@article{bailesComparativeTimeSeries2012,
  langid = {english},
  title = {Comparative {{Time Series Analysis}} of {{Perceptual Responses}} to {{Electroacoustic Music}}},
  volume = {29},
  issn = {0730-7829, 1533-8312},
  url = {http://mp.ucpress.edu/content/29/4/359},
  doi = {10.1525/mp.2012.29.4.359},
  number = {4},
  journaltitle = {Music Perception: An Interdisciplinary Journal},
  urldate = {2015-12-21},
  date = {2012-04-01},
  pages = {359-375},
  keywords = {affect,electroacoustic music,perceptions of change,sound intensity,time series analysis},
  author = {Bailes, Freya and Dean, Roger T.},
  file = {D\:\\Sauve\\Zotero\\storage\\9GPUXVD7\\Bailes and Dean - 2012 - Comparative Time Series Analysis of Perceptual Res.pdf;D\:\\Sauve\\Zotero\\storage\\F88XPVA9\\359.full.html}
}

@article{massonUsingConfidenceIntervals2003,
  title = {Using Confidence Intervals for Graphically Based Data Interpretation},
  volume = {57},
  issn = {1878-7290(Electronic);1196-1961(Print)},
  doi = {10.1037/h0087426},
  abstract = {As a potential alternative to standard null hypothesis significance testing, we describe methods for graphical presentation of data--particularly condition means and their corresponding confidence intervals--for a wide range of factorial designs used in experimental psychology. We describe and illustrate confidence intervals specifically appropriate for between-subject versus within-subject factors. For designs involving more than two levels of a factor, we describe the use of contrasts for graphical illustration of theoretically meaningful components of main effects and interactions. These graphical techniques lend themselves to a natural and straightforward assessment of statistical power.},
  number = {3},
  journaltitle = {Canadian Journal of Experimental Psychology/Revue canadienne de psychologie expérimentale},
  date = {2003},
  pages = {203-220},
  keywords = {*Confidence Limits (Statistics),*Graphical Displays,*Null Hypothesis Testing,*Statistical Analysis,*Statistical Power,Statistical Significance},
  author = {Masson, Micheal E. J. and Loftus, Geoffrey R.}
}

@book{cummingUnderstandingNewStatistics2012,
  langid = {english},
  title = {Understanding the {{New Statistics}}: {{Effect Sizes}}, {{Confidence Intervals}}, and {{Meta}}-Analysis},
  isbn = {978-0-415-87968-2},
  shorttitle = {Understanding the {{New Statistics}}},
  abstract = {This is the first book to introduce the new statistics - effect sizes, confidence intervals, and meta-analysis - in an accessible way. It is chock full of practical examples and tips on how to analyze and report research results using these techniques. The book is invaluable to readers interested in meeting the new APA Publication Manual guidelines by adopting the new statistics - which are more informative than null hypothesis significance testing, and becoming widely used in many disciplines.Accompanying the book is the Exploratory Software for Confidence Intervals (ESCI) package, free software that runs under Excel and is accessible at www.thenewstatistics.com. The bookâe(tm)s exercises use ESCI's simulations, which are highly visual and interactive, to engage users and encourage exploration. Working with the simulations strengthens understanding of key statistical ideas. There are also many examples, and detailed guidance to show readers how to analyze their own data using the new statistics, and practical strategies for interpreting the results. A particular strength of the book is its explanation of meta-analysis, using simple diagrams and examples. Understanding meta-analysis is increasingly important, even at undergraduate levels, because medicine, psychology and many other disciplines now use meta-analysis to assemble the evidence needed for evidence-based practice.The bookâe(tm)s pedagogical program, built on cognitive science principles, reinforces learning:Boxes provide "evidence-based" advice on the most effective statistical techniques. Numerous examples reinforce learning, and show that many disciplines are using the new statistics.Graphs are tied in with ESCI to make important concepts vividly clear and memorable.Opening overviews and end of chapter take-home messages summarize key points.Exercises encourage exploration, deep understanding, and practical applications.This highly accessible book is intended as the core text for any course that emphasizes the new statistics, or as a supplementary text for graduate and/or advanced undergraduate courses in statistics and research methods in departments of psychology, education, human development , nursing, and natural, social, and life sciences. Researchers and practitioners interested in understanding the new statistics, and future published research, will also appreciate this book. A basic familiarity with introductory statistics is assumed.},
  pagetotal = {519},
  publisher = {{Routledge}},
  date = {2012},
  keywords = {Education / Statistics,Psychology / Statistics,Social Science / Statistics},
  author = {Cumming, Geoff}
}

@article{cummingNewStatisticsWhy2013,
  langid = {english},
  title = {The {{New Statistics Why}} and {{How}}},
  issn = {0956-7976, 1467-9280},
  url = {http://pss.sagepub.com/content/early/2013/11/07/0956797613504966},
  doi = {10.1177/0956797613504966},
  abstract = {We need to make substantial changes to how we conduct research. First, in response to heightened concern that our published research literature is incomplete and untrustworthy, we need new requirements to ensure research integrity. These include prespecification of studies whenever possible, avoidance of selection and other inappropriate data-analytic practices, complete reporting, and encouragement of replication. Second, in response to renewed recognition of the severe flaws of null-hypothesis significance testing (NHST), we need to shift from reliance on NHST to estimation and other preferred techniques. The new statistics refers to recommended practices, including estimation based on effect sizes, confidence intervals, and meta-analysis. The techniques are not new, but adopting them widely would be new for many researchers, as well as highly beneficial. This article explains why the new statistics are important and offers guidance for their use. It describes an eight-step new-statistics strategy for research with integrity, which starts with formulation of research questions in estimation terms, has no place for NHST, and is aimed at building a cumulative quantitative discipline.},
  journaltitle = {Psychological Science},
  shortjournal = {Psychological Science},
  urldate = {2015-12-15},
  date = {2013-11-12},
  pages = {0956797613504966},
  keywords = {estimation,meta-analysis,Replication,research integrity,research methods,statistical analysis,the new statistics},
  author = {Cumming, Geoff},
  file = {D\:\\Sauve\\Zotero\\storage\\NNCV58U7\\Cumming - 2013 - The New Statistics Why and How.pdf;D\:\\Sauve\\Zotero\\storage\\KBBV2FF2\\0956797613504966.html},
  eprinttype = {pmid},
  eprint = {24220629}
}

@article{deikeDecisionMakingAmbiguity2015,
  title = {Decision Making and Ambiguity in Auditory Stream Segregation},
  volume = {9},
  issn = {1662-4548},
  url = {http://www.ncbi.nlm.nih.gov/pmc/articles/PMC4531241/},
  doi = {10.3389/fnins.2015.00266},
  abstract = {Researchers of auditory stream segregation have largely taken a bottom-up view on the link between physical stimulus parameters and the perceptual organization of sequences of ABAB sounds. However, in the majority of studies, researchers have relied on the reported decisions of the subjects regarding which of the predefined percepts (e.g., one stream or two streams) predominated when subjects listened to more or less ambiguous streaming sequences. When searching for neural mechanisms of stream segregation, it should be kept in mind that such decision processes may contribute to brain activation, as also suggested by recent human imaging data. The present study proposes that the uncertainty of a subject in making a decision about the perceptual organization of ambiguous streaming sequences may be reflected in the time required to make an initial decision. To this end, subjects had to decide on their current percept while listening to ABAB auditory streaming sequences. Each sequence had a duration of 30 s and was composed of A and B harmonic tone complexes differing in fundamental frequency (ΔF). Sequences with seven different ΔF were tested. We found that the initial decision time varied non-monotonically with ΔF and that it was significantly correlated with the degree of perceptual ambiguity defined from the proportions of time the subjects reported a one-stream or a two-stream percept subsequent to the first decision. This strong relation of the proposed measures of decision uncertainty and perceptual ambiguity should be taken into account when searching for neural correlates of auditory stream segregation.},
  journaltitle = {Frontiers in Neuroscience},
  shortjournal = {Front Neurosci},
  urldate = {2015-12-14},
  date = {2015-08-11},
  author = {Deike, Susann and Heil, Peter and Böckmann-Barthel, Martin and Brechmann, André},
  file = {D\:\\Sauve\\Zotero\\storage\\USIJU7EK\\Deike et al. - 2015 - Decision making and ambiguity in auditory stream s.pdf},
  eprinttype = {pmid},
  eprint = {26321899},
  pmcid = {PMC4531241}
}

@article{bendixenFeaturePredictabilityFlexibly2014,
  title = {Feature {{Predictability Flexibly Supports Auditory Stream Segregation}} or {{Integration}}},
  volume = {100},
  doi = {10.3813/AAA.918768},
  abstract = {Many sound sources emit series of discrete sounds. Auditory perception must bind these sounds together (stream integration) while separating them from sounds emitted by other sources (stream segregation). One cue for identifying successive sounds that belong together is the predictability between their feature values. Previous studies have demonstrated that independent predictable patterns appearing separately in two interleaved sound sequences support perceptual segregation. The converse case, whether a joint predictable pattern in a mixture of interleaved sequences supports perceptual integration, has not yet been put to a rigorous empirical test. This was mainly due to difficulties in manipulating the predictability of the full sequence independently of the predictability of the interleaved subsequences. The present study implemented such an independent manipulation. Listeners continuously indicated whether they perceived a tone sequence as integrated or segregated, while predictable patterns set up to support one or the other percept were manipulated without the participants' knowledge. Perceptual reports demonstrate that predictability supports stream segregation or integration depending on the type of predictable pattern that is present in the sequence. The effects of predictability were so pronounced as to qualitatively flip perception from predominantly (62\%) integrated to predominantly (73\%) segregated. These results suggest that auditory perception flexibly responds to encountered regular patterns, favoring predictable perceptual organizations over unpredictable ones. Besides underlining the role of predictability as a cue within auditory scene analysis, the present design also provides a general framework that accommodates previous investigations focusing on sub-comparisons within the present set of experimental manipulations. Results of intermediate conditions shed light on why some previous studies have obtained little to no effects of predictability on auditory scene analysis.},
  number = {5},
  journaltitle = {Acta Acustica united with Acustica},
  shortjournal = {Acta Acustica united with Acustica},
  date = {2014-09-01},
  pages = {888-899},
  author = {Bendixen, Alexandra and Denham, Susan L. and Winkler, István}
}

@article{sussman-fortEffectStimulusContext2014,
  title = {The Effect of Stimulus Context on the Buildup to Stream Segregation},
  volume = {8},
  issn = {1662-4548},
  url = {http://www.ncbi.nlm.nih.gov/pmc/articles/PMC4010780/},
  doi = {10.3389/fnins.2014.00093},
  abstract = {Stream segregation is the process by which the auditory system disentangles the mixture of sound inputs into discrete sources that cohere across time. The length of time required for this to occur is termed the “buildup” period. In the current study, we used the buildup period as an index of how quickly sounds are segregated into constituent parts. Specifically, we tested the hypothesis that stimulus context impacts the timing of the buildup and, therefore, affects when stream segregation is detected. To measure the timing of the buildup we recorded the Mismatch Negativity component (MMN) of event-related brain potentials (ERPs), during passive listening, to determine when the streams were neurophysiologically segregated. In each condition, a pattern of repeating low (L) and high (H) tones (L-L-H) was presented in trains of stimuli separated by silence, with the H tones forming a simple intensity oddball paradigm and the L tones serving as distractors. To determine the timing of the buildup, probe tones occurred in two positions of the trains, early (within the buildup period) and late (past the buildup period). The context was manipulated by presenting roving vs. non-roving frequencies across trains in two conditions. MMNs were elicited by intensity probe tones in the Non-Roving condition (early and late positions) and the Roving condition (late position only) indicating that neurophysiologic segregation occurred faster in the Non-Roving condition. This suggests a shorter buildup period when frequency was repeated from train to train. Overall, our results demonstrate that the dynamics of the environment influence the way in which the auditory system extracts regularities from the input. The results support the hypothesis that the buildup to segregation is highly dependent upon stimulus context and that the auditory system works to maintain a consistent representation of the environment when no new information suggests that reanalyzing the scene is necessary.},
  journaltitle = {Frontiers in Neuroscience},
  shortjournal = {Front Neurosci},
  urldate = {2015-12-14},
  date = {2014-04-29},
  author = {Sussman-Fort, Jonathan and Sussman, Elyse},
  file = {D\:\\Sauve\\Zotero\\storage\\DESM8DC2\\Sussman-Fort and Sussman - 2014 - The effect of stimulus context on the buildup to s.pdf},
  eprinttype = {pmid},
  eprint = {24808822},
  pmcid = {PMC4010780}
}

@article{bigandAreWeExperienced2006,
  langid = {english},
  title = {Are We "Experienced Listeners"? {{A}} Review of the Musical Capacities That Do Not Depend on Formal Musical Training},
  volume = {100},
  issn = {0010-0277},
  doi = {10.1016/j.cognition.2005.11.007},
  shorttitle = {Are We "Experienced Listeners"?},
  abstract = {The present paper reviews a set of studies designed to investigate different aspects of the capacity for processing Western music. This includes perceiving the relationships between a theme and its variations, perceiving musical tensions and relaxations, generating musical expectancies, integrating local structures in large-scale structures, learning new compositional systems and responding to music in an emotional (affective) way. The main focus of these studies was to evaluate the influence of intensive musical training on these capacities. The overall set of data highlights that some musical capacities are acquired through exposure to music without the help of explicit training. These capacities reach such a degree of sophistication that they enable untrained listeners to respond to music as "musically experienced listeners" do.},
  number = {1},
  journaltitle = {Cognition},
  shortjournal = {Cognition},
  date = {2006-05},
  pages = {100-130},
  keywords = {cognition,Auditory Perception,Music,pitch perception,humans,Learning,Psychoacoustics,emotions},
  author = {Bigand, E. and Poulin-Charronnat, B.},
  eprinttype = {pmid},
  eprint = {16412412}
}

@article{vollmannInstrumentSpecificUsedependent2014,
  title = {Instrument Specific Use-Dependent Plasticity Shapes the Anatomical Properties of the Corpus Callosum: A Comparison between Musicians and Non-Musicians},
  volume = {8},
  issn = {1662-5153},
  url = {http://www.ncbi.nlm.nih.gov/pmc/articles/PMC4100438/},
  doi = {10.3389/fnbeh.2014.00245},
  shorttitle = {Instrument Specific Use-Dependent Plasticity Shapes the Anatomical Properties of the Corpus Callosum},
  abstract = {Long-term musical expertise has been shown to be associated with a number of functional and structural brain changes, making it an attractive model for investigating use-dependent plasticity in humans. Physiological interhemispheric inhibition (IHI) as examined by transcranial magnetic stimulation has been shown to be correlated with anatomical properties of the corpus callosum as indexed by fractional anisotropy (FA). However, whether or not IHI or the relationship between IHI and FA in the corpus callosum can be modified by different musical training regimes remains largely unknown. We investigated this question in musicians with different requirements for bimanual finger movements (piano and string players) and non-expert controls. IHI values were generally higher in musicians, but differed significantly from non-musicians only in string players. IHI was correlated with FA in the posterior midbody of the corpus callosum across all participants. Interestingly, subsequent analyses revealed that this relationship may indeed be modulated by different musical training regimes. Crucially, while string players had greater IHI than non-musicians and showed a positive structure-function relationship, the amount of IHI in pianists was comparable to that of non-musicians and there was no significant structure-function relationship. Our findings indicate instrument specific use-dependent plasticity in both functional (IHI) and structural (FA) connectivity of motor related brain regions in musicians.},
  journaltitle = {Frontiers in Behavioral Neuroscience},
  shortjournal = {Front Behav Neurosci},
  urldate = {2015-12-12},
  date = {2014-07-16},
  author = {Vollmann, Henning and Ragert, Patrick and Conde, Virginia and Villringer, Arno and Classen, Joseph and Witte, Otto W. and Steele, Christopher J.},
  file = {D\:\\Sauve\\Zotero\\storage\\49AKJ6CV\\Vollmann et al. - 2014 - Instrument specific use-dependent plasticity shape.pdf},
  eprinttype = {pmid},
  eprint = {25076879},
  pmcid = {PMC4100438}
}

@article{tervaniemiMusiciansSameDifferent2009,
  langid = {english},
  title = {Musicians—{{Same}} or {{Different}}?},
  volume = {1169},
  issn = {1749-6632},
  url = {http://onlinelibrary.wiley.com/doi/10.1111/j.1749-6632.2009.04591.x/abstract},
  doi = {10.1111/j.1749-6632.2009.04591.x},
  abstract = {In the neuroscience of music, musicians have traditionally been treated as a unified group, as if the demands set by their musical activities would be more or less equal in terms of perceptual, cognitive, and motor functions. However, obviously, their musical preferences differentiate them to a higher degree, for instance, in terms of the instrument they choose and the music genre they are mostly engaged with as well as their practicing style. This diversity in musicians’ profiles has been recently taken into account in several empirical endeavors. The present contribution will review the evidence available about the various neurocognitive profiles these different kinds of musicians display.},
  number = {1},
  journaltitle = {Annals of the New York Academy of Sciences},
  urldate = {2015-12-12},
  date = {2009-07-01},
  pages = {151-156},
  keywords = {musical expertise,NEUROPLASTICITY,musical knowledge},
  author = {Tervaniemi, Mari},
  file = {D\:\\Sauve\\Zotero\\storage\\8MG76TC9\\abstract.html}
}

@article{drostWhenHearingTurns2005,
  title = {When Hearing Turns into Playing: {{Movement}} Induction by Auditory Stimuli in Pianists},
  volume = {58},
  issn = {0272-4987},
  url = {http://dx.doi.org/10.1080/02724980443000610},
  doi = {10.1080/02724980443000610},
  shorttitle = {When Hearing Turns into Playing},
  abstract = {In this study, pianists were tested for learned associations between actions (movements on the piano) and their perceivable sensory effects (piano tones). Actions were examined that required the playing of two-tone sequences (intervals) in a four-choice paradigm. In Experiment 1, the intervals to be played were denoted by visual note stimuli. Concurrently with these imperative stimuli, task-irrelevant auditory distractor intervals were presented (“potential” action effects, congruent or incongruent). In Experiment 2, imperative stimuli were coloured squares, in order to exclude possible influences of spatial relationships of notes, responses, and auditory stimuli. In both experiments responses in the incongruent conditions were slower than those in the congruent conditions. Also, heard intervals actually “induced” false responses. The reaction time effects were more pronounced in Experiment 2. In nonmusicians (Experiment 3), no evidence for interference could be observed. Thus, our results show that in expert pianists potential action effects are able to induce corresponding actions, which demonstrates the existence of acquired action–effect associations in pianists.},
  number = {8},
  journaltitle = {The Quarterly Journal of Experimental Psychology Section A},
  urldate = {2015-12-12},
  date = {2005-11-01},
  pages = {1376-1389},
  author = {Drost, Ulrich C. and Rieger, Martina and Brass, Marcel and Gunter, Thomas C. and Prinz, Wolfgang},
  file = {D\:\\Sauve\\Zotero\\storage\\GIUSMGZG\\02724980443000610.html}
}

@article{stewartActionPerceptionCoupling2013,
  title = {Action–Perception Coupling in Pianists: {{Learned}} Mappings or Spatial Musical Association of Response Codes ({{SMARC}}) Effect?},
  volume = {66},
  issn = {1747-0218},
  url = {http://dx.doi.org/10.1080/17470218.2012.687385},
  doi = {10.1080/17470218.2012.687385},
  shorttitle = {Action–Perception Coupling in Pianists},
  abstract = {The principle of common coding suggests that a joint representation is formed when actions are repeatedly paired with a specific perceptual event. Musicians are occupationally specialized with regard to the coupling between actions and their auditory effects. In the present study, we employed a novel paradigm to demonstrate automatic action–effect associations in pianists. Pianists and nonmusicians pressed keys according to aurally presented number sequences. Numbers were presented at pitches that were neutral, congruent, or incongruent with respect to pitches that would normally be produced by such actions. Response time differences were seen between congruent and incongruent sequences in pianists alone. A second experiment was conducted to determine whether these effects could be attributed to the existence of previously documented spatial/pitch compatibility effects. In a “stretched” version of the task, the pitch distance over which the numbers were presented was enlarged to a range that could not be produced by the hand span used in Experiment 1. The finding of a larger response time difference between congruent and incongruent trials in the original, standard, version compared with the stretched version, in pianists, but not in nonmusicians, indicates that the effects obtained are, at least partially, attributable to learned action effects.},
  number = {1},
  journaltitle = {The Quarterly Journal of Experimental Psychology},
  urldate = {2015-12-12},
  date = {2013-01-01},
  pages = {37-50},
  author = {Stewart, Lauren and Verdonschot, Rinus G. and Nasralla, Patrick and Lanipekun, Jennifer},
  file = {D\:\\Sauve\\Zotero\\storage\\A6VJA2WN\\17470218.2012.html},
  eprinttype = {pmid},
  eprint = {22712516}
}

@article{reppPerformedObservedKeyboard2009,
  title = {Performed or Observed Keyboard Actions Affect Pianists' Judgements of Relative Pitch},
  volume = {62},
  issn = {1747-0218},
  url = {http://dx.doi.org/10.1080/17470210902745009},
  doi = {10.1080/17470210902745009},
  abstract = {Action can affect visual perception if the action's expected sensory effects resemble a concurrent unstable or deviant event. To determine whether action can also change auditory perception, participants were required to play pairs of octave-ambiguous tones by pressing successive keys on a piano or computer keyboard and to judge whether each pitch interval was rising or falling. Both pianists and nonpianist musicians gave significantly more “rising” responses when the order of key presses was left-to-right than when it was right-to-left, in accord with the pitch mapping of the piano. However, the effect was much larger in pianists. Pianists showed a similarly large effect when they passively observed the experimenter pressing keys on a piano keyboard, as long as the keyboard faced the participant. The results suggest that acquired action–effect associations can affect auditory perceptual judgement.},
  number = {11},
  journaltitle = {The Quarterly Journal of Experimental Psychology},
  urldate = {2015-12-12},
  date = {2009-11-01},
  pages = {2156-2170},
  author = {Repp, Bruno H. and Knoblich, Günther},
  file = {D\:\\Sauve\\Zotero\\storage\\8T6USC9F\\17470210902745009.html}
}

@article{drostInstrumentSpecificityExperienced2007,
  title = {Instrument Specificity in Experienced Musicians},
  volume = {60},
  issn = {1747-0218},
  url = {http://dx.doi.org/10.1080/17470210601154388},
  doi = {10.1080/17470210601154388},
  abstract = {Previous studies have shown that experienced pianists have acquired integrated action–effect (A–E) associations. In the present study, we were interested in how specific these associations are for the own instrument by investigating pianists and guitarists. A–E associations were examined by testing whether the perception of a “potential” action–effect has an influence on actions. Participants played chords on their instrument in response to visual stimuli, while they were presented task-irrelevant auditory distractors (congruent or incongruent) in varying instrument timbre. In Experiment 1, pianists exhibited an interference effect with timbres of their own instrument category (keyboard instruments: piano and organ). In Experiment 2 guitarists showed an interference effect only with guitar timbre. Thus, integrated A–E associations primarily seem to consist of a specific component on a sensory-motor level involving the own instrument. Additionally, categorical knowledge about how an instrument is played seems to be involved.},
  number = {4},
  journaltitle = {The Quarterly Journal of Experimental Psychology},
  urldate = {2015-12-12},
  date = {2007-04-01},
  pages = {527-533},
  author = {Drost, Ulrich C. and Rieger, Martina and Prinz, Wolfgang},
  file = {D\:\\Sauve\\Zotero\\storage\\I9JB6A3T\\17470210601154388.html}
}

@article{rusconiSpatialRepresentationPitch2006,
  title = {Spatial Representation of Pitch Height: The {{SMARC}} Effect},
  volume = {99},
  issn = {0010-0277},
  url = {http://www.sciencedirect.com/science/article/pii/S0010027705000260},
  doi = {10.1016/j.cognition.2005.01.004},
  shorttitle = {Spatial Representation of Pitch Height},
  abstract = {Through the preferential pairing of response positions to pitch, here we show that the internal representation of pitch height is spatial in nature and affects performance, especially in musically trained participants, when response alternatives are either vertically or horizontally aligned. The finding that our cognitive system maps pitch height onto an internal representation of space, which in turn affects motor performance even when this perceptual attribute is irrelevant to the task, extends previous studies on auditory perception and suggests an interesting analogy between music perception and mathematical cognition. Both the basic elements of mathematical cognition (i.e. numbers) and the basic elements of musical cognition (i.e. pitches), appear to be mapped onto a mental spatial representation in a way that affects motor performance.},
  number = {2},
  journaltitle = {Cognition},
  shortjournal = {Cognition},
  urldate = {2015-12-12},
  date = {2006-03},
  pages = {113-129},
  keywords = {Pitch height,SMARC effect,SNARC effect,Spatial representation,Stimulus-Response Compatability},
  author = {Rusconi, Elena and Kwan, Bonnie and Giordano, Bruno L. and Umiltà, Carlo and Butterworth, Brian},
  file = {D\:\\Sauve\\Zotero\\storage\\983BC7JD\\S0010027705000260.html}
}

@article{parsonsBrainBasisPiano2005,
  title = {The Brain Basis of Piano Performance},
  volume = {43},
  issn = {0028-3932},
  url = {http://www.sciencedirect.com/science/article/pii/S0028393204002830},
  doi = {10.1016/j.neuropsychologia.2004.11.007},
  abstract = {Performances of memorized piano compositions unfold via dynamic integrations of motor, perceptual, cognitive, and emotive operations. The functional neuroanatomy of such elaborately skilled achievements was characterized in the present study by using 150-water positron emission tomography to image blindfolded pianists performing a concerto by J.S. Bach. The resulting brain activity was referenced to that for bimanual performance of memorized major scales. Scales and concerto performances both activated primary motor cortex, corresponding somatosensory areas, inferior parietal cortex, supplementary motor area, motor cingulate, bilateral superior and middle temporal cortex, right thalamus, anterior and posterior cerebellum. Regions specifically supporting the concerto performance included superior and middle temporal cortex, planum polare, thalamus, basal ganglia, posterior cerebellum, dorsolateral premotor cortex, right insula, right supplementary motor area, lingual gyrus, and posterior cingulate. Areas specifically implicated in generating and playing scales were posterior cingulate, middle temporal, right middle frontal, and right precuneus cortices, with lesser increases in right hemispheric superior temporal, temporoparietal, fusiform, precuneus, and prefrontal cortices, along with left inferior frontal gyrus. Finally, much greater deactivations were present for playing the concerto than scales. This seems to reflect a deeper attentional focus in which tonically active orienting and evaluative processes, among others, are suspended. This inference is supported by observed deactivations in posterior cingulate, parahippocampus, precuneus, prefrontal, middle temporal, and posterior cerebellar cortices. For each of the foregoing analyses, a distributed set of interacting localized functions is outlined for future test.},
  number = {2},
  journaltitle = {Neuropsychologia},
  shortjournal = {Neuropsychologia},
  series = {Movement, {{Action}} and {{Consciousness}}: {{Toward}} a {{Physiology}} of {{Intentionality A Special Issue}} in {{Honour}} of {{Marc Jeannerod}}},
  urldate = {2015-12-12},
  date = {2005},
  pages = {199-215},
  keywords = {music cognition,music performance,Functional neuroimaging,Piano performance},
  author = {Parsons, Lawrence M. and Sergent, Justine and Hodges, Donald A. and Fox, Peter T.},
  file = {D\:\\Sauve\\Zotero\\storage\\WGIR3K26\\S0028393204002830.html}
}

@article{menonNeuralCorrelatesTimbre2002,
  title = {Neural {{Correlates}} of {{Timbre Change}} in {{Harmonic Sounds}}},
  volume = {17},
  issn = {1053-8119},
  url = {http://www.sciencedirect.com/science/article/pii/S1053811902912954},
  doi = {10.1006/nimg.2002.1295},
  abstract = {Timbre is a major structuring force in music and one of the most important and ecologically relevant features of auditory events. We used sound stimuli selected on the basis of previous psychophysiological studies to investigate the neural correlates of timbre perception. Our results indicate that both the left and right hemispheres are involved in timbre processing, challenging the conventional notion that the elementary attributes of musical perception are predominantly lateralized to the right hemisphere. Significant timbre-related brain activation was found in well-defined regions of posterior Heschl's gyrus and superior temporal sulcus, extending into the circular insular sulcus. Although the extent of activation was not significantly different between left and right hemispheres, temporal lobe activations were significantly posterior in the left, compared to the right, hemisphere, suggesting a functional asymmetry in their respective contributions to timbre processing. The implications of our findings for music processing in particular and auditory processing in general are discussed.},
  number = {4},
  journaltitle = {NeuroImage},
  shortjournal = {NeuroImage},
  urldate = {2015-12-12},
  date = {2002-12},
  pages = {1742-1754},
  keywords = {timbre,fMRI,middle temporal gyrus,superior temporal gyrus,superior temporal sulcus,temporal lobe},
  author = {Menon, V. and Levitin, D. J. and Smith, B. K. and Lembke, A. and Krasnow, B. D. and Glazer, D. and Glover, G. H. and McAdams, S.},
  file = {D\:\\Sauve\\Zotero\\storage\\MS5WJDFR\\S1053811902912954.html}
}

@article{shahinMusicTrainingLeads2008,
  title = {Music Training Leads to the Development of Timbre-Specific Gamma Band Activity},
  volume = {41},
  issn = {1053-8119},
  url = {http://www.sciencedirect.com/science/article/pii/S1053811908001092},
  doi = {10.1016/j.neuroimage.2008.01.067},
  abstract = {Oscillatory gamma band activity (GBA, 30–100~Hz) has been shown to correlate with perceptual and cognitive phenomena including feature binding, template matching, and learning and memory formation. We hypothesized that if GBA reflects highly learned perceptual template matching, we should observe its development in musicians specific to the timbre of their instrument of practice. EEG was recorded in adult professional violinists and amateur pianists as well as in 4- and 5-year-old children studying piano in the Suzuki method before they commenced music lessons and 1 year later. The adult musicians showed robust enhancement of induced (non-time-locked) GBA, specifically to their instrument of practice, with the strongest effect in professional violinists. Consistent with this result, the children receiving piano lessons exhibited increased power of induced GBA for piano tones with 1 year of training, while children not taking lessons showed no effect. In comparison to induced GBA, evoked (time-locked) gamma band activity (30–90~Hz, ∼ 80~ms latency) was present only in adult groups. Evoked GBA was more pronounced in musicians than non-musicians, with synchronization equally exhibited for violin and piano tones but enhanced for these tones compared to pure tones. Evoked gamma activity may index the physical properties of a sound and is modulated by acoustical training, while induced GBA may reflect higher perceptual learning and is shaped by specific auditory experiences.},
  number = {1},
  journaltitle = {NeuroImage},
  shortjournal = {NeuroImage},
  urldate = {2015-12-12},
  date = {2008-05-15},
  pages = {113-122},
  keywords = {plasticity,Development,Auditory Cortex,Gamma band activity,Music training,Timbre-specificity},
  author = {Shahin, Antoine J. and Roberts, Larry E. and Chau, Wilkin and Trainor, Laurel J. and Miller, Lee M.},
  file = {D\:\\Sauve\\Zotero\\storage\\SQU429P9\\S1053811908001092.html}
}

@article{nortonAreTherePreexisting2005,
  title = {Are There Pre-Existing Neural, Cognitive, or Motoric Markers for Musical Ability?},
  volume = {59},
  issn = {0278-2626},
  url = {http://www.sciencedirect.com/science/article/pii/S0278262605000898},
  doi = {10.1016/j.bandc.2005.05.009},
  abstract = {Adult musician’s brains show structural enlargements, but it is not known whether these are inborn or a consequence of long-term training. In addition, music training in childhood has been shown to have positive effects on visual–spatial and verbal outcomes. However, it is not known whether pre-existing advantages in these skills are found in children who choose to study a musical instrument nor is it known whether there are pre-existing associations between music and any of these outcome measures that could help explain the training effects. To answer these questions, we compared 5- to 7-year-olds beginning piano or string lessons (n = 39) with 5- to 7-year-olds not beginning instrumental training (n = 31). All children received a series of tests (visual–spatial, non-verbal reasoning, verbal, motor, and musical) and underwent magnetic resonance imaging. We found no pre-existing neural, cognitive, motor, or musical differences between groups and no correlations (after correction for multiple analyses) between music perceptual skills and any brain or visual–spatial measures. However, correlations were found between music perceptual skills and both non-verbal reasoning and phonemic awareness. Such pre-existing correlations suggest similarities in auditory and visual pattern recognition as well a sharing of the neural substrates for language and music processing, most likely due to innate abilities or implicit learning during early development. This baseline study lays the groundwork for an ongoing longitudinal study addressing the effects of intensive musical training on brain and cognitive development, and making it possible to look retroactively at the brain and cognitive development of those children who emerge showing exceptional musical talent.},
  number = {2},
  journaltitle = {Brain and Cognition},
  shortjournal = {Brain and Cognition},
  urldate = {2015-12-12},
  date = {2005-11},
  pages = {124-134},
  keywords = {brain,cognition,Development,Music},
  author = {Norton, Andrea and Winner, Ellen and Cronin, Karl and Overy, Katie and Lee, Dennis J. and Schlaug, Gottfried},
  file = {D\:\\Sauve\\Zotero\\storage\\9QRMNE5M\\S0278262605000898.html}
}

@article{kendallPerceptualScalingSimultaneous1991,
  eprinttype = {jstor},
  eprint = {40285519},
  title = {Perceptual {{Scaling}} of {{Simultaneous Wind Instrument Timbres}}},
  volume = {8},
  issn = {0730-7829},
  doi = {10.2307/40285519},
  abstract = {Timbral similarities among wind instrument duos were studied. Flute, oboe, E턬 alto saxophone, B턬{$>$} clarinet, and Bl{$>$} trumpet instrumentalists performed in all possible duo pairings (dyads). Source material included B턬4 unisons, unison melody, major thirds, and harmonized melody. Nonunison combinations had each instrument of the pair as the soprano, creating a total of six contexts. Music major and nonmusic major subjects rated the similarity of all possible pairs of dyads in each of the six contexts. Classical multidimensional scaling (MDS) was performed; contexts were treated as " subjects" in an individual differences scaling (INDSCAL) analysis of composite data. The resulting spaces had two stable, interpretable dimensions. From verbal attribute rating experiments ( Kendall \& Carterette, in preparation, a), these were identified as " nasal" vs. " not nasal," and " rich" vs. " brilliant." A third dimension was interpreted as "simple" vs. "complex."Extrema in the space were associated with three of the five instruments: Trumpet (brilliant), saxophone (rich), and oboe ( nasal). Data that were amalgamated over contexts and plotted in two dimensions yielded a circumplicial configuration. Implications for orchestration are discussed and a theoretical model of timbre combinations and groupings is presented.},
  number = {4},
  journaltitle = {Music Perception: An Interdisciplinary Journal},
  shortjournal = {Music Perception: An Interdisciplinary Journal},
  date = {1991},
  pages = {369-404},
  author = {Kendall, Roger A. and Carterette, Edward C.}
}

@article{lakatosCommonPerceptualSpace2000,
  langid = {english},
  title = {A Common Perceptual Space for Harmonic and Percussive Timbres},
  volume = {62},
  issn = {0031-5117},
  abstract = {The goal of a series of listening tests was to better isolate the principal dimensions of timbre, using a wide range of timbres and converging psychophysical techniques. Expert musicians and nonmusicians rated the timbral similarity of three sets of pitched and percussive instruments. Multidimensional scaling analyses indicated that both centroid and rise time comprise the principal acoustic factors across all stimulus sets and that musicians and nonmusicians did not differ significantly in their weighting of these factors. Clustering analyses revealed that participants also categorized percussive and, to a much lesser extent, pitched timbres according to underlying physical-acoustic commonalties. The findings demonstrate that spectral centroid and rise time represent principal perceptual dimensions of timbre, independent of musical training, but that the tendency to group timbres according to source properties increases with acoustic complexity.},
  number = {7},
  journaltitle = {Perception \& Psychophysics},
  shortjournal = {Percept Psychophys},
  date = {2000-10},
  pages = {1426-1439},
  keywords = {Music,Pitch Discrimination,humans,Adult,Female,Male,Psychoacoustics,Adolescent,Sound Spectrography},
  author = {Lakatos, S.},
  eprinttype = {pmid},
  eprint = {11143454}
}

@article{schrogerBridgingPredictionAttention2015,
  title = {Bridging Prediction and Attention in Current Research on Perception and Action},
  volume = {1626},
  issn = {0006-8993},
  url = {http://www.sciencedirect.com/science/article/pii/S0006899315006885},
  doi = {10.1016/j.brainres.2015.08.037},
  abstract = {Prediction and attention are fundamental brain functions in the service of perception and action. Theories on prediction relate to neural (mental) models inferring about (present or future) sensory or action-related information, whereas theories of attention are about the control of information flow underlying perception and action. Both concepts are related and not always clearly distinguishable. The special issue includes current research on prediction and attention in various subfields of perception and action. It especially considers interactions between predictive and attentive processes, which constitute a newly emerging and highly interesting field of research. As outlined in this editorial, the contributions in this special issue allow specifying as well as bridging concepts on prediction and attention. The joint consideration of prediction and attention also reveals common functional principles of perception and action.},
  journaltitle = {Brain Research},
  shortjournal = {Brain Research},
  series = {Predictive and {{Attentive Processing}} in {{Perception}} and {{Action}}},
  urldate = {2015-12-01},
  date = {2015-11-11},
  pages = {1-13},
  author = {Schröger, Erich and Kotz, Sonja A. and SanMiguel, Iria},
  file = {D\:\\Sauve\\Zotero\\storage\\R8IZ2VVE\\Schröger et al. - 2015 - Bridging prediction and attention in current resea.pdf;D\:\\Sauve\\Zotero\\storage\\BKKK3Q8F\\S0006899315006885.html}
}

@article{allenmarkRepetitionPrimingResults2015,
  title = {Repetition Priming Results in Sensitivity Attenuation},
  volume = {1626},
  issn = {0006-8993},
  url = {http://www.sciencedirect.com/science/article/pii/S0006899315002279},
  doi = {10.1016/j.brainres.2015.03.030},
  abstract = {Repetition priming refers to the change in the ability to perform a task on a stimulus as a consequence of a former encounter with that very same item. Usually, repetition results in faster and more accurate performance. In the present study, we used a contrast discrimination protocol to assess perceptual sensitivity and response bias of Gabor gratings that are either repeated (same orientation) or alternated (different orientation). We observed that contrast discrimination performance is worse, not better, for repeated than for alternated stimuli. In a second experiment, we varied the probability of stimulus repetition, thus testing whether the repetition effect is due to bottom-up or top-down factors. We found that it is top-down expectation that determines the effect. We discuss the implication of these findings for repetition priming and related phenomena as sensory attenuation.

This article is part of a Special Issue entitled SI: Prediction and Attention.},
  journaltitle = {Brain Research},
  shortjournal = {Brain Research},
  series = {Predictive and {{Attentive Processing}} in {{Perception}} and {{Action}}},
  urldate = {2015-12-01},
  date = {2015-11-11},
  pages = {211-217},
  keywords = {Prediction,Repetition suppression,SDT},
  author = {Allenmark, Fredrik and Hsu, Yi-Fang and Roussel, Cedric and Waszak, Florian},
  file = {D\:\\Sauve\\Zotero\\storage\\JGHXTQVF\\Allenmark et al. - 2015 - Repetition priming results in sensitivity attenuat.pdf;D\:\\Sauve\\Zotero\\storage\\IKH8ZJ5J\\S0006899315002279.html}
}

@article{alhoTopdownControlledBottomup2015,
  title = {Top-down Controlled and Bottom-up Triggered Orienting of Auditory Attention to Pitch Activate Overlapping Brain Networks},
  volume = {1626},
  issn = {0006-8993},
  url = {http://www.sciencedirect.com/science/article/pii/S0006899314017570},
  doi = {10.1016/j.brainres.2014.12.050},
  abstract = {A number of previous studies have suggested segregated networks of brain areas for top-down controlled and bottom-up triggered orienting of visual attention. However, the corresponding networks involved in auditory attention remain less studied. Our participants attended selectively to a tone stream with either a lower pitch or higher pitch in order to respond to infrequent changes in duration of attended tones. The participants were also required to shift their attention from one stream to the other when guided by a visual arrow cue. In addition to these top-down controlled cued attention shifts, infrequent task-irrelevant louder tones occurred in both streams to trigger attention in a bottom-up manner. Both cued shifts and louder tones were associated with enhanced activity in the superior temporal gyrus and sulcus, temporo-parietal junction, superior parietal lobule, inferior and middle frontal gyri, frontal eye field, supplementary motor area, and anterior cingulate gyrus. Thus, the present findings suggest that in the auditory modality, unlike in vision, top-down controlled and bottom-up triggered attention activate largely the same cortical networks. Comparison of the present results with our previous results from a similar experiment on spatial auditory attention suggests that fronto-parietal networks of attention to location or pitch overlap substantially. However, the auditory areas in the anterior superior temporal cortex might have a more important role in attention to the pitch than location of sounds.

This article is part of a Special Issue entitled SI: Prediction and Attention.},
  journaltitle = {Brain Research},
  shortjournal = {Brain Research},
  series = {Predictive and {{Attentive Processing}} in {{Perception}} and {{Action}}},
  urldate = {2015-12-01},
  date = {2015-11-11},
  pages = {136-145},
  keywords = {Attention,pitch,fMRI,auditory,Bottom-up triggered,Top-down controlled},
  author = {Alho, Kimmo and Salmi, Juha and Koistinen, Sonja and Salonen, Oili and Rinne, Teemu},
  file = {D\:\\Sauve\\Zotero\\storage\\N52RM9RX\\Alho et al. - 2015 - Top-down controlled and bottom-up triggered orient.pdf;D\:\\Sauve\\Zotero\\storage\\3Q2DN43B\\S0006899314017570.html}
}

@article{hadenPredictiveProcessingPitch2015,
  title = {Predictive Processing of Pitch Trends in Newborn Infants},
  volume = {1626},
  issn = {0006-8993},
  url = {http://www.sciencedirect.com/science/article/pii/S0006899315001778},
  doi = {10.1016/j.brainres.2015.02.048},
  abstract = {The notion of predictive sound processing suggests that the auditory system prepares for upcoming sounds once it has detected regular features within a sequence. Here we investigated whether predictive processes are operating at birth in the human auditory system. Event-related potentials (ERP) were recorded from healthy newborns to occasional ascending pitch steps occurring in the 2nd or the 5th position within trains of tones with otherwise monotonously descending pitch. If the trains were processed in a predictive manner only deviant pitch steps occurring in the later train position would elicit the discriminative mismatch response (MMR). Deviants delivered in the 5th but not in the 2nd position of the tone trains elicited a significant MMR response. These results suggest that newborns represent pitch trends within sound sequences and they process them in a predictive manner.

This article is part of a Special Issue entitled SI: Prediction and Attention.},
  journaltitle = {Brain Research},
  shortjournal = {Brain Research},
  series = {Predictive and {{Attentive Processing}} in {{Perception}} and {{Action}}},
  urldate = {2015-12-01},
  date = {2015-11-11},
  pages = {14-20},
  keywords = {ERP,pitch,Abstract rule,MMN,MMR,Newborn infant,Predictive processing},
  author = {Háden, Gábor P. and Németh, Renáta and Török, Miklós and Winkler, István},
  file = {D\:\\Sauve\\Zotero\\storage\\WRSHJMWJ\\Háden et al. - 2015 - Predictive processing of pitch trends in newborn i.pdf;D\:\\Sauve\\Zotero\\storage\\TRVBS3KB\\S0006899315001778.html}
}

@article{grubertDoesVisualWorking2015,
  title = {Does Visual Working Memory Represent the Predicted Locations of Future Target Objects? {{An}} Event-Related Brain Potential Study},
  volume = {1626},
  issn = {0006-8993},
  url = {http://www.sciencedirect.com/science/article/pii/S000689931401364X},
  doi = {10.1016/j.brainres.2014.10.011},
  shorttitle = {Does Visual Working Memory Represent the Predicted Locations of Future Target Objects?},
  abstract = {During the maintenance of task-relevant objects in visual working memory, the contralateral delay activity (CDA) is elicited over the hemisphere opposite to the visual field where these objects are presented. The presence of this lateralised CDA component demonstrates the existence of position-dependent object representations in working memory. We employed a change detection task to investigate whether the represented object locations in visual working memory are shifted in preparation for the known location of upcoming comparison stimuli. On each trial, bilateral memory displays were followed after a delay period by bilateral test displays. Participants had to encode and maintain three visual objects on one side of the memory display, and to judge whether they were identical or different to three objects in the test display. Task-relevant memory and test stimuli were located in the same visual hemifield in the no-shift task, and on opposite sides in the horizontal shift task. CDA components of similar size were triggered contralateral to the memorized objects in both tasks. The absence of a polarity reversal of the CDA in the horizontal shift task demonstrated that there was no preparatory shift of memorized object location towards the side of the upcoming comparison stimuli. These results suggest that visual working memory represents the locations of visual objects during encoding, and that the matching of memorized and test objects at different locations is based on a comparison process that can bridge spatial translations between these objects.

This article is part of a Special Issue entitled SI: Prediction and Attention.},
  journaltitle = {Brain Research},
  shortjournal = {Brain Research},
  series = {Predictive and {{Attentive Processing}} in {{Perception}} and {{Action}}},
  urldate = {2015-12-01},
  date = {2015-11-11},
  pages = {258-266},
  keywords = {Prediction,selective attention,Event-related brain potential,Preparation,Working memory},
  author = {Grubert, Anna and Eimer, Martin},
  file = {D\:\\Sauve\\Zotero\\storage\\DCQVHIH5\\Grubert and Eimer - 2015 - Does visual working memory represent the predicted.pdf;D\:\\Sauve\\Zotero\\storage\\ZEEH2JWG\\S000689931401364X.html}
}

@article{cornellaSpatialAuditoryRegularity2015,
  title = {Spatial Auditory Regularity Encoding and Prediction: {{Human}} Middle-Latency and Long-Latency Auditory Evoked Potentials},
  volume = {1626},
  issn = {0006-8993},
  url = {http://www.sciencedirect.com/science/article/pii/S0006899315003078},
  doi = {10.1016/j.brainres.2015.04.018},
  shorttitle = {Spatial Auditory Regularity Encoding and Prediction},
  abstract = {By encoding acoustic regularities present in the environment, the human brain can generate predictions of what is likely to occur next. Recent studies suggest that deviations from encoded regularities are detected within 10–50 ms after stimulus onset, as indicated by electrophysiological effects in the middle latency response (MLR) range. This is upstream of previously known long-latency (LLR) signatures of deviance detection such as the mismatch negativity (MMN) component. In the present study, we created predictable and unpredictable contexts to investigate MLR and LLR signatures of the encoding of spatial auditory regularities and the generation of predictions from these regularities. Chirps were monaurally delivered in an either regular (predictable: left–right–left–right) or a random (unpredictable left/right alternation or repetition) manner. Occasional stimulus omissions occurred in both types of sequences. Results showed that the Na component (peaking at 34 ms after stimulus onset) was attenuated for regular relative to random chirps, albeit no differences were observed for stimulus omission responses in the same latency range. In the LLR range, larger chirp-and omission-evoked responses were elicited for the regular than for the random condition, and predictability effects were more prominent over the right hemisphere. We discuss our findings in the framework of a hierarchical organization of spatial regularity encoding.

This article is part of a Special Issue entitled SI: Prediction and Attention.},
  journaltitle = {Brain Research},
  shortjournal = {Brain Research},
  series = {Predictive and {{Attentive Processing}} in {{Perception}} and {{Action}}},
  urldate = {2015-12-01},
  date = {2015-11-11},
  pages = {21-30},
  keywords = {Prediction,Auditory regularity,Long latency response,Middle latency response},
  author = {Cornella, M. and Bendixen, A. and Grimm, S. and Leung, S. and Schröger, E. and Escera, C.},
  file = {D\:\\Sauve\\Zotero\\storage\\BV8M3VT5\\Cornella et al. - 2015 - Spatial auditory regularity encoding and predictio.pdf;D\:\\Sauve\\Zotero\\storage\\JKV7SDXP\\S0006899315003078.html}
}

@article{guoEffectsSupervisedLearning2015,
  title = {The Effects of Supervised Learning on Event-Related Potential Correlates of Music-Syntactic Processing},
  volume = {1626},
  issn = {0006-8993},
  url = {http://www.sciencedirect.com/science/article/pii/S0006899315000669},
  doi = {10.1016/j.brainres.2015.01.046},
  abstract = {Humans process music even without conscious effort according to implicit knowledge about syntactic regularities. Whether such automatic and implicit processing is modulated by veridical knowledge has remained unknown in previous neurophysiological studies. This study investigates this issue by testing whether the acquisition of veridical knowledge of a music-syntactic irregularity (acquired through supervised learning) modulates early, partly automatic, music-syntactic processes (as reflected in the early right anterior negativity, ERAN), and/or late controlled processes (as reflected in the late positive component, LPC). Excerpts of piano sonatas with syntactically regular and less regular chords were presented repeatedly (10 times) to non-musicians and amateur musicians. Participants were informed by a cue as to whether the following excerpt contained a regular or less regular chord. Results showed that the repeated exposure to several presentations of regular and less regular excerpts did not influence the ERAN elicited by less regular chords. By contrast, amplitudes of the LPC (as well as of the P3a evoked by less regular chords) decreased systematically across learning trials. These results reveal that late controlled, but not early (partly automatic), neural mechanisms of music-syntactic processing are modulated by repeated exposure to a musical piece.

This article is part of a Special Issue entitled SI: Prediction and Attention.},
  journaltitle = {Brain Research},
  shortjournal = {Brain Research},
  series = {Predictive and {{Attentive Processing}} in {{Perception}} and {{Action}}},
  urldate = {2015-12-01},
  date = {2015-11-11},
  pages = {232-246},
  keywords = {musical training,musical syntax,Implicit knowledge,Supervised learning,Veridical knowledge},
  author = {Guo, Shuang and Koelsch, Stefan},
  file = {D\:\\Sauve\\Zotero\\storage\\M5JNACVD\\Guo and Koelsch - 2015 - The effects of supervised learning on event-relate.pdf;D\:\\Sauve\\Zotero\\storage\\6JR57NZK\\S0006899315000669.html}
}

@article{sulykosAsymmetricEffectAutomatic2015,
  title = {Asymmetric Effect of Automatic Deviant Detection: {{The}} Effect of Familiarity in Visual Mismatch Negativity},
  volume = {1626},
  issn = {0006-8993},
  url = {http://www.sciencedirect.com/science/article/pii/S0006899315001353},
  doi = {10.1016/j.brainres.2015.02.035},
  shorttitle = {Asymmetric Effect of Automatic Deviant Detection},
  abstract = {The visual mismatch negativity (vMMN) component is regarded as a prediction error signal elicited by events violating the sequential regularities of environmental stimulation. The aim of the study was to investigate the effect of familiarity on the vMMN. Stimuli were patterns comprised of familiar (N) or unfamiliar (И) letters. In a passive oddball paradigm, letters (N and И) were presented as either standard or deviant in separate conditions. VMMNs emerged in both conditions; peak latency of vMMN was shorter to the И deviant compared to the vMMN elicited by the N deviant. To test the orientation-specific effect of the oblique lines on the vMMN, we introduced a control experiment. In the control experiment, the patterns were constructed solely from oblique lines, identical to the oblique lines of the N and И stimuli. Contrary to the first experiment, there was no significant difference between the vMNNs elicited by the two orientations. Therefore, the differences in vMMNs to И and N deviants are not attributable to the physical difference between the И and N stimuli. Consequently, the vMMN is sensitive to the familiarity of the stimuli.

This article is part of a Special Issue entitled SI: Prediction and Attention.},
  journaltitle = {Brain Research},
  shortjournal = {Brain Research},
  series = {Predictive and {{Attentive Processing}} in {{Perception}} and {{Action}}},
  urldate = {2015-12-01},
  date = {2015-11-11},
  pages = {108-117},
  keywords = {Familiarity,Search asymmetry,Visual change-detection,Visual mismatch negativity,Visual search},
  author = {Sulykos, István and Kecskés-Kovács, Krisztina and Czigler, István},
  file = {D\:\\Sauve\\Zotero\\storage\\2JR3V6FX\\Sulykos et al. - 2015 - Asymmetric effect of automatic deviant detection .pdf;D\:\\Sauve\\Zotero\\storage\\SN5FU7AG\\S0006899315001353.html}
}

@article{vandersteenSensorimotorSynchronizationTempochanging2015,
  title = {Sensorimotor Synchronization with Tempo-Changing Auditory Sequences: {{Modeling}} Temporal Adaptation and Anticipation},
  volume = {1626},
  issn = {0006-8993},
  url = {http://www.sciencedirect.com/science/article/pii/S0006899315000876},
  doi = {10.1016/j.brainres.2015.01.053},
  shorttitle = {Sensorimotor Synchronization with Tempo-Changing Auditory Sequences},
  abstract = {The current study investigated the human ability to synchronize movements with event sequences containing continuous tempo changes. This capacity is evident, for example, in ensemble musicians who maintain precise interpersonal coordination while modulating the performance tempo for expressive purposes. Here we tested an ADaptation and Anticipation Model (ADAM) that was developed to account for such behavior by combining error correction processes (adaptation) with a predictive temporal extrapolation process (anticipation). While previous computational models of synchronization incorporate error correction, they do not account for prediction during tempo-changing behavior. The fit between behavioral data and computer simulations based on four versions of ADAM was assessed. These versions included a model with adaptation only, one in which adaptation and anticipation act in combination (error correction is applied on the basis of predicted tempo changes), and two models in which adaptation and anticipation were linked in a joint module that corrects for predicted discrepancies between the outcomes of adaptive and anticipatory processes. The behavioral experiment required participants to tap their finger in time with three auditory pacing sequences containing tempo changes that differed in the rate of change and the number of turning points. Behavioral results indicated that sensorimotor synchronization accuracy and precision, while generally high, decreased with increases in the rate of tempo change and number of turning points. Simulations and model-based parameter estimates showed that adaptation mechanisms alone could not fully explain the observed precision of sensorimotor synchronization. Including anticipation in the model increased the precision of simulated sensorimotor synchronization and improved the fit of model to behavioral data, especially when adaptation and anticipation mechanisms were linked via a joint module based on the notion of joint internal models. Overall results suggest that adaptation and anticipation mechanisms both play an important role during sensorimotor synchronization with tempo-changing sequences.

This article is part of a Special Issue entitled SI: Prediction and Attention.},
  journaltitle = {Brain Research},
  shortjournal = {Brain Research},
  series = {Predictive and {{Attentive Processing}} in {{Perception}} and {{Action}}},
  urldate = {2015-12-01},
  date = {2015-11-11},
  pages = {66-87},
  keywords = {computational model,Error correction,Predictive internal models,Sensorimotor synchronization,Temporal adaptation,Temporal anticipation},
  author = {van der Steen, M. C. (Marieke) and Jacoby, Nori and Fairhurst, Merle T. and Keller, Peter E.},
  options = {useprefix=true},
  file = {D\:\\Sauve\\Zotero\\storage\\35VH2J3I\\van der Steen et al. - 2015 - Sensorimotor synchronization with tempo-changing a.pdf;D\:\\Sauve\\Zotero\\storage\\KHJDRVWZ\\S0006899315000876.html}
}

@article{kimuraAutomaticPredictionRegarding2015,
  title = {Automatic Prediction Regarding the next State of a Visual Object: {{Electrophysiological}} Indicators of Prediction Match and Mismatch},
  volume = {1626},
  issn = {0006-8993},
  url = {http://www.sciencedirect.com/science/article/pii/S0006899315000244},
  doi = {10.1016/j.brainres.2015.01.013},
  shorttitle = {Automatic Prediction Regarding the next State of a Visual Object},
  abstract = {Behavioral phenomena such as representational momentum suggest that the brain can automatically predict the next state of a visual object, based on sequential rules embedded in its preceding spatiotemporal context. To identify electrophysiological indicators of automatic visual prediction in terms of prediction match and mismatch, we recorded event-related brain potentials (ERPs) while participants passively viewed three types of task-irrelevant sequences of a bar stimulus: (1) an oddball sequence, which contained a sequential rule defined by stimulus repetition, providing repetition-rule-conforming (standard) and -violating (deviant) stimuli; (2) a rotating-oddball sequence, which contained a sequential rule defined by stimulus change (i.e., rotation), providing change-rule-conforming (regular) and -violating (irregular) stimuli; and (3) a random sequence, which did not contain a sequential rule, providing a neutral (control) stimulus. This protocol allowed us to expect that (1) an ERP effect that reflects a prediction-mismatch process should be exclusively observed in both the deviant-minus-control and irregular-minus-control comparisons and (2) an ERP effect that reflects a prediction-match process should be exclusively observed in both the standard-minus-control and regular-minus-control comparisons. The results showed that the ERP effect that met the criterion for prediction mismatch was an occipito-temporal negative deflection at around 170–300 ms (visual mismatch negativity), while the ERP effect that met the criterion for prediction match was a frontal/central negative deflection at around 150–270 ms (probably, the reduction of P2). These two contrasting ERP effects support a hypothetical view that automatic visual prediction would involve both an increase in the neural response to prediction-incongruent (i.e., novel) events and a decrease in the neural response to prediction-congruent (i.e., redundant) events.

This article is part of a Special Issue entitled SI: Prediction and Attention.},
  journaltitle = {Brain Research},
  shortjournal = {Brain Research},
  series = {Predictive and {{Attentive Processing}} in {{Perception}} and {{Action}}},
  urldate = {2015-12-01},
  date = {2015-11-11},
  pages = {31-44},
  keywords = {Automatic visual prediction,Event-related brain potential (ERP),Match,Mismatch,Sequential rule},
  author = {Kimura, Motohiro and Takeda, Yuji},
  file = {D\:\\Sauve\\Zotero\\storage\\325HPGU8\\Kimura and Takeda - 2015 - Automatic prediction regarding the next state of a.pdf;D\:\\Sauve\\Zotero\\storage\\NW5J9GCJ\\S0006899315000244.html}
}

@article{bendixenNoiseOcclusionDiscrete2015,
  title = {Noise Occlusion in Discrete Tone Sequences as a Tool towards Auditory Predictive Processing?},
  volume = {1626},
  issn = {0006-8993},
  url = {http://www.sciencedirect.com/science/article/pii/S0006899315005272},
  doi = {10.1016/j.brainres.2015.06.045},
  abstract = {The notion of predictive coding is a common feature of many theories of auditory information processing. Experimental demonstrations of predictive auditory processing often rest on omitting predictable input in order to uncover the prediction made by the brain. Findings show that auditory cortical activity elicited by the omission of a predictable tone resembles the activity elicited by the actual tone. Here we attempted to extend this approach towards using noises instead of omissions in order to capture a more prevalent case of degraded sensory input. By applying a subtraction approach to remove ERP effects of the noise itself, auditory cortical activity elicited “behind” the noise was uncovered. We hypothesized that ERPs elicited behind noise stimuli covering predictable tones should be more similar to ERPs elicited by the actual tones than when the same comparison is made for unpredictable tones. ERP results during passive listening partly confirm this hypothesis, but also point towards some methodological caveats in this particular approach towards studying neural correlates of predictive auditory processing due to contributions from predictability-unrelated factors. A follow-up active listening condition indicated that participants were not more likely to perceive the tone sequence as continuous when a predictable tone was covered with noise than when this pertained to an unpredictable tone. Overall, the noise-based paradigm in its present form was not shown to be successful in revealing predictive processing in perceptual judgments or early neural correlates of sound processing. We discuss these findings in the contexts of predictive processing and illusory auditory continuity.

This article is part of a

repository: sarahsauve/Entropy-Learning-Atonal

license_type: permissive

repo_name: sarahsauve/Entropy-Learning-Atonal

branch_name: refs/heads/master

extension: bib