text:
<$} 0.01), with females having a larger relative cerebellar volume, may mask the effect of musicianship in the female group. We propose that the significantly greater cerebellar volume in male musicians and the positive correlation between relative cerebellar volume and lifelong intensity of practice represents structural adaptation to long-term motor and cognitive functional demands in the human cerebellum.},
  number = {9},
  journaltitle = {Cerebral Cortex (New York, N.Y.: 1991)},
  shortjournal = {Cereb. Cortex},
  date = {2003-09},
  pages = {943-949},
  keywords = {Music,Magnetic Resonance Imaging,humans,Learning,Adult,Female,Male,Cerebellum,Motor Skills,Neuronal Plasticity,Prospective Studies,Sex Characteristics},
  author = {Hutchinson, Siobhan and Lee, Leslie Hui-Lin and Gaab, Nadine and Schlaug, Gottfried},
  eprinttype = {pmid},
  eprint = {12902393}
}

@article{habibEffectsHandednessSex1991,
  langid = {english},
  title = {Effects of Handedness and Sex on the Morphology of the Corpus Callosum: A Study with Brain Magnetic Resonance Imaging},
  volume = {16},
  issn = {0278-2626},
  shorttitle = {Effects of Handedness and Sex on the Morphology of the Corpus Callosum},
  abstract = {In view of conflicting data in the existing literature, we examined 53 normal subjects using a handedness questionnaire and callosal area measurements obtained from midsagittal MRI images. The callosum was found to be significantly larger in nonconsistent right-handers (NCRH), especially in its anterior half and especially for males. A significant hand x sex interaction, favoring consistent right-handed (CRH) females, was also found for the posterior midbody, a region known to house interhemispheric fibers connecting the right and left posterior association cortices. These results (1) confirm Witelson's (1985) first findings on postmortem specimens; (2) validate a dichotomy between CRH and NCRH rather than simply considering the writing hand, as was the case in most other similar studies; and (3) suggest that at least two different sex-related--probably hormonal--factors may be acting during the callosal development, one explaining the larger anterior half in NCRH males and the other the larger posterior midbody in CRH females.},
  number = {1},
  journaltitle = {Brain and Cognition},
  shortjournal = {Brain Cogn},
  date = {1991-05},
  pages = {41-61},
  keywords = {Magnetic Resonance Imaging,humans,Adult,Middle Aged,Female,Male,Analysis of Variance,Adolescent,Surveys and Questionnaires,Sex Characteristics,Corpus Callosum,Functional Laterality},
  author = {Habib, M. and Gayraud, D. and Oliva, A. and Regis, J. and Salamon, G. and Khalil, R.},
  eprinttype = {pmid},
  eprint = {1854469}
}

@article{maguireNavigationrelatedStructuralChange2000,
  langid = {english},
  title = {Navigation-Related Structural Change in the Hippocampi of Taxi Drivers},
  volume = {97},
  issn = {0027-8424, 1091-6490},
  url = {http://www.pnas.org/content/97/8/4398},
  doi = {10.1073/pnas.070039597},
  abstract = {Structural MRIs of the brains of humans with extensive navigation experience, licensed London taxi drivers, were analyzed and compared with those of control subjects who did not drive taxis. The posterior hippocampi of taxi drivers were significantly larger relative to those of control subjects. A more anterior hippocampal region was larger in control subjects than in taxi drivers. Hippocampal volume correlated with the amount of time spent as a taxi driver (positively in the posterior and negatively in the anterior hippocampus). These data are in accordance with the idea that the posterior hippocampus stores a spatial representation of the environment and can expand regionally to accommodate elaboration of this representation in people with a high dependence on navigational skills. It seems that there is a capacity for local plastic change in the structure of the healthy adult human brain in response to environmental demands.},
  number = {8},
  journaltitle = {Proceedings of the National Academy of Sciences},
  shortjournal = {PNAS},
  urldate = {2016-06-07},
  date = {2000-11-04},
  pages = {4398-4403},
  author = {Maguire, Eleanor A. and Gadian, David G. and Johnsrude, Ingrid S. and Good, Catriona D. and Ashburner, John and Frackowiak, Richard S. J. and Frith, Christopher D.},
  file = {D\:\\Sauve\\Zotero\\storage\\6RRTFB4C\\Maguire et al. - 2000 - Navigation-related structural change in the hippoc.pdf;D\:\\Sauve\\Zotero\\storage\\ENBV524R\\4398.html},
  eprinttype = {pmid},
  eprint = {10716738}
}

@article{hansenPredictiveUncertaintyAuditory2014,
  title = {Predictive Uncertainty in Auditory Sequence Processing},
  volume = {5},
  issn = {1664-1078},
  url = {http://journal.frontiersin.org/article/10.3389/fpsyg.2014.01052/abstract},
  doi = {10.3389/fpsyg.2014.01052},
  number = {1052},
  journaltitle = {Frontiers in Psychology},
  urldate = {2016-06-07},
  date = {2014-09-23},
  author = {Hansen, Niels Chr. and Pearce, Marcus T.}
}

@article{schlaugIncreasedCorpusCallosum1995,
  langid = {english},
  title = {Increased Corpus Callosum Size in Musicians},
  volume = {33},
  issn = {0028-3932},
  abstract = {Using in-vivo magnetic resonance morphometry it was investigated whether the midsagittal area of the corpus callosum (CC) would differ between 30 professional musicians and 30 age-, sex- and handedness-matched controls. Our analyses revealed that the anterior half of the CC was significantly larger in musicians. This difference was due to the larger anterior CC in the subgroup of musicians who had begun musical training before the age of 7. Since anatomic studies have provided evidence for a positive correlation between midsagittal callosal size and the number of fibers crossing through the CC, these data indicate a difference in interhemispheric communication and possibly in hemispheric (a)symmetry of sensorimotor areas. Our results are also compatible with plastic changes of components of the CC during a maturation period within the first decade of human life, similar to those observed in animal studies.},
  number = {8},
  journaltitle = {Neuropsychologia},
  shortjournal = {Neuropsychologia},
  date = {1995-08},
  pages = {1047-1055},
  keywords = {Music,Magnetic Resonance Imaging,humans,Adult,Female,Male,Reference Values,Dominance; Cerebral,Motor Skills,Neuronal Plasticity,Corpus Callosum,Functional Laterality,Motor Cortex},
  author = {Schlaug, G. and Jäncke, L. and Huang, Y. and Staiger, J. F. and Steinmetz, H.},
  eprinttype = {pmid},
  eprint = {8524453}
}

@article{trainorOriginsMusicAuditory2015,
  langid = {english},
  title = {The Origins of Music in Auditory Scene Analysis and the Roles of Evolution and Culture in Musical Creation},
  volume = {370},
  issn = {0962-8436, 1471-2970},
  url = {http://rstb.royalsocietypublishing.org/content/370/1664/20140089},
  doi = {10.1098/rstb.2014.0089},
  abstract = {Whether music was an evolutionary adaptation that conferred survival advantages or a cultural creation has generated much debate. Consistent with an evolutionary hypothesis, music is unique to humans, emerges early in development and is universal across societies. However, the adaptive benefit of music is far from obvious. Music is highly flexible, generative and changes rapidly over time, consistent with a cultural creation hypothesis. In this paper, it is proposed that much of musical pitch and timing structure adapted to preexisting features of auditory processing that evolved for auditory scene analysis (ASA). Thus, music may have emerged initially as a cultural creation made possible by preexisting adaptations for ASA. However, some aspects of music, such as its emotional and social power, may have subsequently proved beneficial for survival and led to adaptations that enhanced musical behaviour. Ontogenetic and phylogenetic evidence is considered in this regard. In particular, enhanced auditory–motor pathways in humans that enable movement entrainment to music and consequent increases in social cohesion, and pathways enabling music to affect reward centres in the brain should be investigated as possible musical adaptations. It is concluded that the origins of music are complex and probably involved exaptation, cultural creation and evolutionary adaptation.},
  number = {1664},
  journaltitle = {Phil. Trans. R. Soc. B},
  shortjournal = {Phil. Trans. R. Soc. B},
  urldate = {2016-06-06},
  date = {2015-03-19},
  pages = {20140089},
  author = {Trainor, Laurel J.},
  file = {D\:\\Sauve\\Zotero\\storage\\GD72XF6M\\Trainor - 2015 - The origins of music in auditory scene analysis an.pdf;D\:\\Sauve\\Zotero\\storage\\AGAUHDM7\\20140089.html},
  eprinttype = {pmid},
  eprint = {25646512}
}

@article{snyderGammabandActivityReflects2005,
  title = {Gamma-Band Activity Reflects the Metric Structure of Rhythmic Tone Sequences},
  volume = {24},
  issn = {0926-6410},
  url = {http://www.sciencedirect.com/science/article/pii/S0926641005000054},
  doi = {10.1016/j.cogbrainres.2004.12.014},
  abstract = {Relatively little is known about the dynamics of auditory cortical rhythm processing using non-invasive methods, partly because resolving responses to events in patterns is difficult using long-latency auditory neuroelectric responses. We studied the relationship between short-latency gamma-band (20–60 Hz) activity (GBA) and the structure of rhythmic tone sequences. We show that induced (non-phase-locked) GBA predicts tone onsets and persists when expected tones are omitted. Evoked (phase-locked) GBA occurs in response to tone onsets with ∼50 ms latency, and is strongly diminished during tone omissions. These properties of auditory GBA correspond with perception of meter in acoustic sequences and provide evidence for the dynamic allocation of attention to temporally structured auditory sequences.},
  number = {1},
  journaltitle = {Cognitive Brain Research},
  shortjournal = {Cognitive Brain Research},
  urldate = {2016-06-06},
  date = {2005-06},
  pages = {117-126},
  keywords = {Music,electroencephalography,speech,rhythm perception,Gamma-band activity},
  author = {Snyder, Joel S. and Large, Edward W.},
  file = {D\:\\Sauve\\Zotero\\storage\\CGA8GFST\\S0926641005000054.html}
}

@article{bhattacharyaPhaseSynchronyAnalysis2005,
  title = {Phase Synchrony Analysis of {{EEG}} during Music Perception Reveals Changes in Functional Connectivity Due to Musical Expertise},
  volume = {85},
  issn = {0165-1684},
  url = {http://www.sciencedirect.com/science/article/pii/S0165168405002070},
  doi = {10.1016/j.sigpro.2005.07.007},
  abstract = {Differences in functional and topographical connectivity patterns between two groups, musicians and non-musicians, during attentively listening to three different pieces of music and to a text of neutral content, were presented by means of EEG phase synchrony analysis in five standard frequency bands: delta (\<4 Hz), theta (4–8 Hz), alpha (8–13 Hz), beta (13–30 Hz), and gamma (\>30 Hz). The degree of phase synchrony or phase coherence between EEG signals was measured by a recently developed index, which is more suitable than classical indices, like correlation or coherence, when dealing with nonlinear and nonstationary signals like EEG. Comparing the music listening task to rest or control condition, musicians showed increase in phase synchrony over distributed cortical areas, both near and distant, in delta, and most conspicuously in gamma frequency band, whereas non-musicians showed enhancement only in delta band. Further, the degree of phase synchrony in musicians was reduced during listening to text as compared to listening to music. Comparing the two groups during the listening tasks, the clear-cut difference was found in gamma band phase synchrony, which was significantly stronger in musicians while listening to every chosen piece of music, yet no large difference between these two groups was found while listening to the chosen text. Musicians also showed stronger higher order inter-frequency phase synchrony between delta band oscillations in anterior regions and gamma band oscillations in posterior regions. In addition, consistent left hemispheric dominance, in terms of the strength of phase synchrony, was observed in musicians while listening to music, whereas right hemispheric dominance was observed in non-musicians. These results suggest that professional training in music is able to elicit context-sensitive functional connectivity between multiple cortical regions resulting in different listening strategies to music.},
  number = {11},
  journaltitle = {Signal Processing},
  shortjournal = {Signal Processing},
  series = {Neuronal {{Coordination}} in the {{Brain}}: {{A Signal Processing Perspective}}},
  urldate = {2016-06-06},
  date = {2005-11},
  pages = {2161-2177},
  keywords = {Music,EEG,Oscillations,Cortical Network,Functional Connectivity,Phase Synchrony},
  author = {Bhattacharya, Joydeep and Petsche, Hellmuth},
  file = {D\:\\Sauve\\Zotero\\storage\\DH52MV4D\\S0165168405002070.html}
}

@article{bidelmanNeuralCorrelatesConsonance2009,
  langid = {english},
  title = {Neural Correlates of Consonance, Dissonance, and the Hierarchy of Musical Pitch in the Human Brainstem},
  volume = {29},
  issn = {1529-2401},
  doi = {10.1523/JNEUROSCI.3900-09.2009},
  abstract = {Consonant and dissonant pitch relationships in music provide the foundation of melody and harmony, the building blocks of Western tonal music. We hypothesized that phase-locked neural activity within the brainstem may preserve information relevant to these important perceptual attributes of music. To this end, we measured brainstem frequency-following responses (FFRs) from nonmusicians in response to the dichotic presentation of nine musical intervals that varied in their degree of consonance and dissonance. Neural pitch salience was computed for each response using temporally based autocorrelation and harmonic pitch sieve analyses. Brainstem responses to consonant intervals were more robust and yielded stronger pitch salience than those to dissonant intervals. In addition, the ordering of neural pitch salience across musical intervals followed the hierarchical arrangement of pitch stipulated by Western music theory. Finally, pitch salience derived from neural data showed high correspondence with behavioral consonance judgments (r = 0.81). These results suggest that brainstem neural mechanisms mediating pitch processing show preferential encoding of consonant musical relationships and, furthermore, preserve the hierarchical pitch relationships found in music, even for individuals without formal musical training. We infer that the basic pitch relationships governing music may be rooted in low-level sensory processing and that an encoding scheme that favors consonant pitch relationships may be one reason why such intervals are preferred behaviorally.},
  number = {42},
  journaltitle = {The Journal of Neuroscience: The Official Journal of the Society for Neuroscience},
  shortjournal = {J. Neurosci.},
  date = {2009-10-21},
  pages = {13165-13171},
  keywords = {Music,pitch perception,electroencephalography,Acoustic Stimulation,Auditory Pathways,humans,Adult,Female,Male,Psycholinguistics,Time Factors,Analysis of Variance,Young Adult,SOUND,REACTION time,Brain Mapping,Evoked Potentials; Auditory,Brain Stem,Statistics as Topic},
  author = {Bidelman, Gavin M. and Krishnan, Ananthanarayan},
  eprinttype = {pmid},
  eprint = {19846704},
  pmcid = {PMC2804402}
}

@article{straitMusicalTrainingEarly2012,
  langid = {english},
  title = {Musical Training during Early Childhood Enhances the Neural Encoding of Speech in Noise},
  volume = {123},
  issn = {1090-2155},
  doi = {10.1016/j.bandl.2012.09.001},
  abstract = {For children, learning often occurs in the presence of background noise. As such, there is growing desire to improve a child's access to a target signal in noise. Given adult musicians' perceptual and neural speech-in-noise enhancements, we asked whether similar effects are present in musically-trained children. We assessed the perception and subcortical processing of speech in noise and related cognitive abilities in musician and nonmusician children that were matched for a variety of overarching factors. Outcomes reveal that musicians' advantages for processing speech in noise are present during pivotal developmental years. Supported by correlations between auditory working memory and attention and auditory brainstem response properties, we propose that musicians' perceptual and neural enhancements are driven in a top-down manner by strengthened cognitive abilities with training. Our results may be considered by professionals involved in the remediation of language-based learning deficits, which are often characterized by poor speech perception in noise.},
  number = {3},
  journaltitle = {Brain and Language},
  shortjournal = {Brain Lang},
  date = {2012-12},
  pages = {191-201},
  keywords = {Attention,Music,humans,Learning,Female,Male,Speech Perception,Memory; Short-Term,Adolescent,Child,Noise,Brain Stem,Evoked Potentials; Auditory; Brain Stem},
  author = {Strait, Dana L. and Parbery-Clark, Alexandra and Hittner, Emily and Kraus, Nina},
  eprinttype = {pmid},
  eprint = {23102977},
  pmcid = {PMC3502676}
}

@article{skoeMusicalTrainingHeightens2013,
  title = {Musical Training Heightens Auditory Brainstem Function during Sensitive Periods in Development},
  volume = {4},
  issn = {1664-1078},
  url = {http://www.ncbi.nlm.nih.gov/pmc/articles/PMC3777166/},
  doi = {10.3389/fpsyg.2013.00622},
  abstract = {Experience has a profound influence on how sound is processed in the brain. Yet little is known about how enriched experiences interact with developmental processes to shape neural processing of sound. We examine this question as part of a large cross-sectional study of auditory brainstem development involving more than 700 participants, 213 of whom were classified as musicians. We hypothesized that experience-dependent processes piggyback on developmental processes, resulting in a waxing-and-waning effect of experience that tracks with the undulating developmental baseline. This hypothesis led to the prediction that experience-dependent plasticity would be amplified during periods when developmental changes are underway (i.e., early and later in life) and that the peak in experience-dependent plasticity would coincide with the developmental apex for each subcomponent of the auditory brainstem response (ABR). Consistent with our predictions, we reveal that musicians have heightened response features at distinctive times in the life span that coincide with periods of developmental change. The effect of musicianship is also quite specific: we find that only select components of auditory brainstem activity are affected, with musicians having heightened function for onset latency, high-frequency phase-locking, and response consistency, and with little effect observed for other measures, including lower-frequency phase-locking and non-stimulus-related activity. By showing that musicianship imparts a neural signature that is especially evident during childhood and old age, our findings reinforce the idea that the nervous system's response to sound is “chiseled” by how a person interacts with his specific auditory environment, with the effect of the environment wielding its greatest influence during certain privileged windows of development.},
  journaltitle = {Frontiers in Psychology},
  shortjournal = {Front Psychol},
  urldate = {2016-06-06},
  date = {2013-09-19},
  author = {Skoe, Erika and Kraus, Nina},
  file = {D\:\\Sauve\\Zotero\\storage\\U66BQ756\\Skoe and Kraus - 2013 - Musical training heightens auditory brainstem func.pdf},
  eprinttype = {pmid},
  eprint = {24065935},
  pmcid = {PMC3777166}
}

@article{straitPlayingMusicSmarter2011,
  eprinttype = {jstor},
  eprint = {10.1525/mp.2011.29.2.133},
  title = {Playing {{Music}} for a {{Smarter Ear}}: {{Cognitive}}, {{Perceptual}} and {{Neurobiological Evidence}}},
  volume = {29},
  issn = {0730-7829},
  doi = {10.1525/mp.2011.29.2.133},
  shorttitle = {Playing {{Music}} for a {{Smarter Ear}}},
  abstract = {Human hearing depends on a combination of cognitive and sensory processes that function by means of an interactive circuitry of bottom-up and top-down neural pathways, extending from the cochlea to the cortex and back again. Given that similar neural pathways are recruited to process sounds related to both music and language, it is not surprising that the auditory expertise gained over years of consistent music practice fine-tunes the human auditory system in a comprehensive fashion, strengthening neurobiological and cognitive underpinnings of both music and speech processing. In this review we argue not only that common neural mechanisms for speech and music exist, but that experience in music leads to enhancements in sensory and cognitive contributors to speech processing. Of specific interest is the potential for music training to bolster neural mechanisms that undergird language-related skills, such as reading and hearing speech in background noise, which are critical to academic progress, emotional health, and vocational success.},
  number = {2},
  journaltitle = {Music Perception: An Interdisciplinary Journal},
  shortjournal = {Music Perception: An Interdisciplinary Journal},
  date = {2011-12-01},
  pages = {133-146},
  keywords = {musical training},
  author = {Strait, Dana and Kraus, Nina},
  file = {D\:\\Sauve\\Zotero\\storage\\RUC87CBP\\Strait and Kraus - 2011 - Playing Music for a Smarter Ear Cognitive, Percep.pdf}
}

@article{chabrisPreludeRequiemMozart1999,
  langid = {english},
  title = {Prelude or Requiem for the ‘{{Mozart}} Effect’?},
  volume = {400},
  issn = {0028-0836},
  url = {http://www.nature.com/nature/journal/v400/n6747/full/400826a0.html},
  doi = {10.1038/23608},
  abstract = {Rauscher et al. reported that listening to ten minutes of Mozart's music increased the abstract reasoning ability of college students, as measured by IQ scores, by 8 or 9 points compared with listening to relaxation instructions or silence, respectively. This startling finding became known as the ‘Mozart effect’, and has since been explored by several research groups. Here I use a meta-analysis to demonstrate that any cognitive enhancement is small and does not reflect any change in IQ or reasoning ability in general, but instead derives entirely from performance on one specific type of cognitive task and has a simple neuropsychological explanation.},
  number = {6747},
  journaltitle = {Nature},
  shortjournal = {Nature},
  urldate = {2016-06-06},
  date = {1999-08-26},
  pages = {826-827},
  author = {Chabris, Christopher F.},
  file = {D\:\\Sauve\\Zotero\\storage\\RGHTGE3C\\400826a0.html}
}

@article{pietschnigMozartEffectShmozart2010,
  title = {Mozart Effect–{{Shmozart}} Effect: {{A}} Meta-Analysis},
  volume = {38},
  issn = {0160-2896},
  url = {http://www.sciencedirect.com/science/article/pii/S0160289610000267},
  doi = {10.1016/j.intell.2010.03.001},
  shorttitle = {Mozart Effect–{{Shmozart}} Effect},
  abstract = {The transient enhancement of performance on spatial tasks in standardized tests after exposure to the first movement “allegro con spirito” of the Mozart sonata for two pianos in D major (KV 448) is referred to as the Mozart effect since its first observation by Rauscher, Shaw, and Ky (1993). These findings turned out to be amazingly hard to replicate, thus leading to an abundance of conflicting results. Sixteen years after initial publication we conduct the so far largest, most comprehensive, and up-to-date meta-analysis (nearly 40 studies, over 3000 subjects), including a diversity of unpublished research papers to finally clarify the scientific record about whether or not a specific Mozart effect exists. We could show that the overall estimated effect is small in size (d = 0.37, 95\% CI [0.23, 0.52]) for samples exposed to the Mozart sonata KV 448 and samples that had been exposed to a non-musical stimulus or no stimulus at all preceding spatial task performance. Additionally, calculation of effect sizes for samples exposed to any other musical stimulus and samples exposed to a non-musical stimulus or no stimulus at all yielded effects similar in strength (d = 0.38, 95\% CI [0.13, 0.63]), whereas there was a negligible effect between the two music conditions (d = 0.15, 95\% CI [0.02, 0.28]). Furthermore, formal tests yielded evidence for confounding publication bias, requiring downward correction of effects. The central finding of the present paper however, is certainly the noticeably higher overall effect in studies performed by Rauscher and colleagues than in studies performed by other researchers, indicating systematically moderating effects of lab affiliation. On the whole, there is little evidence left for a specific, performance-enhancing Mozart effect.},
  number = {3},
  journaltitle = {Intelligence},
  shortjournal = {Intelligence},
  urldate = {2016-06-06},
  date = {2010-05},
  pages = {314-323},
  keywords = {meta-analysis,Mozart effect,Publication bias,Spatial ability},
  author = {Pietschnig, Jakob and Voracek, Martin and Formann, Anton K.},
  file = {D\:\\Sauve\\Zotero\\storage\\JK5UPTFJ\\S0160289610000267.html}
}

@article{rauscherListeningMozartEnhances1995,
  title = {Listening to {{Mozart}} Enhances Spatial-Temporal Reasoning: Towards a Neurophysiological Basis},
  volume = {185},
  issn = {0304-3940},
  url = {http://www.sciencedirect.com/science/article/pii/0304394094112214},
  doi = {10.1016/0304-3940(94)11221-4},
  shorttitle = {Listening to {{Mozart}} Enhances Spatial-Temporal Reasoning},
  abstract = {Motivated by predictions of a structured neuronal model of the cortex, we performed a behavioral experiment which showed that listening to a Mozart piano sonata produced significant short-term enhancement of spatial-temporal reasoning in college students. Here we present results from an experiment which replicates these findings, and shows that (i) ‘repetitive’ music does not enhance reasoning; (ii) a taped short story does not enhance reasoning; and (iii) short-term memory is not enhanced. We propose experiments designed to explore the neurophysiological bases of this causal enhancement of spatial-temporal reasoning by music, and begin to search for quantitative measures of further higher ognitive effects of music.},
  number = {1},
  journaltitle = {Neuroscience Letters},
  shortjournal = {Neuroscience Letters},
  urldate = {2016-06-06},
  date = {1995-02-06},
  pages = {44-47},
  keywords = {Music,EEG,Analytic reasoning,Creative reasoning,Spatial-temporal neuronal pattern development,Trion model of cortex},
  author = {Rauscher, Frances H. and Shaw, Gordon L. and Ky, Katherine N.},
  file = {D\:\\Sauve\\Zotero\\storage\\IDKC6H7U\\0304394094112214.html}
}

@article{zacksEventPerceptionMindbrain2007,
  title = {Event Perception: A Mind-Brain Perspective.},
  volume = {133},
  url = {http://psycnet.apa.org/psycinfo/2007-02367-005},
  shorttitle = {Event Perception},
  number = {2},
  journaltitle = {Psychological bulletin},
  urldate = {2016-04-27},
  date = {2007},
  pages = {273},
  author = {Zacks, Jeffrey M. and Speer, Nicole K. and Swallow, Khena M. and Braver, Todd S. and Reynolds, Jeremy R.},
  file = {D\:\\Sauve\\Zotero\\storage\\KRT2PT7T\\PMC2852534.html}
}

@article{hoshi-shibaNeuralCorrelatesExpectation2014,
  langid = {english},
  title = {Neural Correlates of Expectation of Musical Termination Structure or Cadence:},
  volume = {25},
  issn = {0959-4965},
  url = {http://content.wkhealth.com/linkback/openurl?sid=WKPTLP:landingpage&an=00001756-201407090-00003},
  doi = {10.1097/WNR.0000000000000160},
  shorttitle = {Neural Correlates of Expectation of Musical Termination Structure or Cadence},
  number = {10},
  journaltitle = {NeuroReport},
  urldate = {2016-04-27},
  date = {2014-07},
  pages = {743-748},
  author = {Hoshi-Shiba, Reiko and Furukawa, Kiyoshi and Okanoya, Kazuo}
}

@article{bogelsProsodicBreaksSentence2011,
  langid = {english},
  title = {Prosodic {{Breaks}} in {{Sentence Processing Investigated}} by {{Event}}-{{Related Potentials}}},
  volume = {5},
  issn = {1749-818X},
  url = {http://onlinelibrary.wiley.com/doi/10.1111/j.1749-818X.2011.00291.x/abstract},
  doi = {10.1111/j.1749-818X.2011.00291.x},
  abstract = {Prosodic breaks (PBs) can indicate a sentence’s syntactic structure. Event-related brain potentials (ERPs) are an excellent way to study auditory sentence processing, since they provide an on-line measure across a complete sentence, in contrast to other on- and off-line methods. ERPs for the first time allowed investigating the processing of a PB itself. PBs reliably elicit a closure positive shift (CPS). We first review several studies on the CPS, leading to the conclusion that it is elicited by abstract structuring or phrasing of the input. Then we review ERP findings concerning the role of PBs in sentence processing as indicated by ERP components like the N400, P600 and LAN. We focus on whether and how PBs can (help to) disambiguate locally ambiguous sentences. Differences in results between different studies can be related to differences in items, initial parsing preferences and tasks. Finally, directions for future research are discussed.},
  number = {7},
  journaltitle = {Language and Linguistics Compass},
  urldate = {2016-04-25},
  date = {2011-07-01},
  pages = {424-440},
  author = {Bögels, Sara and Schriefers, Herbert and Vonk, Wietske and Chwilla, Dorothee J.},
  file = {D\:\\Sauve\\Zotero\\storage\\8MVNESZQ\\abstract\;jsessionid=B92A82046B858B8F17F72E7CA027891C.html}
}

@article{margulisSilencesMusicAre2007,
  langid = {english},
  title = {Silences in {{Music}} Are {{Musical Not Silent}}: {{An Exploratory Study}} of {{Context Effects}} on the {{Experience}} of {{Musical Pauses}}},
  volume = {24},
  issn = {0730-7829, 1533-8312},
  url = {http://mp.ucpress.edu/content/24/5/485},
  doi = {10.1525/mp.2007.24.5.485},
  shorttitle = {Silences in {{Music}} Are {{Musical Not Silent}}},
  number = {5},
  journaltitle = {Music Perception: An Interdisciplinary Journal},
  urldate = {2016-04-25},
  date = {2007-06-01},
  pages = {485-506},
  author = {Margulis, Elizabeth Hellmuth},
  file = {D\:\\Sauve\\Zotero\\storage\\JFBJARVZ\\485.html}
}

@article{nanPerceptionMusicalPhrase2006,
  title = {The Perception of Musical Phrase Structure: {{A}} Cross-Cultural {{ERP}} Study},
  volume = {1094},
  issn = {0006-8993},
  url = {http://www.sciencedirect.com/science/article/pii/S0006899306009097},
  doi = {10.1016/j.brainres.2006.03.115},
  shorttitle = {The Perception of Musical Phrase Structure},
  abstract = {Electroencephalography (EEG) was used in a cross-cultural music study investigating phrase boundary perception. Chinese and German musicians performed a cultural categorization task under Chinese and Western music listening conditions. Western music was the major subject for both groups of musicians, while Chinese music was familiar to Chinese subjects only. By manipulating the presence of pauses between two phrases in the biphrasal melodies, EEG correlates for the perception of phrase boundaries were found in both groups under both music listening conditions. Between 450 and 600~ms, the music CPS (closure positive shift), which had been found in earlier studies with a false tone detection task, was replicated for the more global categorization task and for all combinations of subject group and musical style. At short latencies (100 and 450~ms post phrase boundary offset), EEG correlates varied as a function of musical styles and subject group. Both bottom–up (style properties of the music) and top–down (acculturation of the subjects) information interacted during this early processing stage.},
  number = {1},
  journaltitle = {Brain Research},
  shortjournal = {Brain Research},
  urldate = {2016-04-25},
  date = {2006-06-13},
  pages = {179-191},
  keywords = {music perception,Event-related potential,Cultural difference,Phrase structure},
  author = {Nan, Yun and Knösche, Thomas R. and Friederici, Angela D.},
  file = {D\:\\Sauve\\Zotero\\storage\\B9I2NV8E\\S0006899306009097.html}
}

@article{nanCrossculturalMusicPhrase2008,
  langid = {english},
  title = {Cross-Cultural Music Phrase Processing: {{An fMRI}} Study},
  volume = {29},
  doi = {10.1002/hbm.20390},
  shorttitle = {Cross-Cultural Music Phrase Processing},
  number = {3},
  journaltitle = {Human Brain Mapping},
  date = {2008},
  pages = {312--328},
  author = {Nan, Yun and Knösche, Thomas R. and Zysset, Stefan and Friederici, Angela D.}
}

@article{sridharanNeuralDynamicsEvent2007,
  title = {Neural {{Dynamics}} of {{Event Segmentation}} in {{Music}}: {{Converging Evidence}} for {{Dissociable Ventral}} and {{Dorsal Networks}}},
  volume = {55},
  issn = {0896-6273},
  url = {http://www.sciencedirect.com/science/article/pii/S0896627307005004},
  doi = {10.1016/j.neuron.2007.07.003},
  shorttitle = {Neural {{Dynamics}} of {{Event Segmentation}} in {{Music}}},
  abstract = {Summary
The real world presents our sensory systems with a continuous stream of undifferentiated information. Segmentation of this stream at event boundaries is necessary for object identification~and feature extraction. Here, we investigate the neural dynamics of event segmentation in entire musical symphonies under natural listening conditions. We isolated time-dependent sequences of brain responses in a 10 s window surrounding transitions between movements of~symphonic works. A strikingly right-lateralized network of brain regions showed peak response during the movement transitions~when, paradoxically, there was no physical stimulus. Model-dependent and model-free analysis techniques provided converging evidence for activity in two distinct functional networks at the movement transition: a ventral fronto-temporal network associated with detecting salient events, followed in time by a dorsal fronto-parietal network associated with maintaining attention and updating working memory. Our study provides direct experimental evidence for dissociable and causally linked ventral and dorsal networks during event segmentation of ecologically valid auditory stimuli.},
  number = {3},
  journaltitle = {Neuron},
  shortjournal = {Neuron},
  urldate = {2016-04-25},
  date = {2007-08-02},
  pages = {521-532},
  keywords = {SYSNEURO},
  author = {Sridharan, Devarajan and Levitin, Daniel J. and Chafe, Chris H. and Berger, Jonathan and Menon, Vinod},
  file = {D\:\\Sauve\\Zotero\\storage\\RJ5JQARJ\\Sridharan et al. - 2007 - Neural Dynamics of Event Segmentation in Music Co.pdf;D\:\\Sauve\\Zotero\\storage\\J4B5HBCZ\\S0896627307005004.html}
}

@article{mcdermottRelativePitchSpecific2008,
  langid = {english},
  title = {Is {{Relative Pitch Specific}} to {{Pitch}}?},
  volume = {19},
  issn = {0956-7976, 1467-9280},
  url = {http://pss.sagepub.com/content/19/12/1263},
  doi = {10.1111/j.1467-9280.2008.02235.x},
  abstract = {Melodies, speech, and other stimuli that vary in pitch are processed largely in terms of the relative pitch differences between sounds. Relative representations permit recognition of pitch patterns despite variations in overall pitch level between instruments or speakers. A key component of relative pitch is the sequence of pitch increases and decreases from note to note, known as the melodic contour. Here we report that contour representations are also produced by patterns in loudness and brightness (an aspect of timbre). The representations of contours in different dimensions evidently have much in common, as contours in one dimension can be readily recognized in other dimensions. Moreover, contours in loudness and brightness are nearly as useful as pitch contours for recognizing familiar melodies that are normally conveyed via pitch. Our results indicate that relative representations via contour extraction are a general feature of the auditory system, and may have a common central locus.},
  number = {12},
  journaltitle = {Psychological Science},
  shortjournal = {Psychological Science},
  urldate = {2016-04-25},
  date = {2008-12-01},
  pages = {1263-1271},
  author = {McDermott, Josh H. and Lehr, Andriana J. and Oxenham, Andrew J.},
  file = {D\:\\Sauve\\Zotero\\storage\\JWSKK2HV\\PMC2841133.html;D\:\\Sauve\\Zotero\\storage\\RNMN98NH\\j.1467-9280.2008.02235.html;D\:\\Sauve\\Zotero\\storage\\ZNF7PNCC\\1263.html},
  eprinttype = {pmid},
  eprint = {19121136}
}

@article{wertheimerUntersuchungenZurLehre1923,
  title = {Untersuchungen Zur {{Lehre}} von Der {{Gestalt}}, {{II}} [{{Investigations}} in {{Gestalt Theory}}: {{II}}. {{Laws}} of Organization in Perceptual Forms]},
  volume = {4},
  journaltitle = {Psychologische Forschung},
  date = {1923},
  pages = {301-350},
  author = {Wertheimer, M}
}

@article{huronMelodicArchWestern1996,
  title = {The Melodic Arch in {{Western}} Folksongs},
  volume = {10},
  journaltitle = {Computing in Musicology},
  date = {1996},
  pages = {3-23},
  author = {Huron, David}
}

@article{kalmanNewApproachLinear1960,
  title = {A New Approach to Linear Filtering and Prediction Problems},
  volume = {82},
  number = {1},
  journaltitle = {Journal of Basic Engineering},
  date = {1960},
  pages = {35-45},
  author = {Kalman, R. E.}
}

@article{vuustNewCenterMusic2015,
  title = {The New {{Center}} for {{Music}} in the {{Brain}} ({{MIB}}) in {{Denmark}}},
  volume = {25},
  issn = {2162-1535(Electronic);0275-3987(Print)},
  doi = {10.1037/pmu0000125},
  abstract = {We are delighted to announce a new Center for Music in the Brain (MIB), directed by Professor Peter Vuust, which has been funded by the Danish National Research Foundation (DNRF) for 6 years initially and a possible 4 years extension. The MIB Center aims to elucidate how music moves us physically and emotionally and shapes brain structure and function. In turn, music can also provide a model for empirically testing influential theories that hold prediction to be a general principle of brain function. Embedded within both an educational and clinical environment, the establishment of MIB will provide a unique international hotspot for music and neuroscience research, with high potential for translational impact.},
  number = {4},
  journaltitle = {Psychomusicology: Music, Mind, and Brain},
  date = {2015},
  pages = {457-458},
  keywords = {Neurosciences,*Music,*Brain},
  author = {Vuust, Peter}
}

@article{douglasAuditorySceneAnalysis2016,
  langid = {english},
  title = {Auditory {{Scene Analysis}} and the {{Perception}} of {{Sound Mass}} in {{Ligeti}}’s {{Continuum}}},
  volume = {33},
  issn = {0730-7829, 1533-8312},
  url = {http://mp.ucpress.edu/content/33/3/287},
  doi = {10.1525/mp.2016.33.3.287},
  number = {3},
  journaltitle = {Music Perception: An Interdisciplinary Journal},
  urldate = {2016-03-10},
  date = {2016-02-01},
  pages = {287-305},
  keywords = {auditory scene analysis,Continuum,fusion,Ligeti,sound mass},
  author = {Douglas, Chelsea and Noble, Jason and McAdams, Stephen},
  file = {D\:\\Sauve\\Zotero\\storage\\4PUJS8ZS\\Douglas et al. - 2016 - Auditory Scene Analysis and the Perception of Soun.pdf;D\:\\Sauve\\Zotero\\storage\\W5A8GZGH\\Douglas et al. - 2016 - Auditory Scene Analysis and the Perception of Soun.pdf;D\:\\Sauve\\Zotero\\storage\\AX4CBDDD\\287.html;D\:\\Sauve\\Zotero\\storage\\XR9XMP8X\\287.html}
}

@article{margulisModelMelodicExpectation2005,
  eprinttype = {jstor},
  eprint = {10.1525/mp.2005.22.4.663},
  title = {A {{Model}} of {{Melodic Expectation}}},
  volume = {22},
  issn = {0730-7829},
  doi = {10.1525/mp.2005.22.4.663},
  abstract = {A model of melodic expectation is proposed. The model assigns ratings to the expectedness of melodic events. The ratings depend on the hierarchic implementation of three primary factors: stability, proximity, and direction; and one secondary factor: mobility. The model explicitly links expectancy ratings to aspects of listeners' experiences of tension in melody. An approach to temporal expectations is discussed but not quantified. The model is situated within a framework for thinking about a type of schematic melodic expectations. This article assesses the position of these expectations within the broader cognitive processes invoked in listening to music. It suggests methods for investigating the expectations empirically. Additionally, it outlines connections between the theorized expectations and the dynamic, affective contours of musical experience.},
  number = {4},
  journaltitle = {Music Perception: An Interdisciplinary Journal},
  shortjournal = {Music Perception: An Interdisciplinary Journal},
  date = {2005-06-01},
  pages = {663-714},
  author = {Margulis, Elizabeth Hellmuth},
  file = {D\:\\Sauve\\Zotero\\storage\\A6UV74SI\\Margulis - 2005 - A Model of Melodic Expectation.pdf}
}

@article{burunatActionPerceptionProminent2015,
  title = {Action in Perception: Prominent Visuo-Motor Functional Symmetry in Musicians during Music Listening},
  volume = {10},
  url = {http://dx.doi.org/10.1371/journal.pone.0138238},
  doi = {10.1371/journal.pone.0138238},
  shorttitle = {Action in {{Perception}}},
  abstract = {Musical training leads to sensory and motor neuroplastic changes in the human brain. Motivated by findings on enlarged corpus callosum in musicians and asymmetric somatomotor representation in string players, we investigated the relationship between musical training, callosal anatomy, and interhemispheric functional symmetry during music listening. Functional symmetry was increased in musicians compared to nonmusicians, and in keyboardists compared to string players. This increased functional symmetry was prominent in visual and motor brain networks. Callosal size did not significantly differ between groups except for the posterior callosum in musicians compared to nonmusicians. We conclude that the distinctive postural and kinematic symmetry in instrument playing cross-modally shapes information processing in sensory-motor cortical areas during music listening. This cross-modal plasticity suggests that motor training affects music perception.},
  number = {9},
  journaltitle = {PLoS ONE},
  shortjournal = {PLoS ONE},
  urldate = {2015-12-17},
  date = {2015-09-30},
  pages = {e0138238},
  author = {Burunat, Iballa and Brattico, Elvira and Puoliväli, Tuomas and Ristaniemi, Tapani and Sams, Mikko and Toiviainen, Petri},
  file = {D\:\\Sauve\\Zotero\\storage\\4RXNFTCX\\Burunat et al. - 2015 - Action in Perception Prominent Visuo-Motor Functi.pdf}
}

@article{bratticoContextEffectsPitch2001,
  eprinttype = {jstor},
  eprint = {10.1525/mp.2001.19.2.199},
  title = {Context Effects on Pitch Perception in Musicians and Nonmusicians: Evidence from Event-Related-Potential Recordings},
  volume = {19},
  issn = {0730-7829},
  doi = {10.1525/mp.2001.19.2.199},
  shorttitle = {Context {{Effects}} on {{Pitch Perception}} in {{Musicians}} and {{Nonmusicians}}},
  abstract = {Behavioral evidence indicates that musical context facilitates pitch discrimination. In the present study, we sought to determine whether pitch context and its familiarity might affect brain responses to pitch change even at the preattentive level. Ten musicians and 10 nonmusicians, while concentrating on reading a book, were presented with sound stimuli that had an infrequent (p = 15\%) pitch shift of 144 Hz. In the familiar condition, the infrequent third-position deviant changed the mode (major vs. minor) of the five-tone pattern. In the unfamiliar condition, patterns were formed from five arithmetically determined tone frequencies, the deviant not causing any change of mode. The no-context condition included only third-position tones. All deviants elicited the change-specific mismatch negativity component of the event-related potentials in both groups of subjects. In both musicians and nonmusicians, pitch change in the familiar condition evoked larger mismatch negativity amplitude than the change in the unfamiliar condition and, correspondingly, larger mismatch negativity in the unfamiliar condition than in the no-context condition. This suggests that preattentive pitch-change processing is generally enhanced in a familiar context. Moreover, the latency of the mismatch negativity was shorter for musicians than for nonmusicians in both the familiar and unfamiliar conditions, whereas no difference between groups was observed in the no-context condition. This finding indicates that, in response to sequential structured sound events, the auditory system reacts faster in musicians than in nonmusicians.},
  number = {2},
  journaltitle = {Music Perception: An Interdisciplinary Journal},
  shortjournal = {Music Perception: An Interdisciplinary Journal},
  date = {2001-12-01},
  pages = {199-222},
  author = {Brattico, Elvira and Näätänen, Risto and Tervaniemi, Mari},
  file = {D\:\\Sauve\\Zotero\\storage\\R727P27B\\Brattico et al. - 2001 - Context Effects on Pitch Perception in Musicians a.pdf}
}

@article{wanCausalInferenceCortical2014,
  title = {The Causal Inference of Cortical Neural Networks during Music Improvisations},
  volume = {9},
  issn = {1932-6203},
  url = {http://journals.plos.org/plosone/article?id=10.1371/journal.pone.0112776},
  doi = {10.1371/journal.pone.0112776},
  abstract = {We present an EEG study of two music improvisation experiments. Professional musicians with high level of improvisation skills were asked to perform music either according to notes (composed music) or in improvisation. Each piece of music was performed in two different modes: strict mode and “let-go” mode. Synchronized EEG data was measured from both musicians and listeners. We used one of the most reliable causality measures: conditional Mutual Information from Mixed Embedding (MIME), to analyze directed correlations between different EEG channels, which was combined with network theory to construct both intra-brain and cross-brain networks. Differences were identified in intra-brain neural networks between composed music and improvisation and between strict mode and “let-go” mode. Particular brain regions such as frontal, parietal and temporal regions were found to play a key role in differentiating the brain activities between different playing conditions. By comparing the level of degree centralities in intra-brain neural networks, we found a difference between the response of musicians and the listeners when comparing the different playing conditions.},
  number = {12},
  journaltitle = {PLOS ONE},
  shortjournal = {PLOS ONE},
  urldate = {2016-03-18},
  date = {2014-12-09},
  pages = {e112776},
  keywords = {Attention,electroencephalography,Functional Magnetic Resonance Imaging,Neural Networks,music cognition,Bioacoustics,Centrality,Prefrontal cortex},
  author = {Wan, Xiaogeng and Crüts, Björn and Jensen, Henrik Jeldtoft},
  file = {D\:\\Sauve\\Zotero\\storage\\II3D7CP3\\Wan et al. - 2014 - The Causal Inference of Cortical Neural Networks d.pdf;D\:\\Sauve\\Zotero\\storage\\XEAFZ72S\\article.html}
}

@inproceedings{yangFeatureExtractionBased2016,
  location = {{London, UK}},
  title = {Feature Extraction Based on Auditory Image Model for Noise-Robust Automatic Speech Recognition},
  eventtitle = {Workshop on {{Auditory Neuroscience}}, {{Cognition}} and {{Modelling}}},
  booktitle = {Poster at {{Workshop}} on {{Auditory Neuroscience}}, {{Cognition}} and {{Modelling}}},
  date = {2016},
  author = {Yang, X. and Karbasi, M. and Bleeck, S. and Kolossa, D.}
}

@article{zuijenGroupingSequentialSounds2004,
  title = {Grouping of Sequential Sounds—an Event-Related Potential Study Comparing Musicians and Nonmusicians},
  volume = {16},
  issn = {0898-929X},
  url = {http://dx.doi.org/10.1162/089892904322984607},
  doi = {10.1162/089892904322984607},
  abstract = {It is believed that auditory processes governing grouping and segmentation of sounds are automatic and represent universal aspects of music perception (e.g., they are independent of the listener's musical skill). The present study challenges this view by showing that musicians and nonmusicians differ in their ability to preattentively group consecutive sounds. We measured event-related potentials (ERPs) from professional musicians and nonmusicians who were presented with isochronous tone sequences that they ignored. Four consecutive tones in a sequence could be grouped according to either pitch similarity or good continuation of pitch. Occasionally, the tone-group length was violated by a deviant tone. The mismatch negativity (MMN) was elicited to the deviants in both subject groups when the sounds could be grouped based on pitch similarity. In contrast, MMN was only elicited in musicians when the sounds could be grouped according to good continuation of pitch. These results suggest that some forms of auditory grouping depend on musical skill and that not all aspects of auditory grouping are universal.},
  number = {2},
  journaltitle = {Journal of Cognitive Neuroscience},
  shortjournal = {Journal of Cognitive Neuroscience},
  urldate = {2016-03-14},
  date = {2004-03-01},
  pages = {331-338},
  author = {van Zuijen, Titia L. and Sussman, Elyse and Winkler, István and Näätänen, Risto and Tervaniemi, Mari},
  file = {D\:\\Sauve\\Zotero\\storage\\ERCHTXMK\\089892904322984607.html}
}

@book{jammalamadakaTopicsCircularStatistics2001,
  langid = {english},
  title = {Topics in {{Circular Statistics}}},
  isbn = {978-981-277-926-7},
  abstract = {This research monograph on circular data analysis covers some recent advances in the field, besides providing a brief introduction to, and a review of, existing methods and models. The primary focus is on recent research into topics such as change-point problems, predictive distributions, circular correlation and regression, etc. An important feature of this work is the S-plus subroutines provided for analyzing actual data sets. Coupled with the discussion of new theoretical research, the book should benefit both the researcher and the practitioner. Contents: Circular Probability Distributions; Some Sampling Distributions; Estimation of Parameters; Tests for Mean Direction and Concentration; Tests for Uniformity; Nonparametric Testing Procedures; Circular Correlation and Regression; Predictive Inference for Directional Data; Outliers and Related Problems; Change-Point Problems; Miscellaneous Topics; Some Facts on Bessel Functions; How to Use the CircStats Package. Readership: Researchers and practitioners dealing with circular data.},
  pagetotal = {348},
  publisher = {{World Scientific}},
  date = {2001},
  author = {Jammalamadaka, S. Rao and Sengupta, Ambar}
}

@article{deprettoPrinciplesParsimonyFMRI2015,
  title = {Principles of Parsimony: {{fMRI}} Correlates of Beat-Based versus Duration-Based Sensorimotor Synchronization},
  volume = {25},
  issn = {0275-3987},
  url = {http://search.ebscohost.com/login.aspx?direct=true&db=pdh&AN=2015-58237-003&site=ehost-live},
  doi = {10.1037/pmu0000122},
  shorttitle = {Principles of Parsimony},
  abstract = {This study investigated functional MRI (fMRI) cerebral correlates of beat- and duration-based sensorimotor synchronization (SMS). We developed an original paradigm to compare SMS in beat-based versus duration-based contexts. In the beat-based conditions, participants synchronized finger taps with a regular beat. The condition had either metrical or nonmetrical subdivisions (2:1 vs. 2.4:1 ratio). In the duration-based conditions, participants synchronized by referring to a cue tone appearing 300 ms ahead of an irregularly occurring target tone. The behavioral results suggest the use of different strategies for beat-based and duration-based conditions. Synchronization accuracy was similar in both types of tasks. However, participants reported higher attentional demands in duration-based conditions. ICA analysis of the fMRI data isolated 2 underlying cerebral networks for all tasks, both more strongly involved in duration-based conditions. The first brain network involved the bilateral superior temporal gyrus, supplementary motor area, and inferior frontal gyrus; the left dorsal premotor cortex and primary motor cortex; and the right posterior cerebellum. The second brain network involved the bilateral basal ganglia, thalamus, inferior parietal lobules, and cerebellum. We suggest that the first network managed temporal information processing and execution of motor commands, and that the second controlled error correction processing. The involvement of the same pool of cerebral resources with different strengths according to the level of regularity of the input may represent a principle of parsimony: as beat-based SMS allows better anticipation, it requires less cerebral resources than duration-based SMS. (PsycINFO Database Record (c) 2016 APA, all rights reserved). (journal abstract)},
  number = {4},
  journaltitle = {Psychomusicology: Music, Mind, and Brain},
  shortjournal = {Psychomusicology: Music, Mind, and Brain},
  series = {Neurosciences and {{Music}}: {{Part}} 2},
  urldate = {2016-03-31},
  date = {2015-12},
  pages = {380-391},
  keywords = {Attention,Rhythm,Time,Functional Magnetic Resonance Imaging,timing,rhythm production,beat processing,finger tapping,Perceptual Motor Processes},
  author = {De Pretto, Michael and James, Clara E.},
  file = {D\:\\Sauve\\Zotero\\storage\\2NFWVGW8\\De Pretto and James - 2015 - Principles of parsimony fMRI correlates of beat-b.pdf}
}

@article{ellisonAffectiveCognitiveResponses2015,
  title = {Affective versus Cognitive Responses to Musical Chords: {{An ERP}} and Behavioral Study},
  volume = {25},
  issn = {0275-3987},
  url = {http://search.ebscohost.com/login.aspx?direct=true&db=pdh&AN=2015-58237-007&site=ehost-live},
  doi = {10.1037/pmu0000127},
  shorttitle = {Affective versus Cognitive Responses to Musical Chords},
  abstract = {Via electrophysiological methods, early neural responses to musical chords have been, on one hand, associated with feature encoding, feature change discrimination, rule violation processing, and conscious updating of musical expectations. On the other hand, late neural responses have been related to affective evaluation of sounds. The chronometric succession of these neural processes and their underlying psychological mechanisms related to cognitive and affective aspects of music listening have thus far remained unexplored. Here, the neural correlates of affective and cognitive processing of musical chords were contrasted by means of the event-related potential (ERP) technique and behavioral ratings. Adult subjects (N = 24) performed an emotion judgment (affective) task and a correctness judgment (cognitive) task while listening to chord sequences ending in various major and minor final chords, which were either correctly tuned or mistuned. Enhanced negative ERPs during cadence listening preceding the affective ratings, relative to the cognitive ratings, suggest different neural preparation for these tasks. Furthermore, negatively rated (sad or incorrect) cadence endings in both tasks elicited early negative ERPs and later positive ERPs. These positivities, peaking at 500 ms, differed in scalp distribution between sad and incorrect stimuli. The present findings suggest a neural chronometry of music listening in which feature encoding and sensory memory processes are followed at a medium latency by affective classification, after which an evaluative stage takes place. This study provides a first look at the chronometric succession of electrophysiological brain responses in relation to emotion judgments of musical pitch as opposed to nonaffective correctness judgments. (PsycINFO Database Record (c) 2016 APA, all rights reserved). (journal abstract)},
  number = {4},
  journaltitle = {Psychomusicology: Music, Mind, and Brain},
  shortjournal = {Psychomusicology: Music, Mind, and Brain},
  series = {Neurosciences and {{Music}}: {{Part}} 2},
  urldate = {2016-03-31},
  date = {2015-12},
  pages = {423-434},
  keywords = {Evoked Potentials,Music,music perception,mismatch negativity,Mismatch negativity (MMN),Human Information Storage,Cognitive Processes,Harmony,tonality,Event-related potential (ERP),early right anterior negativity (ERAN)},
  author = {Ellison, David and Moisseinen, Nella and Fachner, Jörg and Brattico, Elvira},
  file = {D\:\\Sauve\\Zotero\\storage\\46FB2HJX\\Ellison et al. - 2015 - Affective versus cognitive responses to musical ch.pdf}
}

@article{schaeferProbingNeuralMechanisms2012,
  title = {Probing Neural Mechanisms of Music Perception, Cognition, and Performance Using Multivariate Decoding},
  volume = {22},
  issn = {0275-3987},
  url = {http://search.ebscohost.com/login.aspx?direct=true&db=pdh&AN=2013-01453-009&site=ehost-live},
  doi = {10.1037/a0031014},
  abstract = {Recent neuroscience research has shown increasing use of multivariate decoding methods and machine learning. These methods, by uncovering the source and nature of informative variance in large data sets, invert the classical direction of inference that attempts to explain brain activity from mental state variables or stimulus features. However, these techniques are not yet commonly used among music researchers. In this position article, we introduce some key features of machine learning methods and review their use in the field of cognitive and behavioral neuroscience of music. We argue for the great potential of these methods in decoding multiple data types, specifically audio waveforms, electroencephalography, functional MRI, and motion capture data. By finding the most informative aspects of stimulus and performance data, hypotheses can be generated pertaining to how the brain processes incoming musical information and generates behavioral output, respectively. Importantly, these methods are also applicable to different neural and physiological data types such as magnetoencephalography, near-infrared spectroscopy, positron emission tomography, and electromyography. (PsycINFO Database Record (c) 2013 APA, all rights reserved). (journal abstract)},
  number = {2},
  journaltitle = {Psychomusicology: Music, Mind, and Brain},
  shortjournal = {Psychomusicology: Music, Mind, and Brain},
  series = {Neurosciences and {{Music}}},
  urldate = {2016-03-31},
  date = {2012-12},
  pages = {168-174},
  keywords = {cognition,Music,music perception,neural mechanisms,Performance,Cognitive neuroscience,Behavioral Neuroscience,classification,machine learning,music neuroscience},
  author = {Schaefer, Rebecca S. and Furuya, Shinichi and Smith, Leigh M. and Kaneshiro, Blair Bohannan and Toiviainen, Petri},
  file = {D\:\\Sauve\\Zotero\\storage\\MJ3GW5VQ\\Schaefer et al. - 2012 - Probing neural mechanisms of music perception, cog.pdf}
}

@article{sturmExtractingNeuralRepresentation2015,
  title = {Extracting the Neural Representation of Tone Onsets for Separate Voices of Ensemble Music Using Multivariate {{EEG}} Analysis},
  volume = {25},
  issn = {0275-3987},
  url = {http://search.ebscohost.com/login.aspx?direct=true&db=pdh&AN=2015-50149-001&site=ehost-live},
  doi = {10.1037/pmu0000104},
  abstract = {When listening to ensemble music, even nonmusicians can follow single instruments effortlessly. Electrophysiological indices for neural sensory encoding of separate streams have been described using oddball paradigms that utilize brain reactions to sound events that deviate from a repeating standard pattern. Obviously, these paradigms put constraints on the compositional complexity of the musical stimulus. Here, we apply a regression-based method of multivariate electroencephalogram (EEG) analysis in order to reveal the neural encoding of separate voices of naturalistic ensemble music that is based on cortical responses to tone onsets, such as N1/P2 event-related potential components. Music clips (resembling minimalistic electro-pop) were presented to 11 subjects, either in an ensemble version (drums, bass, keyboard) or in the corresponding 3 solo versions. For each instrument, we train a spatiotemporal regression filter that optimizes the correlation between EEG and a target function that represents the sequence of note onsets in the audio signal of the respective solo voice. This filter extracts an EEG projection that reflects the brain’s reaction to note onsets with enhanced sensitivity. We apply these instrument-specific filters to 61-channel EEG recorded during the presentations of the ensemble version and assess by means of correlation measures how strongly the voice of each solo instrument is reflected in the EEG. Our results show that the reflection of the melody instrument keyboard in the EEG exceeds that of the other instruments by far, suggesting a high-voice superiority effect in the neural representation of note onsets. Moreover, the results indicated that focusing attention on a particular instrument can enhance this reflection. We conclude that the voice-discriminating neural representation of tone onsets at the level of early auditory event-related potentials parallels the perceptual segregation of multivoiced music. (PsycINFO Database Record (c) 2016 APA, all rights reserved). (journal abstract)},
  number = {4},
  journaltitle = {Psychomusicology: Music, Mind, and Brain},
  shortjournal = {Psychomusicology: Music, Mind, and Brain},
  series = {Neurosciences and {{Music}}: {{Part}} 2},
  urldate = {2016-03-31},
  date = {2015-12},
  pages = {366-379},
  keywords = {Auditory Perception,auditory stream segregation,Pitch (Frequency),music perception,Auditory Evoked Potentials,electroencephalography,EEG,event-related potentials,naturalistic music},
  author = {Sturm, Irene and Treder, Matthias and Miklody, Daniel and Purwins, Hendrik and Dähne, Sven and Blankertz, Benjamin and Curio, Gabriel},
  file = {D\:\\Sauve\\Zotero\\storage\\N9GMX5I3\\Sturm et al. - 2015 - Extracting the neural representation of tone onset.pdf}
}

@article{aucouturierCovertDigitalManipulation2016,
  title = {Covert Digital Manipulation of Vocal Emotion Alter Speakers' Emotional States in a Congruent Direction},
  volume = {113},
  abstract = {Research has shown that people often exert control over their emotions. By modulating expressions, reappraising feelings, and redirecting attention, they can regulate their emotional experience. These findings have contributed to a blurring of the traditional boundaries between cognitive and emotional processes, and it has been suggested that emotional signals are produced in a goal-directed way and monitored for errors like other intentional actions. However, this interesting possibility has never been experimentally tested. To this end, we created a digital audio platform to covertly modify the emotional tone of participants' voices while they talked in the direction of happiness, sadness, or fear. The result showed that the audio transformations were being perceived as natural examples of the intended emotions, but the great majority of the participants, nevertheless, remained unaware that their own voices were being manipulated. This finding indicates that people are not continuously monitoring their own voice to make sure that it meets a predetermined emotional target. Instead, as a consequence of listening to their altered voices, the emotional state of the participants changed in congruence with the emotion portrayed, which was measured by both self-report and skin conductance level. This change is the first evidence, to our knowledge, of peripheral feedback effects on emotional experience in the auditory domain. As such, our result reinforces the wider framework of self-perception theory: that we often use the same inferential strategies to understand ourselves as those that we use to understand others.},
  number = {4},
  journaltitle = {Proceedings of the National Academy of Sciences},
  date = {2016},
  pages = {948-53},
  author = {Aucouturier, JJ and Johansson, P and Hall, L and Mercadié, L and Watanabe, K}
}

@book{wangComputationalAuditoryScene2006,
  title = {Computational Auditory Scene Analysis: {{Principles}}, Algorithms, and Applications},
  publisher = {{Wiley-IEEE Press}},
  date = {2006},
  author = {Wang, D. and Brown, G. J.}
}

@article{stefanlattnerPseudoSupervisedTrainingImproves2015,
  title = {Pseudo-{{Supervised Training Improves Unsupervised Melody Segmentation}}},
  date = {2015},
  author = {Stefan Lattner, Carlos Eduardo Cancino},
  file = {D\:\\Sauve\\Zotero\\storage\\KA9NN3V7\\275830951_Pseudo-Supervised_Training_Improves_Unsupervised_Melody_Segmentation.html}
}

@article{hutchisonMindingGapExperimental2015,
  langid = {english},
  title = {Minding the Gap: {{An}} Experimental Assessment of Musical Segmentation Models.},
  volume = {25},
  issn = {2162-1535, 0275-3987},
  url = {http://doi.apa.org/getdoi.cfm?doi=10.1037/pmu0000085},
  doi = {10.1037/pmu0000085},
  shorttitle = {Minding the Gap},
  number = {2},
  journaltitle = {Psychomusicology: Music, Mind, and Brain},
  urldate = {2016-03-22},
  date = {2015},
  pages = {103-115},
  author = {Hutchison, Joanna L. and Hubbard, Timothy L. and Hubbard, Nicholas A. and Brigante, Ryan and Rypma, Bart}
}

@article{deanGenerativeStructuresImprovisation2014,
  title = {Generative {{Structures}} in {{Improvisation}}: {{Computational Segmentation}} of {{Keyboard Performances}}},
  volume = {43},
  issn = {0929-8215},
  url = {http://dx.doi.org/10.1080/09298215.2013.859710},
  doi = {10.1080/09298215.2013.859710},
  shorttitle = {Generative {{Structures}} in {{Improvisation}}},
  abstract = {We assessed the hypothesis elaborated by Pressing and by the first author that improvisation is normally based on the generation of segmental contrasts in musical features. Nine experienced improvisers performed a series of free- and 3-section referent-based pieces, each of about three minutes. Each player undertook eight improvisations with ‘referent’ instructions, preceded and followed by a free improvisation. A MIDI-equipped grand piano was used, and audio and MIDI were recorded. Computational analyses of the MIDI data assessed whether performers realized the referents successfully, and then determined the large-scale segmentation of the free improvisations. The performers almost always fulfilled the referents (68/72 improvisations, p {$<$} 0.0001), and their free improvisations were also susceptible to large-scale segmentation (p {$<$} 0.005). Since performers were only told of the referent structures as the session proceeded, the similar segmentation of both the first and second free improvisation suggests that such segmentation is common in solo free improvisation, in accord with the hypothesis.},
  number = {2},
  journaltitle = {Journal of New Music Research},
  urldate = {2016-03-22},
  date = {2014-04-03},
  pages = {224-236},
  author = {Dean, Roger T. and Bailes, Freya and Drummond, Jon},
  file = {D\:\\Sauve\\Zotero\\storage\\8FV8TD5B\\Dean et al. - 2014 - Generative Structures in Improvisation Computatio.pdf;D\:\\Sauve\\Zotero\\storage\\P5CVHXJS\\09298215.2013.html}
}

@incollection{lattnerProbabilisticSegmentationMusical2015,
  langid = {english},
  title = {Probabilistic {{Segmentation}} of {{Musical Sequences Using Restricted Boltzmann Machines}}},
  isbn = {978-3-319-20602-8 978-3-319-20603-5},
  url = {http://link.springer.com/chapter/10.1007/978-3-319-20603-5_33},
  abstract = {A salient characteristic of human perception of music is that musical events are perceived as being grouped temporally into structural units such as phrases or motifs. Segmentation of musical sequences into structural units is a topic of ongoing research, both in cognitive psychology and music information retrieval. Computational models of music segmentation are typically based either on explicit knowledge of music theory or human perception, or on statistical and information-theoretic properties of musical data. The former, rule-based approach has been found to better account for (human annotated) segment boundaries in music than probabilistic approaches [14], although the statistical model proposed in [14] performs almost as well as state-of-the-art rule-based approaches. In this paper, we propose a new probabilistic segmentation method, based on Restricted Boltzmann Machines (RBM). By sampling, we determine a probability distribution over a subset of visible units in the model, conditioned on a configuration of the remaining visible units. We apply this approach to an n-gram representation of melodies, where the RBM generates the conditional probability of a note given its n−1n−1n-1 predecessors. We use this quantity in combination with a threshold to determine the location of segment boundaries. A comparative evaluation shows that this model slightly improves segmentation performance over the model proposed in [14], and as such is closer to the state-of-the-art rule-based models.},
  number = {9110},
  booktitle = {Mathematics and {{Computation}} in {{Music}}},
  series = {Lecture {{Notes}} in {{Computer Science}}},
  publisher = {{Springer International Publishing}},
  urldate = {2016-03-22},
  date = {2015-06-22},
  pages = {323-334},
  keywords = {Computer Appl. in Arts and Humanities},
  author = {Lattner, Stefan and Grachten, Maarten and Agres, Kat and Chacón, Carlos Eduardo Cancino},
  editor = {Collins, Tom and Meredith, David and Volk, Anja},
  file = {D\:\\Sauve\\Zotero\\storage\\U6HWVSA7\\10.html},
  doi = {10.1007/978-3-319-20603-5_33}
}

@inproceedings{marceloMelodicSegmentationUsing2012,
  title = {Melodic {{Segmentation Using}} the {{Jensen}}-{{Shannon Divergence}}},
  volume = {2},
  doi = {10.1109/ICMLA.2012.204},
  abstract = {This paper introduces an unsupervised model for melodic segmentation that extends a method initially proposed in computational biology. In the model segments are identified as sections of maximal contrast within a musical piece, using for this the Jensen-Shannon divergence. The model is extended upon its original formulation, and experiments to test its performance are carried out for a small set of selected folk song melodies. Generalization of the model is tested on 100 folk songs. Our results show a significant improvement upon the model's original formulation. In addition, we situate our model in the context of a cognition-based ensemble learning framework and justify its use within it. The need for such a cognition-based ensemble approach is also discussed.},
  eventtitle = {2012 11th {{International Conference}} on {{Machine Learning}} and {{Applications}} ({{ICMLA}})},
  booktitle = {2012 11th {{International Conference}} on {{Machine Learning}} and {{Applications}} ({{ICMLA}})},
  date = {2012-12},
  pages = {351-356},
  keywords = {cognition,Music,Computational Modeling,entropy,melodic segmentation,Biological system modeling,cognition-based ensemble learning framework,computational biology,Context,Context modeling,ensemble methods,folk song melodies,information theory,Jensen-Shannon divergence,Markov processes,music information retrieval,musical piece,Predictive models,unsupervised learning,unsupervised model},
  author = {{Marcelo} and {Enrique} and {Rodríguez} and {López} and Volk, A.},
  file = {D\:\\Sauve\\Zotero\\storage\\FDVSJ6IK\\Marcelo et al. - 2012 - Melodic Segmentation Using the Jensen-Shannon Dive.pdf;D\:\\Sauve\\Zotero\\storage\\BCEJMREM\\cookiedetectresponse.html}
}

@incollection{rodriguez-lopezSymbolicSegmentationCorpusbased2013,
  title = {Symbolic Segmentation: A Corpus-Based Analysis of Melodic Phrases},
  url = {http://link.springer.com/chapter/10.1007/978-3-319-12976-1_33},
  shorttitle = {Symbolic Segmentation},
  booktitle = {Sound, {{Music}}, and {{Motion}}},
  publisher = {{Springer International Publishing}},
  urldate = {2016-03-22},
  date = {2013},
  pages = {548--557},
  author = {Rodríguez-López, Marcelo and Volk, Anja},
  file = {D\:\\Sauve\\Zotero\\storage\\D7B45ASB\\Rodríguez-López and Volk - 2013 - Symbolic segmentation a corpus-based analysis of .pdf;D\:\\Sauve\\Zotero\\storage\\AKZ6X9C4\\978-3-319-12976-1_33.html}
}

@article{silvaYouKnowWhen2014,
  title = {You Know When: {{Event}}-Related Potentials and Theta/Beta Power Indicate Boundary Prediction in Music},
  volume = {13},
  issn = {0219-6352},
  url = {http://www.worldscientific.com/doi/abs/10.1142/S0219635214500022},
  doi = {10.1142/S0219635214500022},
  shorttitle = {You Know When},
  abstract = {Neuroscientific and musicological approaches to music cognition indicate that listeners familiarized in the Western tonal tradition expect a musical phrase boundary at predictable time intervals. However, phrase boundary prediction processes in music remain untested. We analyzed event-related potentials (ERPs) and event-related induced power changes at the onset and offset of a boundary pause. We made comparisons with modified melodies, where the pause was omitted and filled by tones. The offset of the pause elicited a closure positive shift (CPS), indexing phrase boundary detection. The onset of the filling tones elicited significant increases in theta and beta powers. In addition, the P2 component was larger when the filling tones started than when they ended. The responses to boundary omission suggest that listeners expected to hear a boundary pause. Therefore, boundary prediction seems to coexist with boundary detection in music segmentation.},
  number = {01},
  journaltitle = {Journal of Integrative Neuroscience},
  shortjournal = {J. Integr. Neurosci.},
  urldate = {2016-03-22},
  date = {2014-02-25},
  pages = {19-34},
  author = {Silva, Susana and Barbosa, Fernando and Marques-Teixeira, João and Petersson, Karl Magnus and Castro, São Luís},
  file = {D\:\\Sauve\\Zotero\\storage\\8AV64PRJ\\S0219635214500022.html}
}

@article{nanNonmusiciansPerceptionPhrase2009,
  title = {Non-Musicians’ Perception of Phrase Boundaries in Music: {{A}} Cross-Cultural {{ERP}} Study},
  volume = {82},
  issn = {0301-0511},
  url = {http://www.sciencedirect.com/science/article/pii/S0301051109001240},
  doi = {10.1016/j.biopsycho.2009.06.002},
  shorttitle = {Non-Musicians’ Perception of Phrase Boundaries in Music},
  abstract = {The present study investigates neural responses to musical phrase boundaries in subjects without formal musical training, with special emphasis on the issue of cultural familiarity (i.e., the relation between the enculturation of the subjects and the cultural style of the presented music). German and Chinese non-musicians listened to Western and Chinese melodies which contained manipulated phrase boundaries while event-related potentials (ERP) were measured. The behavioral data clearly showed that melodic phrase boundary perception is influenced by cultural familiarity. The ERP revealed a series of positive and negative peaks with latencies between 40 ms and 550 ms relative to the phrase boundary offset, all of which were influenced by the phrase melodic structure type. In contrast, cultural familiarity only influenced phrase boundary processing at longer latencies, reflected by a P3-like component peaking at 280 ms.

At about 450–600 ms post phrase boundary offset, we observed a slightly right-lateralized music closure positive shift (CPS), which has been reported as a marker for phrase boundary processing in musicians in earlier studies. This study demonstrates for the first time that the music CPS can be elicited in non-musicians, suggesting that the underlying phrase boundary processing does not require formal musical training.},
  number = {1},
  journaltitle = {Biological Psychology},
  shortjournal = {Biological Psychology},
  urldate = {2016-03-22},
  date = {2009-09},
  pages = {70-81},
  keywords = {music perception,event-related potentials,Phrase structure,Cultural differences,Non-musicians},
  author = {Nan, Yun and Knösche, Thomas R. and Friederici, Angela D.},
  file = {D\:\\Sauve\\Zotero\\storage\\HP9V4C3G\\Nan et al. - 2009 - Non-musicians’ perception of phrase boundaries in .pdf;D\:\\Sauve\\Zotero\\storage\\88QB2XUB\\S0301051109001240.html}
}

@article{istokExpressiveTimingFacilitates2013,
  title = {Expressive {{Timing Facilitates}} the {{Neural Processing}} of {{Phrase Boundaries}} in {{Music}}: {{Evidence}} from {{Event}}-{{Related Potentials}}},
  volume = {8},
  issn = {1932-6203},
  url = {http://journals.plos.org/plosone/article?id=10.1371/journal.pone.0055150},
  doi = {10.1371/journal.pone.0055150},
  shorttitle = {Expressive {{Timing Facilitates}} the {{Neural Processing}} of {{Phrase Boundaries}} in {{Music}}},
  abstract = {The organization of sound into meaningful units is fundamental to the processing of auditory information such as speech and music. In expressive music performance, structural units or phrases may become particularly distinguishable through subtle timing variations highlighting musical phrase boundaries. As such, expressive timing may support the successful parsing of otherwise continuous musical material. By means of the event-related potential technique (ERP), we investigated whether expressive timing modulates the neural processing of musical phrases. Musicians and laymen listened to short atonal scale-like melodies that were presented either isochronously (deadpan) or with expressive timing cues emphasizing the melodies’ two-phrase structure. Melodies were presented in an active and a passive condition. Expressive timing facilitated the processing of phrase boundaries as indicated by decreased N2b amplitude and enhanced P3a amplitude for target phrase boundaries and larger P2 amplitude for non-target boundaries. When timing cues were lacking, task demands increased especially for laymen as reflected by reduced P3a amplitude. In line, the N2b occurred earlier for musicians in both conditions indicating general faster target detection compared to laymen. Importantly, the elicitation of a P3a-like response to phrase boundaries marked by a pitch leap during passive exposure suggests that expressive timing information is automatically encoded and may lead to an involuntary allocation of attention towards significant events within a melody. We conclude that subtle timing variations in music performance prepare the listener for musical key events by directing and guiding attention towards their occurrences. That is, expressive timing facilitates the structuring and parsing of continuous musical material even when the auditory input is unattended.},
  number = {1},
  journaltitle = {PLOS ONE},
  shortjournal = {PLOS ONE},
  urldate = {2016-03-22},
  date = {2013-01-30},
  pages = {e55150},
  keywords = {Attention,cognition,acoustics,music perception,pitch perception,music cognition,event-related potentials,Bioacoustics},
  author = {Istók, Eva and Friberg, Anders and Huotilainen, Minna and Tervaniemi, Mari},
  file = {D\:\\Sauve\\Zotero\\storage\\B6VKKNWC\\Istók et al. - 2013 - Expressive Timing Facilitates the Neural Processin.pdf;D\:\\Sauve\\Zotero\\storage\\TW6FQDAI\\article.html}
}

@article{neuhausEffectsMusicalExpertise2006,
  title = {Effects of {{Musical Expertise}} and {{Boundary Markers}} on {{Phrase Perception}} in {{Music}}},
  volume = {18},
  issn = {0898-929X},
  url = {http://dx.doi.org/10.1162/jocn.2006.18.3.472},
  doi = {10.1162/jocn.2006.18.3.472},
  abstract = {A neural correlate for phrase boundary perception in music has recently been identified in musicians. It is called music closure positive shift (“music CPS”) and has an equivalent in the perception of speech (“language CPS”). The aim of the present study was to investigate the influence of musical expertise and different phrase boundary markers on the music CPS, using event-related brain potentials (ERPs) and event-related magnetic fields (ERFs). Musicians and nonmusicians were tested while listening to binary phrased melodies. ERPs and ERFs of both subject groups differed considerably from each other. Phrased melody versions evoked an electric CPS and a magnetic CPSm in musicians, but an early negativity and a less pronounced CPSm in nonmusicians, suggesting different perceptual strategies for both subject groups. Musicians seem to process musical phrases in a structured manner similar to language. Nonmusicians, in contrast, are thought to detect primarily discontinuity in the melodic input. Variations of acoustic cues in the vicinity of the phrase boundary reveal that the CPS is influenced by a number of parameters that are considered to indicate phrasing in melodies: pause length, length of the last tone preceding the pause, and harmonic function of this last tone. This is taken as evidence that the CPS mainly reflects higher cognitive processing of phrasing, rather than mere perception of pauses. Furthermore, results suggest that the ERP and MEG methods are sensitive to different aspects within phrase perception. For both subject groups, qualitatively different ERP components (CPS and early negativity) seem to reflect a top-down activation of general but different phrasing schemata, whereas quantitatively differing MEG signals appear to reflect gradual differences in the bottom-up processing of acoustic boundary markers.},
  number = {3},
  journaltitle = {Journal of Cognitive Neuroscience},
  shortjournal = {Journal of Cognitive Neuroscience},
  urldate = {2016-03-22},
  date = {2006-03-01},
  pages = {472-493},
  author = {Neuhaus, Christiane and Knösche, Thomas R. and Friederici, Angela D.},
  file = {D\:\\Sauve\\Zotero\\storage\\VN5JE2CS\\jocn.2006.18.3.html}
}

@article{ramirezMusicalNeurofeedbackTreating2015,
  title = {Musical Neurofeedback for Treating Depression in Elderly People},
  volume = {9},
  issn = {1662-4548},
  url = {http://www.ncbi.nlm.nih.gov/pmc/articles/PMC4591427/},
  doi = {10.3389/fnins.2015.00354},
  abstract = {We introduce a new neurofeedback approach, which allows users to manipulate expressive parameters in music performances using their emotional state, and we present the results of a pilot clinical experiment applying the approach to alleviate depression in elderly people. Ten adults (9 female and 1 male, mean = 84, SD = 5.8) with normal hearing participated in the neurofeedback study consisting of 10 sessions (2 sessions per week) of 15 min each. EEG data was acquired using the Emotiv EPOC EEG device. In all sessions, subjects were asked to sit in a comfortable chair facing two loudspeakers, to close their eyes, and to avoid moving during the experiment. Participants listened to music pieces preselected according to their music preferences, and were encouraged to increase the loudness and tempo of the pieces, based on their arousal and valence levels. The neurofeedback system was tuned so that increased arousal, computed as beta to alpha activity ratio in the frontal cortex corresponded to increased loudness, and increased valence, computed as relative frontal alpha activity in the right lobe compared to the left lobe, corresponded to increased tempo. Pre and post evaluation of six participants was performed using the BDI depression test, showing an average improvement of 17.2\% (1.3) in their BDI scores at the end of the study. In addition, an analysis of the collected EEG data of the participants showed a significant decrease of relative alpha activity in their left frontal lobe (p = 0.00008), which may be interpreted as an improvement of their depression condition.},
  journaltitle = {Frontiers in Neuroscience},
  shortjournal = {Front Neurosci},
  urldate = {2016-03-18},
  date = {2015-10-02},
  author = {Ramirez, Rafael and Palencia-Lefler, Manel and Giraldo, Sergio and Vamvakousis, Zacharias},
  file = {D\:\\Sauve\\Zotero\\storage\\RXC6FVDV\\Ramirez et al. - 2015 - Musical neurofeedback for treating depression in e.pdf},
  eprinttype = {pmid},
  eprint = {26483628},
  pmcid = {PMC4591427}
}

@inproceedings{hardyUsingAuditoryBrainstem2016,
  location = {{London, UK}},
  title = {Using Auditory Brainstem Responses ({{ABRs}}) to Measure Hearing Loss-Induced Increases in Neural Gain and Its Implications with Tinnitus},
  eventtitle = {Workshop on {{Auditory Neuroscience}}, {{Cognition}} and {{Modelling}}},
  booktitle = {Poster at {{Workshop}} on {{Auditory Neuroscience}}, {{Cognition}} and {{Modelling}}},
  date = {2016},
  author = {Hardy, A. J. and de Boer, J. and Krumbholz, K.},
  options = {useprefix=true}
}

@inproceedings{prokopiouFunctionalNeuralModelling2016,
  location = {{London, UK}},
  title = {Functional Neural Modelling of Just Noticeable Difference in Interaural Time Detection for Normal Hearing and Bilateral Cochlear Implant Users},
  eventtitle = {Workshop on {{Auditory Neuroscience}}, {{Cognition}} and {{Modelling}}},
  booktitle = {Poster at {{Workshop}} on {{Auditory Neuroscience}}, {{Cognition}} and {{Modelling}}},
  date = {2016},
  author = {Prokopiou, Andreas N. and Wouters, Jan and Francart, Tom}
}

@inproceedings{vanheusdenAnalysisEnvelopeFollowing2016,
  location = {{London, UK}},
  title = {Analysis of Envelope Following Responses to Natural Vowels Using a {{Fourier}} Analyzer},
  eventtitle = {Workshop on {{Auditory Neuroscience}}, {{Cognition}} and {{Modelling}}},
  booktitle = {Poster at {{Workshop}} on {{Auditory Neuroscience}}, {{Cognition}} and {{Modelling}}},
  date = {2016},
  author = {Vanheusden, Frederique and Bell, Steven L and Simpson, David M}
}

@inproceedings{katsiavalosAutomaticIdentificationMusical2016,
  location = {{London, UK}},
  title = {Automatic Identification of Musical Schemata via Symbolic Fingerprinting and Temporal Filters},
  eventtitle = {Workshop on {{Auditory Neuroscience}}, {{Cognition}} and {{Modelling}}},
  booktitle = {Poster at {{Workshop}} on {{Auditory Neuroscience}}, {{Cognition}} and {{Modelling}}},
  date = {2016},
  author = {Katsiavalos, Andreas and Collins, Tom and Battey, Brett}
}

@article{brownPsychologicalRepresentationMusical2016,
  langid = {english},
  title = {The {{Psychological Representation}} of {{Musical Intervals}} in a {{Twelve}}-{{Tone Context}}},
  volume = {33},
  issn = {0730-7829, 1533-8312},
  url = {http://mp.ucpress.edu/content/33/3/274},
  doi = {10.1525/mp.2016.33.3.274},
  number = {3},
  journaltitle = {Music Perception: An Interdisciplinary Journal},
  urldate = {2016-03-16},
  date = {2016-02-01},
  pages = {274-286},
  keywords = {statistical learning,derived row,interval,perception of non-tonal music,twelve-tone},
  author = {Brown, Jenine L.},
  file = {D\:\\Sauve\\Zotero\\storage\\82SPJHDN\\Brown - 2016 - The Psychological Representation of Musical Interv.pdf;D\:\\Sauve\\Zotero\\storage\\8UFX8B3E\\274.html}
}

@article{ramanRealTimeProbingModulations2016,
  langid = {english},
  title = {Real-{{Time Probing}} of {{Modulations}} in {{South Indian Classical}} ({{Carnātic}}) {{Music}} by {{Indian}} and {{Western Musicians}}},
  volume = {33},
  issn = {0730-7829, 1533-8312},
  url = {http://mp.ucpress.edu/content/33/3/367},
  doi = {10.1525/mp.2016.33.3.367},
  number = {3},
  journaltitle = {Music Perception: An Interdisciplinary Journal},
  urldate = {2016-03-16},
  date = {2016-02-01},
  pages = {367-393},
  keywords = {concurrent probe-tone technique,cross-cultural,culture-specific cues,modulation,tone-distribution cues},
  author = {Raman, Rachna and Dowling, W. Jay},
  file = {D\:\\Sauve\\Zotero\\storage\\8EFNRX7X\\Raman and Dowling - 2016 - Real-Time Probing of Modulations in South Indian C.pdf;D\:\\Sauve\\Zotero\\storage\\KQB2RE8H\\367.html}
}

@article{chewPlayingEdge2016,
  langid = {english},
  title = {Playing with the {{Edge}}},
  volume = {33},
  issn = {0730-7829, 1533-8312},
  url = {http://mp.ucpress.edu/content/33/3/344},
  doi = {10.1525/mp.2016.33.3.344},
  number = {3},
  journaltitle = {Music Perception: An Interdisciplinary Journal},
  urldate = {2016-03-16},
  date = {2016-02-01},
  pages = {344-366},
  keywords = {tonality,music performance,expressive timing,thresholds,visualization},
  author = {Chew, Elaine},
  file = {D\:\\Sauve\\Zotero\\storage\\KF99TTJH\\Chew - 2016 - Playing with the Edge.pdf;D\:\\Sauve\\Zotero\\storage\\XZAPFIJR\\344.html}
}

@article{cratonRollBeethovenInitial2016,
  langid = {english},
  title = {Roll {{Over Beethoven}}? {{An Initial Investigation}} of {{Listeners}}’ {{Perception}} of {{Chords Used}} in {{Rock Music}}},
  volume = {33},
  issn = {0730-7829, 1533-8312},
  url = {http://mp.ucpress.edu/content/33/3/332},
  doi = {10.1525/mp.2016.33.3.332},
  shorttitle = {Roll {{Over Beethoven}}?},
  number = {3},
  journaltitle = {Music Perception: An Interdisciplinary Journal},
  urldate = {2016-03-16},
  date = {2016-02-01},
  pages = {332-343},
  keywords = {harmonic expectancies,harmonic hierarchy,harmony perception,rock harmony,tonal hierarchy},
  author = {Craton, Lincoln G. and Juergens, Daniel S. and Michalak, Hannah R. and Poirier, Christopher R.},
  file = {D\:\\Sauve\\Zotero\\storage\\7AJFSVKV\\Craton et al. - 2016 - Roll Over Beethoven An Initial Investigation of L.pdf;D\:\\Sauve\\Zotero\\storage\\MTTBJMJM\\332.html}
}

@article{taherEffectsRepetitionAttention2016,
  langid = {english},
  title = {Effects of {{Repetition}} on {{Attention}} in {{Two}}-{{Part Counterpoint}}},
  volume = {33},
  issn = {0730-7829, 1533-8312},
  url = {http://mp.ucpress.edu/content/33/3/306},
  doi = {10.1525/mp.2016.33.3.306},
  number = {3},
  journaltitle = {Music Perception: An Interdisciplinary Journal},
  urldate = {2016-03-16},
  date = {2016-02-01},
  pages = {306-318},
  keywords = {Attention,stream segregation,repetition,texture,voice prominence},
  author = {Taher, Cecilia and Rusch, René and McAdams, Stephen},
  file = {D\:\\Sauve\\Zotero\\storage\\GFV95UN4\\Taher et al. - 2016 - Effects of Repetition on Attention in Two-Part Cou.pdf;D\:\\Sauve\\Zotero\\storage\\AGWR6FF8\\306.html}
}

@article{largeNeurodynamicAccountMusical2016,
  langid = {english},
  title = {A {{Neurodynamic Account}} of {{Musical Tonality}}},
  volume = {33},
  issn = {0730-7829, 1533-8312},
  url = {http://mp.ucpress.edu/content/33/3/319},
  doi = {10.1525/mp.2016.33.3.319},
  number = {3},
  journaltitle = {Music Perception: An Interdisciplinary Journal},
  urldate = {2016-03-16},
  date = {2016-02-01},
  pages = {319-331},
  keywords = {plasticity,tonality,mode-locking,neurodynamics,oscillation},
  author = {Large, Edward W. and Kim, Ji Chul and Flaig, Nicole Kristine and Bharucha, Jamshed J. and Krumhansl, Carol Lynne},
  file = {D\:\\Sauve\\Zotero\\storage\\N9WIMVCZ\\Large et al. - 2016 - A Neurodynamic Account of Musical Tonality.pdf;D\:\\Sauve\\Zotero\\storage\\FS93FQWQ\\319.html}
}

@article{sethInteroceptiveInferenceEmotion2013,
  title = {Interoceptive Inference, Emotion, and the Embodied Self},
  volume = {17},
  issn = {1364-6613},
  url = {http://www.sciencedirect.com/science/article/pii/S1364661313002118},
  doi = {10.1016/j.tics.2013.09.007},
  abstract = {The concept of the brain as a prediction machine has enjoyed a resurgence in the context of the Bayesian brain and predictive coding approaches within cognitive science. To date, this perspective has been applied primarily to exteroceptive perception (e.g., vision, audition), and action. Here, I describe a predictive, inferential perspective on interoception: ‘interoceptive inference’ conceives of subjective feeling states (emotions) as arising from actively-inferred generative (predictive) models of the causes of interoceptive afferents. The model generalizes ‘appraisal’ theories that view emotions as emerging from cognitive evaluations of physiological changes, and it sheds new light on the neurocognitive mechanisms that underlie the experience of body ownership and conscious selfhood in health and in neuropsychiatric illness.},
  number = {11},
  journaltitle = {Trends in Cognitive Sciences},
  shortjournal = {Trends in Cognitive Sciences},
  urldate = {2016-03-15},
  date = {2013-11},
  pages = {565-573},
  keywords = {predictive coding,emotion,active inference,experience of body ownership,interoception,rubber hand illusion},
  author = {Seth, Anil K.},
  file = {D\:\\Sauve\\Zotero\\storage\\HTPHXZZ4\\Seth - 2013 - Interoceptive inference, emotion, and the embodied.pdf;D\:\\Sauve\\Zotero\\storage\\HXE4JPGH\\cookieAbsent.html}
}

@article{cannonJamesLangeTheoryEmotions1927,
  title = {The {{James}}-{{Lange}} Theory of Emotions},
  volume = {39},
  journaltitle = {American Journal of Psychology},
  date = {1927},
  pages = {115-1124},
  author = {Cannon, W.B.}
}

@article{jamesPhysicalBasisEmotion1894,
  title = {Physical Basis of Emotion},
  volume = {1},
  journaltitle = {Psychological Review},
  date = {1894},
  pages = {516-529},
  author = {James, W.}
}

@article{peretzAmusicBrainTune2009,
  langid = {english},
  title = {The Amusic Brain: In Tune, out of Key, and Unaware},
  volume = {132},
  issn = {0006-8950, 1460-2156},
  url = {http://brain.oxfordjournals.org/content/132/5/1277},
  doi = {10.1093/brain/awp055},
  shorttitle = {The Amusic Brain},
  abstract = {Like language, music engagement is universal, complex and present early in life. However, ∼4\% of the general population experiences a lifelong deficit in music perception that cannot be explained by hearing loss, brain damage, intellectual deficiencies or lack of exposure. This musical disorder, commonly known as tone-deafness and now termed congenital amusia, affects mostly the melodic pitch dimension. Congenital amusia is hereditary and is associated with abnormal grey and white matter in the auditory cortex and the inferior frontal cortex. In order to relate these anatomical anomalies to the behavioural expression of the disorder, we measured the electrical brain activity of amusic subjects and matched controls while they monitored melodies for the presence of pitch anomalies. Contrary to current reports, we show that the amusic brain can track quarter-tone pitch differences, exhibiting an early right-lateralized negative brain response. This suggests near-normal neural processing of musical pitch incongruities in congenital amusia. It is important because it reveals that the amusic brain is equipped with the essential neural circuitry to perceive fine-grained pitch differences. What distinguishes the amusic from the normal brain is the limited awareness of this ability and the lack of responsiveness to the semitone changes that violate musical keys. These findings suggest that, in the amusic brain, the neural pitch representation cannot make contact with musical pitch knowledge along the auditory-frontal neural pathway.},
  number = {5},
  journaltitle = {Brain},
  urldate = {2016-03-15},
  date = {2009-05-01},
  pages = {1277-1286},
  author = {Peretz, Isabelle and Brattico, Elvira and Järvenpää, Miika and Tervaniemi, Mari},
  file = {D\:\\Sauve\\Zotero\\storage\\RJ7JSFF4\\Peretz et al. - 2009 - The amusic brain in tune, out of key, and unaware.pdf;D\:\\Sauve\\Zotero\\storage\\IWRW27K5\\1277.html},
  eprinttype = {pmid},
  eprint = {19336462}
}

@article{louiToneDeafnessNew2009,
  langid = {english},
  title = {Tone {{Deafness}}: {{A New Disconnection Syndrome}}?},
  volume = {29},
  issn = {0270-6474, 1529-2401},
  url = {http://www.jneurosci.org/content/29/33/10215},
  doi = {10.1523/JNEUROSCI.1701-09.2009},
  shorttitle = {Tone {{Deafness}}},
  abstract = {Communicating with one's environment requires efficient neural interaction between action and perception. Neural substrates of sound perception and production are connected by the arcuate fasciculus (AF). Although AF is known to be involved in language, its roles in non-linguistic functions are unexplored. Here, we show that tone-deaf people, with impaired sound perception and production, have reduced AF connectivity. Diffusion tensor tractography and psychophysics were assessed in tone-deaf individuals and matched controls. Abnormally reduced AF connectivity was observed in the tone deaf. Furthermore, we observed relationships between AF and auditory–motor behavior: superior and inferior AF branches predict psychophysically assessed pitch discrimination and sound production perception abilities, respectively. This neural abnormality suggests that tone deafness leads to a reduction in connectivity resulting in pitch-related impairments. Results support a dual-stream anatomy of sound production and perception implicated in vocal communications. By identifying white matter differences and their psychophysical correlates, results contribute to our understanding of how neural connectivity subserves behavior.},
  number = {33},
  journaltitle = {The Journal of Neuroscience},
  shortjournal = {J. Neurosci.},
  urldate = {2016-03-15},
  date = {2009-08-19},
  pages = {10215-10220},
  author = {Loui, Psyche and Alsop, David and Schlaug, Gottfried},
  file = {D\:\\Sauve\\Zotero\\storage\\TDXZ8GZH\\Loui et al. - 2009 - Tone Deafness A New Disconnection Syndrome.pdf;D\:\\Sauve\\Zotero\\storage\\DRGBP8RZ\\10215.html},
  eprinttype = {pmid},
  eprint = {19692596}
}

@article{hydeCorticalThicknessCongenital2007,
  langid = {english},
  title = {Cortical {{Thickness}} in {{Congenital Amusia}}: {{When Less Is Better Than More}}},
  volume = {27},
  issn = {0270-6474, 1529-2401},
  url = {http://www.jneurosci.org/content/27/47/13028},
  doi = {10.1523/JNEUROSCI.3039-07.2007},
  shorttitle = {Cortical {{Thickness}} in {{Congenital Amusia}}},
  abstract = {Congenital amusia (or tone deafness) is a lifelong disorder characterized by impairments in the perception and production of music. A previous voxel-based morphometry (VBM) study revealed that amusic individuals had reduced white matter in the right inferior frontal gyrus (IFG) relative to musically intact controls (Hyde et al., 2006). However, this VBM study also revealed associated increases in gray matter in the same right IFG region of amusics. The objective of the present study was to better understand this morphological brain anomaly by way of cortical thickness measures that provide a more specific measure of cortical morphology relative to VBM. We found that amusic subjects (n = 21) have thicker cortex in the right IFG and the right auditory cortex relative to musically intact controls (n = 26). These cortical thickness differences suggest the presence of cortical malformations in the amusic brain, such as abnormal neuronal migration, that may have compromised the normal development of a right frontotemporal pathway.},
  number = {47},
  journaltitle = {The Journal of Neuroscience},
  shortjournal = {J. Neurosci.},
  urldate = {2016-03-15},
  date = {2007-11-21},
  pages = {13028-13032},
  keywords = {brain,Music,congenital amusia,cortical thickness,MRI,tone deafness},
  author = {Hyde, Krista L. and Lerch, Jason P. and Zatorre, Robert J. and Griffiths, Timothy D. and Evans, Alan C. and Peretz, Isabelle},
  file = {D\:\\Sauve\\Zotero\\storage\\SAX7NX7B\\Hyde et al. - 2007 - Cortical Thickness in Congenital Amusia When Less.pdf;D\:\\Sauve\\Zotero\\storage\\E5KX264D\\13028.html},
  eprinttype = {pmid},
  eprint = {18032676}
}

@article{dixonAutomaticExtractionTempo2001,
  title = {Automatic {{Extraction}} of {{Tempo}} and {{Beat From Expressive Performances}}},
  volume = {30},
  issn = {0929-8215},
  url = {http://www.tandfonline.com/doi/abs/10.1076/jnmr.30.1.39.7119},
  doi = {10.1076/jnmr.30.1.39.7119},
  abstract = {We describe a computer program which is able to estimate the tempo and the times of musical beats in expressively performed music. The input data may be either digital audio or a symbolic representation of music such as MIDI. The data is processed off-line to detect the salient rhythmic events and the timing of these events is analysed to generate hypotheses of the tempo at various metrical levels. Based on these tempo hypotheses, a multiple hypothesis search finds the sequence of beat times which has the best fit to the rhythmic events. We show that estimating the perceptual salience of rhythmic events significantly improves the results. No prior knowledge of the tempo, meter or musical style is assumed; all required information is derived from the data. Results are presented for a range of different musical styles, including classical, jazz, and popular works with a variety of tempi and meters. The system calculates the tempo correctly in most cases, the most common error being a doubling or halving of the tempo. The calculation of beat times is also robust. When errors are made concerning the phase of the beat, the system recovers quickly to resume correct beat tracking, despite the fact that there is no high level musical knowledge encoded in the system.},
  number = {1},
  journaltitle = {Journal of New Music Research},
  urldate = {2017-05-22},
  date = {2001-03-01},
  pages = {39-58},
  author = {Dixon, Simon},
  file = {D\:\\Sauve\\Zotero\\storage\\KH9Z559H\\jnmr.30.1.39.html}
}

@article{vanderweijProbabilisticModelMeter2017,
  langid = {english},
  title = {A {{Probabilistic Model}} of {{Meter Perception}}: {{Simulating Enculturation}}},
  volume = {8},
  issn = {1664-1078},
  url = {http://journal.frontiersin.org/article/10.3389/fpsyg.2017.00824/full},
  doi = {10.3389/fpsyg.2017.00824},
  shorttitle = {A {{Probabilistic Model}} of {{Meter Perception}}},
  abstract = {Enculturation is known to shape the perception of meter in music but this is not explicitly accounted for by current cognitive models of meter perception. We hypothesize that meter perception is a strategy for increasing the predictability of rhythmic patterns and that the way in which it is shaped by the cultural environment can be understood in terms of probabilistic predictive coding. Based on this hypothesis, we present a probabilistic model of meter perception that uses statistical properties of the relation between rhythm and meter to infer meter from quantized rhythms. We show that our model can successfully predict annotated time signatures from quantized rhythmic patterns derived from folk melodies. Furthermore, we show that by inferring meter, our model can better predict the onsets of future events than a similar probabilistic model that does not infer meter. Finally, we demonstrate how our model can be used in a proof-of-concept simulation of enculturation. From this simulation, we derive a class of rhythms that are likely to be interpreted differently by enculturated listeners with different histories of exposure to rhythms.},
  journaltitle = {Frontiers in Psychology},
  shortjournal = {Front. Psychol.},
  urldate = {2017-05-22},
  date = {2017},
  keywords = {predictive coding,cognition,Rhythm,Computational Modeling,enculturation,meter perception},
  author = {van der Weij, Bastiaan and Pearce, Marcus T. and Honing, Henkjan},
  options = {useprefix=true}
}

@article{pearceCompressionbasedModellingMusical2017,
  langid = {english},
  title = {Compression-Based {{Modelling}} of {{Musical Similarity Perception}}},
  volume = {46},
  issn = {10.1080/09298215.2017.1305419},
  url = {http://www.tandfonline.com/eprint/XWP6EzEjbrSI2nkQk3Ue/full},
  doi = {https://doi.org/10.1080/09298215.2017.1305419},
  abstract = {(2017). Compression-based Modelling of Musical Similarity Perception. Journal of New Music Research. Ahead of Print.},
  number = {2},
  journaltitle = {Journal of New Music Research},
  urldate = {2017-05-08},
  date = {2017-03-30},
  pages = {135-155},
  keywords = {Perception,similarity,INFORMATION retrieval,timing,machine learning,representation},
  author = {Pearce, Marcus and Müllensiefen, Daniel},
  file = {D\:\\Sauve\\Zotero\\storage\\CP943MHX\\Pearce and Müllensiefen - 2017 - Compression-based Modelling of Musical Similarity .pdf;D\:\\Sauve\\Zotero\\storage\\253N7KZ9\\full.html;D\:\\Sauve\\Zotero\\storage\\DGKDVT7G\\09298215.2017.html}
}

@article{gothamHierarchyPositionUsage2017,
  title = {Hierarchy and Position Usage in ‘Mixed’ Metrical Structures},
  volume = {46},
  issn = {0929-8215},
  url = {http://dx.doi.org/10.1080/09298215.2016.1253752},
  doi = {10.1080/09298215.2016.1253752},
  abstract = {Musical metre is commonly formalised in hierarchical terms, and defined or represented on the basis of regular, interacting pulse streams. These hierarchies are often merely asserted a priori, though systematic studies by Palmer and Krumhansl and Prince and Schmuckler suggest that such hierarchies are also strongly manifest in the relative usage of metrical positions: a strong metrical position is also a frequently used one. If position usage provides an insight into metrical structure, then this may provide a way of engaging with a wider range of metrical structures, including ‘mixed’ metres (5/8, 7/8 ) which are excluded by many systems of well-formedness invoked in the canonical studies of ‘simple’ metres (2/4, 3/4 ). This article assesses whether position usage in mixed metres is similarly indicative of the metrical structures asserted for them by music theory. The complete set of Bartók’s solo piano works in 7/8 (223) provides the primary case study repertoire. This is complemented by a look at the more ambiguous 8/8 (323), as part of considering how position usage might relate to distinctions between syncopation and mixed metre. An introductory discussion of sample size also provides new data and observations for larger corpora of common practice music by Bach. Brief analytical comments keep the study grounded in ‘the music’ throughout.},
  number = {2},
  journaltitle = {Journal of New Music Research},
  urldate = {2017-05-22},
  date = {2017-04-03},
  pages = {103-117},
  keywords = {Rhythm,music information retrieval,Bartók,corpus analysis,metre},
  author = {Gotham, Mark},
  file = {D\:\\Sauve\\Zotero\\storage\\IHTSNNH2\\09298215.2016.html}
}

@article{hartmannInteractionFeaturesPrediction2017,
  title = {Interaction Features for Prediction of Perceptual Segmentation: {{Effects}} of Musicianship and Experimental Task},
  volume = {46},
  issn = {0929-8215},
  url = {http://dx.doi.org/10.1080/09298215.2016.1230137},
  doi = {10.1080/09298215.2016.1230137},
  shorttitle = {Interaction Features for Prediction of Perceptual Segmentation},
  abstract = {As music unfolds in time, structure is recognised and understood by listeners, regardless of their level of musical expertise. A number of studies have found spectral and tonal changes to quite successfully model boundaries between structural sections. However, the effects of musical expertise and experimental task on computational modelling of structure are not yet well understood. These issues need to be addressed to better understand how listeners perceive the structure of music and to improve automatic segmentation algorithms. In this study, computational prediction of segmentation by listeners was investigated for six musical stimuli via a real-time task and an annotation (non real-time) task. The proposed approach involved computation of novelty curve interaction features and a prediction model of perceptual segmentation boundary density. We found that, compared to non-musicians’, musicians’ segmentation yielded lower prediction rates, and involved more features for prediction, particularly more interaction features; also non-musicians required a larger time shift for optimal segmentation modelling. Prediction of the annotation task exhibited higher rates, and involved more musical features than for the real-time task; in addition, the real-time task required time shifting of the segmentation data for its optimal modelling. We also found that annotation task models that were weighted according to boundary strength ratings exhibited improvements in segmentation prediction rates and involved more interaction features. In sum, musical training and experimental task seem to have an impact on prediction rates and on musical features involved in novelty-based segmentation models. Musical training is associated with higher presence of schematic knowledge, attention to more dimensions of musical change and more levels of the structural hierarchy, and higher speed of musical structure processing. Real-time segmentation is linked with higher response delays, less levels of structural hierarchy attended and higher data noisiness than annotation segmentation. In addition, boundary strength weighting of density was associated with more emphasis given to stark musical changes and to clearer representation of a hierarchy involving high-dimensional musical changes.},
  number = {2},
  journaltitle = {Journal of New Music Research},
  urldate = {2017-05-22},
  date = {2017-04-03},
  pages = {156-174},
  keywords = {musical training,boundary strength,novelty detection,segmentation density,segmentation task},
  author = {Hartmann, Martín and Lartillot, Olivier and Toiviainen, Petri},
  file = {D\:\\Sauve\\Zotero\\storage\\ZWKA54RA\\09298215.2016.html}
}

@article{janssenFindingOccurrencesMelodic2017,
  title = {Finding {{Occurrences}} of {{Melodic Segments}} in {{Folk Songs Employing Symbolic Similarity Measures}}},
  volume = {46},
  issn = {0929-8215},
  url = {http://dx.doi.org/10.1080/09298215.2017.1316292},
  doi = {10.1080/09298215.2017.1316292},
  abstract = {Much research has been devoted to the classification of folk songs, revealing that variants are recognised based on salient melodic segments, such as phrases and motifs, while other musical material in a melody might vary considerably. In order to judge similarity of melodies on the level of melodic segments, a successful similarity measure is needed which will allow finding occurrences of melodic segments in folk songs reliably. The present study compares several such similarity measures from different music research domains: correlation distance, city block distance, Euclidean distance, local alignment, wavelet transform and structure induction. We evaluate the measures against annotations of phrase occurrences in a corpus of Dutch folk songs, observing whether the measures detect annotated occurrences at the correct positions. Moreover, we investigate the influence of music representation on the success of the various measures, and analyse the robustness of the most successful measures over subsets of the data. Our results reveal that structure induction is a promising approach, but that local alignment and city block distance perform even better when applied to adjusted music representations. These three methods can be combined to find occurrences with increased precision.},
  number = {2},
  journaltitle = {Journal of New Music Research},
  urldate = {2017-05-22},
  date = {2017-04-03},
  pages = {118-134},
  keywords = {music similarity,occurrences,pattern matching,segments,symbolic},
  author = {Janssen, Berit and van Kranenburg, Peter and Volk, Anja},
  file = {D\:\\Sauve\\Zotero\\storage\\J3FRRWIB\\Janssen et al. - 2017 - Finding Occurrences of Melodic Segments in Folk So.pdf;D\:\\Sauve\\Zotero\\storage\\RE79RM6V\\09298215.2017.html}
}

@article{conklinFeatureSetPatterns2008,
  title = {Feature {{Set Patterns}} in {{Music}}},
  volume = {32},
  issn = {0148-9267},
  url = {http://dx.doi.org/10.1162/comj.2008.32.1.60},
  doi = {10.1162/comj.2008.32.1.60},
  number = {1},
  journaltitle = {Computer Music Journal},
  shortjournal = {Computer Music Journal},
  urldate = {2017-05-12},
  date = {2008-02-22},
  pages = {60-70},
  author = {Conklin, Darrell and Bergeron, Mathieu},
  file = {D\:\\Sauve\\Zotero\\storage\\XF8QG2ND\\comj.2008.32.1.html}
}

@article{meredithAlgorithmsDiscoveringRepeated2002,
  title = {Algorithms for Discovering Repeated Patterns in Multidimensional Representations of Polyphonic Music},
  volume = {31},
  issn = {0929-8215},
  url = {http://www.tandfonline.com/doi/abs/10.1076/jnmr.31.4.321.14162},
  doi = {10.1076/jnmr.31.4.321.14162},
  abstract = {In previous approaches to repetition discovery in music, the music to be analysed has been represented using strings. However, there are certain types of interesting musical repetitions that cannot be discovered using string algorithms. We propose a geometric approach to repetition discovery in which the music is represented as a multidimensional dataset. Certain types of interesting musical repetition that cannot be found using string algorithms can efficiently be found using algorithms that process multidimensional datasets. Our approach allows polyphonic music to be analysed as efficiently as monophonic music and it can be used to discover polyphonic repeated patterns “with gaps” in the timbre, dynamic and rhythmic structure of a passage as well as its pitch structure. We present two new algorithms: SIA and SIATEC. SIA computes all the maximal repeated patterns in a multidimensional dataset and SIATEC computes all the occurrences of all the maximal repeated patterns in a dataset. For a k -dimensional dataset of size n, the worstcase running time of SIA is O (kn 2 log 2 n) and the worst-case running time of SIATEC is O (kn 3).},
  number = {4},
  journaltitle = {Journal of New Music Research},
  urldate = {2017-05-12},
  date = {2002-12-01},
  pages = {321-345},
  author = {Meredith, David and Lemström, Kjell and Wiggins, Geraint A.},
  file = {D\:\\Sauve\\Zotero\\storage\\QQA6HCF2\\jnmr.31.4.321.html}
}

@article{shannonMathematicalTheoryCommunication1948,
  title = {A Mathematical Theory of Communication},
  volume = {27},
  url = {http://dl.acm.org/citation.cfm?id=584093},
  journaltitle = {The Bell System Technical Journal},
  urldate = {2017-04-19},
  date = {1948},
  pages = {379-423, 623-656},
  author = {Shannon, Claude Elwood},
  file = {D\:\\Sauve\\Zotero\\storage\\KDWA6IZZ\\Shannon - 2001 - A mathematical theory of communication.pdf;D\:\\Sauve\\Zotero\\storage\\6T2834Q6\\citation.html}
}

@article{breimanRandomForests2001,
  title = {Random Forests},
  volume = {45},
  url = {http://www.springerlink.com/index/U0P06167N6173512.pdf},
  number = {1},
  journaltitle = {Machine learning},
  urldate = {2017-04-18},
  date = {2001},
  pages = {5--32},
  author = {Breiman, Leo},
  file = {D\:\\Sauve\\Zotero\\storage\\7VRHGZ2R\\Breiman - 2001 - Random forests.pdf;D\:\\Sauve\\Zotero\\storage\\EJVAM55C\\10.html}
}

@inproceedings{bittnerMedleyDBMultitrackDataset2014,
  title = {{{MedleyDB}}: {{A Multitrack Dataset}} for {{Annotation}}-{{Intensive MIR Research}}.},
  volume = {14},
  url = {http://matthiasmauch.de/_pdf/bittner2014medleydb.pdf},
  shorttitle = {{{MedleyDB}}},
  booktitle = {{{ISMIR}}},
  urldate = {2017-04-18},

repository: sarahsauve/Entropy-Learning-Atonal

license_type: permissive

repo_name: sarahsauve/Entropy-Learning-Atonal

branch_name: refs/heads/master

extension: bib