text:
of the International Organization of Psychophysiology},
  shortjournal = {Int J Psychophysiol},
  date = {2008-11},
  pages = {137-143},
  keywords = {Evoked Potentials,electroencephalography,Acoustic Stimulation,humans,Adult,Female,Male,Discrimination (Psychology),Young Adult,Models; Neurological,Brain Mapping,Adolescent,Data Interpretation; Statistical,Movement,Self Stimulation},
  author = {Bäss, Pamela and Jacobsen, Thomas and Schröger, Erich},
  eprinttype = {pmid},
  eprint = {18627782}
}

@article{nagaiBrainActivityRelating2004,
  langid = {english},
  title = {Brain Activity Relating to the Contingent Negative Variation: An {{fMRI}} Investigation},
  volume = {21},
  issn = {1053-8119},
  doi = {10.1016/j.neuroimage.2003.10.036},
  shorttitle = {Brain Activity Relating to the Contingent Negative Variation},
  abstract = {The contingent negative variation (CNV) is a long-latency electroencephalography (EEG) surface negative potential with cognitive and motor components, observed during response anticipation. CNV is an index of cortical arousal during orienting and attention, yet its functional neuroanatomical basis is poorly understood. We used functional magnetic resonance imaging (fMRI) with simultaneous EEG and recording of galvanic skin response (GSR) to investigate CNV-related central neural activity and its relationship to peripheral autonomic arousal. In a group analysis, blood oxygenation level dependent (BOLD) activity during the period of CNV generation was enhanced in thalamus, somatomotor cortex, bilateral midcingulate, supplementary motor, and insular cortices. Enhancement of CNV-related activity in anterior and midcingulate, SMA, and insular cortices was associated with decreases in peripheral sympathetic arousal. In a subset of subjects in whom we acquired simultaneous EEG and fMRI data, we observed activity in bilateral thalamus, anterior cingulate, and supplementary motor cortex that was modulated by trial-by-trial amplitude of CNV. These findings provide a likely functional neuroanatomical substrate for the CNV and demonstrate modulation of components of this neural circuitry by peripheral autonomic arousal. Moreover, these data suggest a mechanistic model whereby thalamocortical interactions regulate CNV amplitude.},
  number = {4},
  journaltitle = {NeuroImage},
  shortjournal = {Neuroimage},
  date = {2004-04},
  pages = {1232-1241},
  keywords = {brain,electroencephalography,Magnetic Resonance Imaging,Contingent Negative Variation,Neural Pathways,humans,Peripheral Nervous System,Adult,Female,Male,REACTION time,Cerebral Cortex,Dominance; Cerebral,Brain Mapping,Arousal,Galvanic Skin Response,Gyrus Cinguli,Image Enhancement,Image Processing; Computer-Assisted,Oxygen,Psychomotor Performance,Sympathetic Nervous System,Thalamus},
  author = {Nagai, Y. and Critchley, H. D. and Featherstone, E. and Fenwick, P. B. C. and Trimble, M. R. and Dolan, R. J.},
  eprinttype = {pmid},
  eprint = {15050551}
}

@article{walterContingentNegativeVariation1964,
  title = {Contingent Negative Variation: An Electric Sign of Sensori-Motor Association and Expectancy in the Human Brain},
  volume = {203},
  url = {http://adsabs.harvard.edu/abs/1964Natur.203..380W%EF%BF%BD%C3%9C},
  shorttitle = {Contingent Negative Variation},
  journaltitle = {Nature},
  urldate = {2016-07-17},
  date = {1964},
  pages = {380--384},
  author = {Walter, W. and Cooper, R. and Aldridge, V. J. and McCallum, W. C. and Winter, A. L.},
  file = {D\:\\Sauve\\Zotero\\storage\\7XZNCEEZ\\1964Natur.203..html}
}

@article{barVisualObjectsContext2004,
  langid = {english},
  title = {Visual Objects in Context},
  volume = {5},
  issn = {1471-003X},
  url = {http://www.nature.com/nrn/journal/v5/n8/abs/nrn1476.html},
  doi = {10.1038/nrn1476},
  abstract = {We see the world in scenes, where visual objects occur in rich surroundings, often embedded in a typical context with other related objects. How does the human brain analyse and use these common associations? This article reviews the knowledge that is available, proposes specific mechanisms for the contextual facilitation of object recognition, and highlights important open questions. Although much has already been revealed about the cognitive and cortical mechanisms that subserve recognition of individual objects, surprisingly little is known about the neural underpinnings of contextual analysis and scene perception. Building on previous findings, we now have the means to address the question of how the brain integrates individual elements to construct the visual experience.},
  number = {8},
  journaltitle = {Nature Reviews Neuroscience},
  shortjournal = {Nat Rev Neurosci},
  urldate = {2016-07-17},
  date = {2004-08},
  pages = {617-629},
  author = {Bar, Moshe},
  file = {D\:\\Sauve\\Zotero\\storage\\KW9ZTC7W\\nrn1476.html}
}

@article{jehielRevisitingGamesIncomplete2008,
  title = {Revisiting Games of Incomplete Information with Analogy-Based Expectations},
  volume = {62},
  issn = {0899-8256},
  url = {http://www.sciencedirect.com/science/article/pii/S0899825607001182},
  doi = {10.1016/j.geb.2007.06.006},
  abstract = {This paper studies the effects of analogy-based expectations in static two-player games of incomplete information. Players are assumed to be boundedly rational in the way they forecast their opponent's state-contingent strategy: they bundle states into analogy classes and play best-responses to their opponent's average strategy in those analogy classes. We provide general properties of analogy-based expectation equilibria and apply the model to a variety of well known games. We characterize conditions on the analogy partitions for successful coordination in coordination games under incomplete information [Rubinstein, A., 1989. The electronic mail game: Strategic behavior under ‘almost common knowledge’. Amer. Econ. Rev. 79, 385–391], we show how analogy grouping of the receiver may facilitate information transmission in Crawford and Sobel's cheap talk games [Crawford, V.P., Sobel, J., 1982. Strategic information transmission. Econometrica 50, 1431–1451], and we show how analogy grouping may give rise to betting in zero-sum betting games such as those studied to illustrate the no trade theorem.},
  number = {2},
  journaltitle = {Games and Economic Behavior},
  shortjournal = {Games and Economic Behavior},
  urldate = {2016-07-17},
  date = {2008-03},
  pages = {533-557},
  keywords = {Analogy expectation,Bayesian games,Betting,Bounded rationality,Coordination,Incomplete information,Strategic information transmission},
  author = {Jehiel, Philippe and Koessler, Frédéric},
  file = {D\:\\Sauve\\Zotero\\storage\\WKMTHIIM\\Jehiel and Koessler - 2008 - Revisiting games of incomplete information with an.pdf;D\:\\Sauve\\Zotero\\storage\\M5SEN32M\\S0899825607001182.html}
}

@article{jehielAnalogybasedExpectationEquilibrium2005,
  title = {Analogy-Based Expectation Equilibrium},
  volume = {123},
  issn = {0022-0531},
  url = {http://www.sciencedirect.com/science/article/pii/S0022053104000250},
  doi = {10.1016/j.jet.2003.12.003},
  abstract = {In complex situations, agents use simplified representations to learn how their environment may react. I assume that agents bundle nodes at which other agents must move into analogy classes, and agents only try to learn the average behavior in every class. Specifically, I propose a new solution concept for multi-stage games with perfect information: at every node players choose best-responses to their analogy-based expectations, and expectations correctly represent the average behavior in every class. The solution concept is shown to differ from existing concepts, and it is applied to a variety of games, in particular the centipede game, and ultimatum/bargaining games. The approach explains in a new way why players may Pass for a large number of periods in the centipede game, and why the responder need not be stuck to his reservation value in ultimatum games. Some possible avenues for endogenizing the analogy grouping are also suggested.},
  number = {2},
  journaltitle = {Journal of Economic Theory},
  shortjournal = {Journal of Economic Theory},
  urldate = {2016-07-17},
  date = {2005-08},
  pages = {81-104},
  keywords = {expectation,Bounded rationality,Game theory,Reasoning by analogy},
  author = {Jehiel, Philippe},
  file = {D\:\\Sauve\\Zotero\\storage\\3JJUTVW9\\Jehiel - 2005 - Analogy-based expectation equilibrium.pdf;D\:\\Sauve\\Zotero\\storage\\D9RTT7CW\\S0022053104000250.html}
}

@article{cuddyExpectanciesGeneratedMelodic1995,
  langid = {english},
  title = {Expectancies Generated by Melodic Intervals: Perceptual Judgments of Melodic Continuity},
  volume = {57},
  issn = {0031-5117},
  shorttitle = {Expectancies Generated by Melodic Intervals},
  abstract = {The present study tested quantified predictors based on the bottom-up principles of Narmour's (1990) implication-realization model of melodic expectancy against continuity ratings collected for a tone that followed a two-tone melodic beginning. Twenty-four subjects (12 musically trained, 12 untrained) were presented with each of eight melodic intervals--two successive tones which they were asked to consider as the beginning of a melody. On each trial, a melodic interval was followed by a third tone, one of the 25 chromatic notes within the range one octave below to one octave above the second tone of the interval. The subjects were asked to rate how well the third tone continued the melody. A series of regression analyses was performed on the continuation ratings, and a final model to account for the variance in the ratings is proposed. Support was found for three of Narmour's principles and a modified version of a fourth. Support was also found for predictor variables based on the pitch organization of tonal harmonic music. No significant differences between the levels of musical training were encountered.},
  number = {4},
  journaltitle = {Perception \& Psychophysics},
  shortjournal = {Percept Psychophys},
  date = {1995-05},
  pages = {451-462},
  keywords = {Attention,Music,Pitch Discrimination,humans,Adult,Female,Male,Psychoacoustics,Set (Psychology)},
  author = {Cuddy, L. L. and Lunney, C. A.},
  eprinttype = {pmid},
  eprint = {7596743}
}

@article{manzaraEntropyMusicExperiment1992,
  eprinttype = {jstor},
  eprint = {1513213},
  title = {On the {{Entropy}} of {{Music}}: {{An Experiment}} with {{Bach Chorale Melodies}}},
  volume = {2},
  issn = {0961-1215},
  doi = {10.2307/1513213},
  shorttitle = {On the {{Entropy}} of {{Music}}},
  abstract = {The information content, or 'entropy', of a piece of music cannot be determined in the abstract, but depends on the listener's familiarity with, and knowledge of, the genre to which it belongs. This paper describes an ongoing experiment designed to investigate human listeners' models of music by having them guess successive notes in a piece. The first part of the experiment was administered by a computer program, and in order to elicit subjective probabilities, listeners gambled on their guesses. The study was restricted to the music of the Bach Chorales and, in particular, to the succession of pitches that comprise the melody-although this methodology is also generally applicable to other musical parameters and to other genres.},
  number = {1},
  journaltitle = {Leonardo Music Journal},
  shortjournal = {Leonardo Music Journal},
  date = {1992},
  pages = {81-88},
  author = {Manzara, Leonard C. and Witten, Ian H. and James, Mark}
}

@article{pettenInteractionsSentenceContext1990,
  langid = {english},
  title = {Interactions between Sentence Context and Word Frequencyinevent-Related Brainpotentials},
  volume = {18},
  issn = {0090-502X, 1532-5946},
  url = {http://link.springer.com/article/10.3758/BF03197127},
  doi = {10.3758/BF03197127},
  abstract = {Event-related brain potentials (ERPs) were recorded as subjects silently read a set of unrelated sentences. The ERP responses elicited by open-class words were sorted according word frequency and the ordinal position of the eliciting word within its sentence. We observed a strong inverse correlation between sentence position and the amplitude of the N400 component of the ERP. In addition, we found that less frequent words were associated with larger N400s than were more frequent words, but only if theeliciting words occurred early in their respective sentences. We take this interaction between sentence position and word frequency as evidence that frequency does not play a mandatory role in wordrecognition, but can besuperseded by the contextual constraint provided by a sentence.},
  number = {4},
  journaltitle = {Memory \& Cognition},
  shortjournal = {Memory \& Cognition},
  urldate = {2016-07-16},
  date = {1990},
  pages = {380-393},
  author = {Petten, Cyma Van and Kutas, Marta},
  file = {D\:\\Sauve\\Zotero\\storage\\W64PEC29\\Petten and Kutas - Interactions between sentence context and word fre.pdf;D\:\\Sauve\\Zotero\\storage\\E84QIWAX\\10.html}
}

@article{koelschBrainIndicesMusic2000,
  langid = {english},
  title = {Brain Indices of Music Processing: "Nonmusicians" Are Musical},
  volume = {12},
  issn = {0898-929X},
  shorttitle = {Brain Indices of Music Processing},
  abstract = {Only little systematic research has examined event-related brain potentials (ERPs) elicited by the cognitive processing of music. The present study investigated how music processing is influenced by a preceding musical context, affected by the task relevance of unexpected chords, and influenced by the degree and the probability of violation. Four experiments were conducted in which "nonmusicians" listened to chord sequences, which infrequently contained a chord violating the sound expectancy of listeners. Integration of in-key chords into the musical context was reflected as a late negative-frontal deflection in the ERPs. This negative deflection declined towards the end of a chord sequence, reflecting normal buildup of musical context. Brain waves elicited by chords with unexpected notes revealed two ERP effects: an early right-hemispheric preponderant-anterior negativity, which was taken to reflect the violation of sound expectancy; and a late bilateral-frontal negativity. The late negativity was larger compared to in-key chords and taken to reflect the higher degree of integration needed for unexpected chords. The early right-anterior negativity (ERAN) was unaffected by the task relevance of unexpected chords. The amplitudes of both early and late negativities were found to be sensitive to the degree of musical expectancy induced by the preceding harmonic context, and to the probability for deviant acoustic events. The employed experimental design opens a new field for the investigation of music processing. Results strengthen the hypothesis of an implicit musical ability of the human brain.},
  number = {3},
  journaltitle = {Journal of Cognitive Neuroscience},
  shortjournal = {J Cogn Neurosci},
  date = {2000-05},
  pages = {520-541},
  keywords = {brain,Auditory Perception,Music,electroencephalography,Acoustic Stimulation,humans,Adult,Female,Male,Evoked Potentials; Auditory,Probability},
  author = {Koelsch, S. and Gunter, T. and Friederici, A. D. and Schröger, E.},
  eprinttype = {pmid},
  eprint = {10931776}
}

@collection{juslinMusicEmotionTheory2001,
  location = {{New York, NY, US}},
  title = {Music and Emotion: {{Theory}} and Research},
  volume = {viii},
  isbn = {0-19-263189-6 (Hardcover); 0-19-263188-8 (Paperback)},
  shorttitle = {Music and Emotion},
  abstract = {This volume presents an integrative review of the relationship between music and emotions. The first section reflects the various interdisciplinary perspectives, taking on board views from philosophy, psychology, musicology, biology, anthropology, and sociology. The second section addresses the role of our emotions in the composition of music, the ways that emotions can be communicated via musical structure, and the use of music to express emotions within the cinema. The third section looks at the emotions of the performer--how they communicate emotion, how their emotional state affects their performance. The final section looks at the ways in which our emotions are guided and influenced while listening to music, whether actively or passively.},
  pagetotal = {487},
  series = {Series in Affective Science.},
  publisher = {{Oxford University Press}},
  date = {2001},
  keywords = {Musicians,*Music,*Emotions,Artists},
  editor = {Juslin, Patrik N. and Sloboda, John A.},
  file = {D\:\\Sauve\\Zotero\\storage\\6NP89T9Z\\index.html}
}

@article{koelschAmygdalaActivityCan2008,
  langid = {english},
  title = {Amygdala Activity Can Be Modulated by Unexpected Chord Functions during Music Listening},
  volume = {19},
  issn = {1473-558X},
  doi = {10.1097/WNR.0b013e32831a8722},
  abstract = {Numerous earlier studies have investigated the cognitive processing of musical syntax with regular and irregular chord sequences. However, irregular sequences may also be perceived as unexpected, and therefore have a different emotional valence than regular sequences. We provide behavioral data showing that irregular chord functions presented in chord sequence paradigms are perceived as less pleasant than regular sequences. A reanalysis of functional MRI data showed increased blood oxygen level-dependent signal changes bilaterally in the amygdala in response to music-syntactically irregular (compared with regular) chord functions. The combined data indicate that music-syntactically irregular events elicit brain activity related to emotional processes, and that, in addition to intensely pleasurable music or highly unpleasant music, single chord functions can also modulate amygdala activity.},
  number = {18},
  journaltitle = {Neuroreport},
  shortjournal = {Neuroreport},
  date = {2008-12-03},
  pages = {1815-1819},
  keywords = {brain,Auditory Perception,Music,Pitch Discrimination,Magnetic Resonance Imaging,Acoustic Stimulation,humans,Female,Male,Young Adult,emotions,amygdala,REACTION time,Functional Laterality,Psychomotor Performance},
  author = {Koelsch, Stefan and Fritz, Thomas and Schlaug, Gottfried},
  eprinttype = {pmid},
  eprint = {19050462}
}

@article{bodMemoryBasedModelsMelodic2002,
  title = {Memory-{{Based Models}} of {{Melodic Analysis}}: {{Challenging}} the {{Gestalt Principles}}},
  volume = {31},
  issn = {0929-8215},
  url = {http://www.tandfonline.com/doi/abs/10.1076/jnmr.31.1.27.8106},
  doi = {10.1076/jnmr.31.1.27.8106},
  shorttitle = {Memory-{{Based Models}} of {{Melodic Analysis}}},
  abstract = {We argue for a memory-based approach to music analysis which works with concrete musical experiences rather than with rules or principles. New pieces of music are analyzed by combining fragments from structures of previously encountered pieces. The occurrence-frequencies of the fragments are used to determine the preferred analysis of a piece. We test some instances of this approach against a set of 1,000 manually annotated folksongs from the Essen Folksong Collection, yielding up to 85.9\% phrase accuracy. A qualitative analysis of our results indicates that there are grouping phenomena that challenge the commonly accepted Gestalt principles of proximity, similarity and parallelism. These grouping phenomena can neither be explained by other musical factors, such as meter and harmony. We argue that music perception may be much more memory-based than previously assumed.},
  number = {1},
  journaltitle = {Journal of New Music Research},
  urldate = {2016-07-16},
  date = {2002-03-01},
  pages = {27-36},
  author = {Bod, Rens},
  file = {D\:\\Sauve\\Zotero\\storage\\7JFF4U88\\jnmr.31.1.27.html}
}

@book{bharuchaMUSACTConnectionistModel1987,
  title = {{{MUSACT}}: {{A}} Connectionist Model of Musical Harmony. {{InProceedings}} of the {{Ninth Annual Conference}} of the {{Cognitive Science Society}} (Pp. 508–517)},
  shorttitle = {{{MUSACT}}},
  publisher = {{Hillsdale, NJ: Erlbaum}},
  date = {1987},
  author = {Bharucha, J. J.}
}

@book{koelschBrainMusic2012,
  langid = {english},
  title = {Brain and {{Music}}},
  isbn = {978-1-119-94311-2},
  abstract = {A comprehensive survey of the latest neuroscientific research into the effects of music on the brain   Covers a variety of topics fundamental for music perception, including musical syntax, musical semantics, music and action, music and emotion Includes general introductory chapters to engage a broad readership, as well as a wealth of detailed research material for experts Offers the most empirical (and most systematic) work on the topics of neural correlates of musical syntax and musical semantics Integrates research from different domains (such as music, language, action and emotion both theoretically and empirically, to create a comprehensive theory of music psychology},
  pagetotal = {323},
  publisher = {{John Wiley \& Sons}},
  date = {2012-03-22},
  keywords = {Psychology / General,Science / Life Sciences / Neuroscience},
  author = {Koelsch, Stefan}
}

@article{snyderEffectsAttentionNeuroelectric2006,
  title = {Effects of {{Attention}} on {{Neuroelectric Correlates}} of {{Auditory Stream Segregation}}},
  volume = {18},
  issn = {0898-929X},
  url = {http://dx.doi.org/10.1162/089892906775250021},
  doi = {10.1162/089892906775250021},
  abstract = {A general assumption underlying auditory scene analysis is that the initial grouping of acoustic elements is independent of attention. The effects of attention on auditory stream segregation were investigated by recording event-related potentials (ERPs) while participants either attended to sound stimuli and indicated whether they heard one or two streams or watched a muted movie. The stimuli were pure-tone ABA-patterns that repeated for 10.8 sec with a stimulus onset asynchrony between A and B tones of 100 msec in which the A tone was fixed at 500 Hz, the B tone could be 500, 625, 750, or 1000 Hz, and was a silence. In both listening conditions, an enhancement of the auditory-evoked response (P1-N1-P2 and N1c) to the B tone varied with f and correlated with perception of streaming. The ERP from 150 to 250 msec after the beginning of the repeating ABA-patterns became more positive during the course of the trial and was diminished when participants ignored the tones, consistent with behavioral studies indicating that streaming takes several seconds to build up. The N1c enhancement and the buildup over time were larger at right than left temporal electrodes, suggesting a right-hemisphere dominance for stream segregation. Sources in Heschl's gyrus accounted for the ERP modulations related to f-based segregation and buildup. These findings provide evidence for two cortical mechanisms of streaming: automatic segregation of sounds and attention-dependent buildup process that integrates successive tones within streams over several seconds.},
  number = {1},
  journaltitle = {Journal of Cognitive Neuroscience},
  shortjournal = {Journal of Cognitive Neuroscience},
  urldate = {2016-07-16},
  date = {2006-01-01},
  pages = {1-13},
  author = {Snyder, Joel S. and Alain, Claude and Picton, Terence W.},
  file = {D\:\\Sauve\\Zotero\\storage\\AQ876MFW\\089892906775250021.html}
}

@article{marozeauEffectVisualCues2010,
  langid = {english},
  title = {The Effect of Visual Cues on Auditory Stream Segregation in Musicians and Non-Musicians},
  volume = {5},
  issn = {1932-6203},
  doi = {10.1371/journal.pone.0011297},
  abstract = {BACKGROUND: The ability to separate two interleaved melodies is an important factor in music appreciation. This ability is greatly reduced in people with hearing impairment, contributing to difficulties in music appreciation. The aim of this study was to assess whether visual cues, musical training or musical context could have an effect on this ability, and potentially improve music appreciation for the hearing impaired.
METHODS: Musicians (N = 18) and non-musicians (N = 19) were asked to rate the difficulty of segregating a four-note repeating melody from interleaved random distracter notes. Visual cues were provided on half the blocks, and two musical contexts were tested, with the overlap between melody and distracter notes either gradually increasing or decreasing.
CONCLUSIONS: Visual cues, musical training, and musical context all affected the difficulty of extracting the melody from a background of interleaved random distracter notes. Visual cues were effective in reducing the difficulty of segregating the melody from distracter notes, even in individuals with no musical training. These results are consistent with theories that indicate an important role for central (top-down) processes in auditory streaming mechanisms, and suggest that visual cues may help the hearing-impaired enjoy music.},
  number = {6},
  journaltitle = {PloS One},
  shortjournal = {PLoS ONE},
  date = {2010},
  pages = {e11297},
  keywords = {Music,music perception,pitch perception,humans,Perception,music cognition,Bioacoustics,Sensory perception,Vision,Photic Stimulation,Vision; Ocular,Visual impairments,Music cognition,Music perception,Pitch perception},
  author = {Marozeau, Jeremy and Innes-Brown, Hamish and Grayden, David B. and Burkitt, Anthony N. and Blamey, Peter J.},
  file = {D\:\\Sauve\\Zotero\\storage\\6MRAPKH7\\Marozeau et al. - 2010 - The Effect of Visual Cues on Auditory Stream Segre.pdf;D\:\\Sauve\\Zotero\\storage\\YILNH4IY\\Marozeau et al. - 2010 - The Effect of Visual Cues on Auditory Stream Segre.pdf;D\:\\Sauve\\Zotero\\storage\\BBDX2SGP\\article.html;D\:\\Sauve\\Zotero\\storage\\PZJZ9PXG\\article.html},
  eprinttype = {pmid},
  eprint = {20585606},
  pmcid = {PMC2890685}
}

@article{hilliardEffectFamiliarityBackground1979,
  title = {Effect of Familiarity with Background Music on Performance of Simple and Difficult Reading Comprehension Tasks},
  volume = {49},
  issn = {1558-688X(Electronic);0031-5125(Print)},
  doi = {10.2466/pms.1979.49.3.713},
  abstract = {For 64 undergraduates, varied musical selections did not offset scores on Sequential Tests of Educational Progress, but scores on the easier sections were higher than those on more difficult ones. Scores made with familiar music were higher than those made with unfamiliar music. (2 ref)},
  number = {3},
  journaltitle = {Perceptual and Motor Skills},
  date = {1979},
  pages = {713-714},
  keywords = {college students,*Music,*Reading Comprehension,*Familiarity,*Performance,*Test Scores,Difficulty Level (Test)},
  author = {Hilliard, Mark O and Tolin, Philip},
  file = {D\:\\Sauve\\Zotero\\storage\\2DGQZ7JC\\1981-24429-001.html;D\:\\Sauve\\Zotero\\storage\\XRC25WXN\\1981-24429-001.html}
}

@article{fishmanAuditoryStreamSegregation2004,
  title = {Auditory Stream Segregation in Monkey Auditory Cortex: Effects of Frequency Separation, Presentation Rate, and Tone Duration},
  volume = {116},
  issn = {0001-4966},
  url = {http://scitation.aip.org/content/asa/journal/jasa/116/3/10.1121/1.1778903},
  doi = {10.1121/1.1778903},
  shorttitle = {Auditory Stream Segregation in Monkey Auditory Cortex},
  abstract = {Auditory stream segregation refers to the organization of sequential sounds into “perceptual streams” reflecting individual environmental sound sources. In the present study, sequences of alternating high and low tones, “…ABAB…,” similar to those used in psychoacoustic experiments on stream segregation, were presented to awake monkeys while neural activity was recorded in primary auditory cortex (A1). Tone frequency separation (ΔF), tone presentation rate (PR), and tone duration (TD) were systematically varied to examine whether neural responses correlate with effects of these variables on perceptual stream segregation. “A” tones were fixed at the best frequency of the recording site, while “B” tones were displaced in frequency from “A” tones by an amount =Δ F . As PR increased, “B” tone responses decreased in amplitude to a greater extent than “A” tone responses, yielding neural response patterns dominated by “A” tone responses occurring at half the alternation rate. Increasing TD facilitated the differential attenuation of “B” tone responses. These findings parallel psychoacoustic data and suggest a physiological model of stream segregation whereby increasing ΔF, PR, or TD enhances spatial differentiation of “A” tone and “B” tone responses along the tonotopic map in A1.},
  number = {3},
  journaltitle = {The Journal of the Acoustical Society of America},
  urldate = {2016-07-16},
  date = {2004-09-01},
  pages = {1656-1670},
  keywords = {auditory grouping,Acoustical effects,Acoustic modeling,Psychological acoustics,Sound discrimination},
  author = {Fishman, Yonatan I. and Arezzo, Joseph C. and Steinschneider, Mitchell},
  file = {D\:\\Sauve\\Zotero\\storage\\MAPB46MM\\1.html}
}

@book{wundtGrundzugePhysiologischenPsychologie1874,
  location = {{Leipzig}},
  title = {Grundzuge Der {{Physiologischen Psychologie}}},
  publisher = {{Engelmann}},
  date = {1874},
  author = {Wundt, W.}
}

@book{sullyOutlinesPsychology1981,
  location = {{New York}},
  title = {Outlines of {{Psychology}}},
  publisher = {{Appleton \& Co.}},
  date = {1981},
  author = {Sully, J.}
}

@article{pyleExperimentalStudyExpectation1909,
  eprinttype = {jstor},
  eprint = {1412973},
  title = {An {{Experimental Study}} of {{Expectation}}},
  volume = {20},
  issn = {0002-9556},
  doi = {10.2307/1412973},
  number = {4},
  journaltitle = {The American Journal of Psychology},
  shortjournal = {The American Journal of Psychology},
  date = {1909},
  pages = {530-569},
  author = {Pyle, William Henry}
}

@article{rajendranTemporalPredictabilityGrouping2013,
  langid = {english},
  title = {Temporal Predictability as a Grouping Cue in the Perception of Auditory Streams},
  volume = {134},
  issn = {1520-8524},
  doi = {10.1121/1.4811161},
  abstract = {This study reports a role of temporal regularity on the perception of auditory streams. Listeners were presented with two-tone sequences in an A-B-A-B rhythm that was either regular or had a controlled amount of temporal jitter added independently to each of the B tones. Subjects were asked to report whether they perceived one or two streams. The percentage of trials in which two streams were reported substantially and significantly increased with increasing amounts of temporal jitter. This suggests that temporal predictability may serve as a binding cue during auditory scene analysis.},
  number = {1},
  journaltitle = {The Journal of the Acoustical Society of America},
  shortjournal = {J. Acoust. Soc. Am.},
  date = {2013-07},
  pages = {EL98-104},
  keywords = {Attention,Pitch Discrimination,Cues,time perception,humans,Psychoacoustics,Sound Spectrography,Illusions},
  author = {Rajendran, Vani G. and Harper, Nicol S. and Willmore, Benjamin D. and Hartmann, William M. and Schnupp, Jan W. H.},
  eprinttype = {pmid},
  eprint = {23862914},
  pmcid = {PMC4491984}
}

@article{bendixenRegularityExtractionNonadjacent2012,
  langid = {english},
  title = {Regularity Extraction from Non-Adjacent Sounds},
  volume = {3},
  issn = {1664-1078},
  doi = {10.3389/fpsyg.2012.00143},
  abstract = {The regular behavior of sound sources helps us to make sense of the auditory environment. Regular patterns may, for instance, convey information on the identity of a sound source (such as the acoustic signature of a train moving on the rails). Yet typically, this signature overlaps in time with signals emitted from other sound sources. It is generally assumed that auditory regularity extraction cannot operate upon this mixture of signals because it only finds regularities between adjacent sounds. In this view, the auditory environment would be grouped into separate entities by means of readily available acoustic cues such as separation in frequency and location. Regularity extraction processes would then operate upon the resulting groups. Our new experimental evidence challenges this view. We presented two interleaved sound sequences which overlapped in frequency range and shared all acoustic parameters. The sequences only differed in their underlying regular patterns. We inserted deviants into one of the sequences to probe whether the regularity was extracted. In the first experiment, we found that these deviants elicited the mismatch negativity (MMN) component. Thus the auditory system was able to find the regularity between the non-adjacent sounds. Regularity extraction was not influenced by sequence cohesiveness as manipulated by the relative duration of tones and silent inter-tone-intervals. In the second experiment, we showed that a regularity connecting non-adjacent sounds was discovered only when the intervening sequence also contained a regular pattern, but not when the intervening sounds were randomly varying. This suggests that separate regular patterns are available to the auditory system as a cue for identifying signals coming from distinct sound sources. Thus auditory regularity extraction is not necessarily confined to a processing stage after initial sound grouping, but may precede grouping when other acoustic cues are unavailable.},
  journaltitle = {Frontiers in Psychology},
  shortjournal = {Front Psychol},
  date = {2012},
  pages = {143},
  keywords = {Mismatch negativity (MMN),auditory processing,auditory object formation,implicit learning,integration,non-adjacent dependencies,segregation,sound grouping},
  author = {Bendixen, Alexandra and Schröger, Erich and Ritter, Walter and Winkler, István},
  eprinttype = {pmid},
  eprint = {22661959},
  pmcid = {PMC3356878}
}

@article{bendixenRegularPatternsStabilize2010,
  langid = {english},
  title = {Regular Patterns Stabilize Auditory Streams},
  volume = {128},
  issn = {1520-8524},
  doi = {10.1121/1.3500695},
  abstract = {The auditory system continuously parses the acoustic environment into auditory objects, usually representing separate sound sources. Sound sources typically show characteristic emission patterns. These regular temporal sound patterns are possible cues for distinguishing sound sources. The present study was designed to test whether regular patterns are used as cues for source distinction and to specify the role that detecting these regularities may play in the process of auditory stream segregation. Participants were presented with tone sequences, and they were asked to continuously indicate whether they perceived the tones in terms of a single coherent sequence of sounds (integrated) or as two concurrent sound streams (segregated). Unknown to the participant, in some stimulus conditions, regular patterns were present in one or both putative streams. In all stimulus conditions, participants' perception switched back and forth between the two sound organizations. Importantly, regular patterns occurring in either one or both streams prolonged the mean duration of two-stream percepts, whereas the duration of one-stream percepts was unaffected. These results suggest that temporal regularities are utilized in auditory scene analysis. It appears that the role of this cue lies in stabilizing streams once they have been formed on the basis of simpler acoustic cues.},
  number = {6},
  journaltitle = {The Journal of the Acoustical Society of America},
  shortjournal = {J. Acoust. Soc. Am.},
  date = {2010-12},
  pages = {3658-3666},
  keywords = {Auditory Perception,Cues,time perception,Acoustic Stimulation,Auditory Pathways,humans,Auditory Threshold,Female,Male,Time Factors,Psychoacoustics,Young Adult,Audiometry,Pattern Recognition; Physiological,Signal Detection; Psychological},
  author = {Bendixen, Alexandra and Denham, Susan L. and Gyimesi, Kinga and Winkler, István},
  eprinttype = {pmid},
  eprint = {21218898}
}

@article{mirandaDoubleDissociationRules2007,
  title = {Double Dissociation between Rules and Memory in Music: {{An}} Event-Related Potential Study},
  volume = {38},
  issn = {1053-8119},
  url = {http://www.sciencedirect.com/science/article/pii/S1053811907006635},
  doi = {10.1016/j.neuroimage.2007.07.034},
  shorttitle = {Double Dissociation between Rules and Memory in Music},
  abstract = {Language and music share a number of characteristics. Crucially, both domains depend on both rules and memorized representations. Double dissociations between the neurocognition of rule-governed and memory-based knowledge have been found in language but not music. Here, the neural bases of both of these aspects of music were examined with an event-related potential (ERP) study of note violations in melodies. Rule-only violations consisted of out-of-key deviant notes that violated tonal harmony rules in novel (unfamiliar) melodies. Memory-only violations consisted of in-key deviant notes in familiar well-known melodies; these notes followed musical rules but deviated from the actual melodies. Finally, out-of-key notes in familiar well-known melodies constituted violations of both rules and memory. All three conditions were presented, within-subjects, to healthy young adults, half musicians and half non-musicians. The results revealed a double dissociation, independent of musical training, between rules and memory: both rule violation conditions, but not the memory-only violations, elicited an early, somewhat right-lateralized anterior-central negativity (ERAN), consistent with previous studies of rule violations in music, and analogous to the early left-lateralized anterior negativities elicited by rule violations in language. In contrast, both memory violation conditions, but not the rule-only violation, elicited a posterior negativity that might be characterized as an N400, an ERP component that depends, at least in part, on the processing of representations stored in long-term memory, both in language and in other domains. The results suggest that the neurocognitive rule/memory dissociation extends from language to music, further strengthening the similarities between the two domains.},
  number = {2},
  journaltitle = {NeuroImage},
  shortjournal = {NeuroImage},
  urldate = {2016-07-15},
  date = {2007-11-01},
  pages = {331-345},
  author = {Miranda, Robbin A. and Ullman, Michael T.},
  file = {D\:\\Sauve\\Zotero\\storage\\ECURF76G\\Miranda and Ullman - 2007 - Double dissociation between rules and memory in mu.pdf;D\:\\Sauve\\Zotero\\storage\\7QLZ5UNM\\S1053811907006635.html;D\:\\Sauve\\Zotero\\storage\\CQSHKXG6\\S1053811907006635.html;D\:\\Sauve\\Zotero\\storage\\HPANSJ5E\\PMC2186212.html}
}

@article{neuhausProcessingPitchTime2008,
  title = {Processing of Pitch and Time Sequences in Music},
  volume = {441},
  issn = {0304-3940},
  url = {http://www.sciencedirect.com/science/article/pii/S0304394008007829},
  doi = {10.1016/j.neulet.2008.05.101},
  abstract = {Pitch and duration – either as written symbols or in auditory form – are the basic structural properties in tones that form a melodic sequence. From the cognitive perspective, it is still a matter of debate whether, and at which processing stage, these two factors are processed independently or interdependently. The present study addresses this issue from the neuroscientist's point of view by measuring event-related potentials (ERPs) in musicians and non-musicians. Either the pitches or the durations of the tones, or both, were permuted randomly over a set of melodies in order to remove all sequential ordering with respect to these factors. Effects of both, pitch and time order, on the peak amplitudes of the P1-N1-P2 complex were observed. ANOVA revealed that sequential processing may depend on the different levels of skill in analytical hearing. For musicians, strong interaction effects for all three ERP components corroborated the interdependence of pitch and time processing. Musicians also seem to rely on coherent time structure more than non-musicians and showed enlarged P1 and P2 components whenever tone duration, either with or without preserved pitch, was at random. Non-musicians tend to use ordered pitch relations for perceptual orientation, and main effects without any interactions might indicate some kind of independent processing of both dimensions at some processing stages.},
  number = {1},
  journaltitle = {Neuroscience Letters},
  shortjournal = {Neuroscience Letters},
  urldate = {2016-07-15},
  date = {2008-08-15},
  pages = {11-15},
  keywords = {Time,pitch,event-related potentials,Encoding,Processing effort,Randomisation},
  author = {Neuhaus, Christiane and Knösche, Thomas R.},
  file = {D\:\\Sauve\\Zotero\\storage\\6CAEZTRS\\Neuhaus and Knösche - 2008 - Processing of pitch and time sequences in music.pdf;D\:\\Sauve\\Zotero\\storage\\7EEZXJ53\\S0304394008007829.html}
}

@article{peretzBoundariesSeparabilityMelody1993,
  title = {Boundaries of Separability between Melody and Rhythm in Music Discrimination: {{A}} Neuropsychological Perspective},
  volume = {46},
  issn = {0272-4987},
  url = {http://dx.doi.org/10.1080/14640749308401048},
  doi = {10.1080/14640749308401048},
  shorttitle = {Boundaries of Separability between Melody and Rhythm in Music Discrimination},
  abstract = {The detailed study of a patient who suffered from a severe amelodia without arhythmia as a consequence of bilateral temporal lobe damage revealed that the processing of melodic information is at least partially separable from the processing of rhythmic information. This dissociation was replicated across different sets of material, was supported by the presence of a reversed association, and was maintained in conditions that promote integration in the normal brain. These results argue against the view that melody and rhythm are treated as a unified dimension throughout processing. At the same time, they support the view that integration takes place after early separation of the two dimensions.},
  number = {2},
  journaltitle = {The Quarterly Journal of Experimental Psychology Section A},
  urldate = {2016-07-15},
  date = {1993-05-01},
  pages = {301-325},
  author = {Peretz, Isabelle and Kolinsky, Régine},
  file = {D\:\\Sauve\\Zotero\\storage\\KXUMXJHB\\14640749308401048.html}
}

@article{schmucklerExpectationMusicInvestigation1989,
  langid = {english},
  title = {Expectation in {{Music}}: {{Investigation}} of {{Melodic}} and {{Harmonic Processes}}},
  volume = {7},
  issn = {0730-7829, 1533-8312},
  url = {http://mp.ucpress.edu/content/7/2/19},
  doi = {10.2307/40285454},
  shorttitle = {Expectation in {{Music}}},
  abstract = {Expectancy has long been of interest to psychologists and recently has become the focus of research in musical cognition. Four experiments are reported that investigated the formation of expectancies in musically trained listeners and performers. Experiments 1 and 2 examined the factors underlying the formation of melodic and harmonic expectancies, respectively. Both experiments found evidence for the psychological reality of constructs derived from the music-theoretic literature in expectancy formation. Experiment 3 investigated the generation of expectancies for a full musical context (one containing simultaneous melodic and harmonic information) and found that melody and harmony were perceptually independent, such that they combined additively in expectancy formation for a full musical context. Experiment 4 provided a convergent operation for the earlier studies by having skilled pianists perform their expectations for the same passages. These productions strongly correlated with the perceptual expectancies of Experiments 1-3. Taken together, these studies provide evidence for the existence of musical expectancy, as well as delineating some of the factors affecting its formation.},
  number = {2},
  journaltitle = {Music Perception: An Interdisciplinary Journal},
  urldate = {2016-07-15},
  date = {1989-12-01},
  pages = {109-149},
  author = {Schmuckler, Mark A.},
  file = {D\:\\Sauve\\Zotero\\storage\\P888S4Q6\\19.html}
}

@article{krumhanslRhythmPitchMusic2000,
  title = {Rhythm and Pitch in Music Cognition},
  volume = {126},
  issn = {1939-1455(Electronic);0033-2909(Print)},
  doi = {10.1037/0033-2909.126.1.159},
  abstract = {Rhythm and pitch are the 2 primary dimensions of music. They are interesting psychologically because simple, well-defined units combine to form highly complex and varied patterns. This article brings together the major developments in research on how these dimensions are perceived and remembered, beginning with psychophysical results on time and pitch perception. Progressively larger units are considered, moving from basic psychological categories of temporal and frequency ratios, to pulse and scale, to metrical and tonal hierarchies, to the formation of musical rhythms and melodies, and finally to the cognitive representation of large-scale musical form. Interactions between the dimensions are considered, and major theoretical proposals are described. The article identifies various links between musical structure and perceptual and cognitive processes, suggesting psychological influences on how sounds are patterned in music.},
  number = {1},
  journaltitle = {Psychological Bulletin},
  date = {2000},
  pages = {159-179},
  keywords = {Rhythm,*Music Perception,*Cognition,*Pitch Perception},
  author = {Krumhansl, Carol L.}
}

@article{schubertModelingPerceivedEmotion2004,
  langid = {english},
  title = {Modeling {{Perceived Emotion With Continuous Musical Features}}},
  volume = {21},
  issn = {0730-7829, 1533-8312},
  url = {http://mp.ucpress.edu/content/21/4/561},
  doi = {10.1525/mp.2004.21.4.561},
  abstract = {The relationship between musical features and perceived emotion was investigated by using continuous response methodology and time-series analysis. Sixty-seven participants responded to four pieces of Romantic music expressing different emotions. Responses were sampled once per second on a two-dimensional emotion space (happy-sad valence and aroused-sleepy). Musical feature variables of loudness, tempo, melodic contour, texture, and spectral centroid (related to perceived timbral sharpness) were coded. Musical feature variables were differenced and used as predictors in two univariate linear regression models of valence and arousal for each of the four pieces. Further adjustments were made to the models to correct for serial correlation. The models explained from 33\% to 73\% of variation in univariate perceived emotion. Changes in loudness and tempo were associated positively with changes in arousal, but loudness was dominant. Melodic contour varied positively with valence, though this finding was not conclusive. Texture and spectral centroid did not produce consistent predictions. This methodology facilitates a more ecologically valid investigation of emotion in music and, importantly in the present study, enabled the approximate identification of the lag between musical features and perceived emotion. Responses were made 1 to 3 s after a change in the causal musical event, with sudden changes in loudness producing response lags from zero (nearly instantaneous) to 1 s. Other findings, interactions, and ramifications of the methodology are also discussed.},
  number = {4},
  journaltitle = {Music Perception: An Interdisciplinary Journal},
  urldate = {2016-07-15},
  date = {2004-06-01},
  pages = {561-585},
  author = {Schubert, Emery},
  file = {D\:\\Sauve\\Zotero\\storage\\A33S423D\\561.html}
}

@article{steinbeisRoleHarmonicExpectancy2006,
  langid = {english},
  title = {The Role of Harmonic Expectancy Violations in Musical Emotions: Evidence from Subjective, Physiological, and Neural Responses},
  volume = {18},
  issn = {0898-929X},
  doi = {10.1162/jocn.2006.18.8.1380},
  shorttitle = {The Role of Harmonic Expectancy Violations in Musical Emotions},
  abstract = {The purpose of the present study was to investigate the effect of harmonic expectancy violations on emotions. Subjective response measures for tension and emotionality, as well as electrodermal activity (EDA) and heart rate (HR), were recorded from 24 subjects (12 musicians and 12 nonmusicians) to observe the effect of expectancy violations on subjective and physiological measures of emotions. In addition, an electro-encephalogram was recorded to observe the neural correlates for detecting these violations. Stimuli consisted of three matched versions of six Bach chorales, which differed only in terms of one chord (harmonically either expected, unexpected or very unexpected). Musicians' and nonmusicians' responses were also compared. Tension, overall subjective emotionality, and EDA increased with an increase in harmonic unexpectedness. Analysis of the event-related potentials revealed an early negativity (EN) for both the unexpected and the very unexpected harmonies, taken to reflect the detection of the unexpected event. The EN in response to very unexpected chords was significantly larger in amplitude than the EN in response to merely unexpected harmonic events. The ENs did not differ in amplitude between the two groups but peaked earlier for musicians than for nonmusicians. Both groups also showed a P3 component in response to the very unexpected harmonies, which was considerably larger for musicians and may reflect the processing of stylistic violations of Western classical music.},
  number = {8},
  journaltitle = {Journal of Cognitive Neuroscience},
  shortjournal = {J Cogn Neurosci},
  date = {2006-08},
  pages = {1380-1393},
  keywords = {Evoked Potentials,Auditory Perception,Music,electroencephalography,humans,Adult,Female,Male,Analysis of Variance,emotions,REACTION time,Functional Laterality,Galvanic Skin Response,Signal Detection; Psychological,Heart Rate},
  author = {Steinbeis, Nikolaus and Koelsch, Stefan and Sloboda, John A.},
  eprinttype = {pmid},
  eprint = {16859422}
}

@article{krumhanslMusicalExpectancyInfluence2008,
  title = {Musical Expectancy: {{The}} Influence of Musical Structure on Emotional Response},
  volume = {31},
  issn = {1469-1825},
  url = {http://journals.cambridge.org/article_S0140525X08005384},
  doi = {10.1017/S0140525X08005384},
  shorttitle = {Musical Expectancy},
  abstract = {When examining how emotions are evoked through music, the role of musical expectancy is often surprisingly under-credited. This mechanism, however, is most strongly tied to the actual structure of the music, and thus is important when considering how music elicits emotions. We briefly summarize Leonard Meyer's theoretical framework on musical expectancy and emotion and cite relevant research in the area.},
  number = {05},
  journaltitle = {Behavioral and Brain Sciences},
  urldate = {2016-07-15},
  date = {2008-10},
  pages = {584--585},
  author = {Krumhansl, Carol L. and Agres, Kat R.},
  file = {D\:\\Sauve\\Zotero\\storage\\VRMCA94A\\displayAbstract.html}
}

@article{rentfrowReMiEveryday2003,
  title = {The Do Re Mi's of Everyday Life: {{The}} Structure and Personality Correlates of Music Preferences},
  volume = {84},
  issn = {1939-1315(Electronic);0022-3514(Print)},
  doi = {10.1037/0022-3514.84.6.1236},
  shorttitle = {The Do Re Mi's of Everyday Life},
  abstract = {The present research examined individual differences in music preferences. A series of 6 studies investigated lay beliefs about music, the structure underlying music preferences, and the links between music preferences and personality. The data indicated that people consider music an important aspect of their lives and listening to music an activity they engaged in frequently. Using multiple samples, methods, and geographic regions, analyses of the music preferences of over 3,500 individuals converged to reveal 4 music-preference dimensions: Reflective and Complex, Intense and Rebellious, Upbeat and Conventional, and Energetic and Rhythmic. Preferences for these music dimensions were related to a wide array of personality dimensions (e.g., Openness), self-views (e.g., political orientation), and cognitive abilities (e.g., verbal IQ).},
  number = {6},
  journaltitle = {Journal of Personality and Social Psychology},
  date = {2003},
  pages = {1236-1256},
  keywords = {*Music,*Individual Differences,*Personality Correlates,Preferences},
  author = {Rentfrow, Peter J. and Gosling, Samuel D.},
  file = {D\:\\Sauve\\Zotero\\storage\\D7GF5BR2\\index.html}
}

@article{steinhauerBrainPotentialsIndicate1999,
  langid = {english},
  title = {Brain Potentials Indicate Immediate Use of Prosodic Cues in Natural Speech Processing},
  volume = {2},
  issn = {1097-6256},
  url = {http://www.nature.com/neuro/journal/v2/n2/full/nn0299_191.html},
  doi = {10.1038/5757},
  abstract = {Spoken language, in contrast to written text, provides prosodic information such as rhythm, pauses, accents, amplitude and pitch variations. However, little is known about when and how these features are used by the listener to interpret the speech signal. Here we use event–related brain potentials (ERP) to demonstrate that intonational phrasing guides the initial analysis of sentence structure. Our finding of a positive shift in the ERP at intonational phrase boundaries suggests a specific on–line brain response to prosodic processing. Additional ERP components indicate that a false prosodic boundary is sufficient to mislead the listener's sentence processor. Thus, the application of ERP measures is a promising approach for revealing the time course and neural basis of prosodic information processing.},
  number = {2},
  journaltitle = {Nature Neuroscience},
  shortjournal = {Nat Neurosci},
  urldate = {2016-07-15},
  date = {1999-02},
  pages = {191-196},
  author = {Steinhauer, Karsten and Alter, Kai and Friederici, Angela D.},
  file = {D\:\\Sauve\\Zotero\\storage\\N32FS7KB\\nn0299_191.html}
}

@book{temperleyCognitionBasicMusical2001,
  langid = {english},
  location = {{Cambridge, MA}},
  title = {The {{Cognition}} of {{Basic Musical Structures}}},
  isbn = {978-0-262-70105-1},
  abstract = {Winner of the 2003 Emerging Scholar Award, presented by the Society for Music Theory In this book, David Temperley addresses a fundamental question about music cognition: how do we extract basic kinds of musical information, such as meter, phrase structure, counterpoint, pitch spelling, harmony, and key from music as we hear it? Taking a computational approach, Temperley develops models for generating these aspects of musical structure. The models he proposes are based on preference rules, which are criteria for evaluating a possible structural analysis of a piece of music. A preference rule system evaluates many possible interpretations and chooses the one that best satisfies the rules.After an introductory chapter, Temperley presents preference rule systems for generating six basic kinds of musical structure: meter, phrase structure, contrapuntal structure, harmony, and key, as well as pitch spelling (the labeling of pitch events with spellings such as A flat or G sharp). He suggests that preference rule systems not only show how musical structures are inferred, but also shed light on other aspects of music. He substantiates this claim with discussions of musical ambiguity, retrospective revision, expectation, and music outside the Western canon (rock and traditional African music). He proposes a framework for the description of musical styles based on preference rule systems and explores the relevance of preference rule systems to higher-level aspects of music, such as musical schemata, narrative and drama, and musical tension.},
  pagetotal = {430},
  publisher = {{MIT Press}},
  date = {2001},
  keywords = {Science / Acoustics & Sound,Technology & Engineering / Acoustics & Sound},
  author = {Temperley, David}
}

@article{egermannProbabilisticModelsExpectation2013,
  langid = {english},
  title = {Probabilistic Models of Expectation Violation Predict Psychophysiological Emotional Responses to Live Concert Music},
  volume = {13},
  issn = {1530-7026, 1531-135X},
  url = {http://link.springer.com/article/10.3758/s13415-013-0161-y},
  doi = {10.3758/s13415-013-0161-y},
  abstract = {We present the results of a study testing the often-theorized role of musical expectations in inducing listeners’ emotions in a live flute concert experiment with 50 participants. Using an audience response system developed for this purpose, we measured subjective experience and peripheral psychophysiological changes continuously. To confirm the existence of the link between expectation and emotion, we used a threefold approach. (1) On the basis of an information-theoretic cognitive model, melodic pitch expectations were predicted by analyzing the musical stimuli used (six pieces of solo flute music). (2) A continuous rating scale was used by half of the audience to measure their experience of unexpectedness toward the music heard. (3) Emotional reactions were measured using a multicomponent approach: subjective feeling (valence and arousal rated continuously by the other half of the audience members), expressive behavior (facial EMG), and peripheral arousal (the latter two being measured in all 50 participants). Results confirmed the predicted relationship between high-information-content musical events, the violation of musical expectations (in corresponding ratings), and emotional reactions (psychologically and physiologically). Musical structures leading to expectation reactions were manifested in emotional reactions at different emotion component levels (increases in subjective arousal and autonomic nervous system activations). These results emphasize the role of musical structure in emotion induction, leading to a further understanding of the frequently experienced emotional effects of music.},
  number = {3},
  journaltitle = {Cognitive, Affective, \& Behavioral Neuroscience},
  shortjournal = {Cogn Affect Behav Neurosci},
  urldate = {2016-07-14},
  date = {2013-04-20},
  pages = {533-553},
  author = {Egermann, Hauke and Pearce, Marcus T. and Wiggins, Geraint A. and McAdams, Stephen},
  file = {D\:\\Sauve\\Zotero\\storage\\EF6JPZZW\\Egermann et al. - 2013 - Probabilistic models of expectation violation pred.pdf;D\:\\Sauve\\Zotero\\storage\\72KC8RMC\\s13415-013-0161-y.html}
}

@thesis{pearceConstructionEvaluationStatistical2005,
  langid = {english},
  location = {{London, UK}},
  title = {The Construction and Evaluation of Statistical Models of Melodic Structure in Music Perception and Composition},
  url = {http://openaccess.city.ac.uk/8459/},
  abstract = {The prevalent approach to developing cognitive models of music perception and composition is to construct systems of symbolic rules and constraints on the basis of extensive music-theoretic and music-analytic knowledge. The thesis proposed in this dissertation is that statistical models which acquire knowledge through the induction of regularities in corpora of existing music can, if examined with appropriate methodologies, provide significant insights into the cognitive processing involved in music perception and composition. This claim is examined in three stages. First, a number of statistical modelling techniques drawn from the fields of data compression, statistical language modelling and machine learning are subjected to empirical evaluation in the context of sequential prediction of pitch structure in unseen melodies. This investigation results in a collection of modelling strategies which together yield significant performance improvements over existing methods. In the second stage, these statistical systems are used to examine observed patterns of expectation collected in previous psychological research on melody perception. In contrast to previous accounts of this data, the results demonstrate that these patterns of expectation can be accounted for in terms of the induction of statistical regularities acquired through exposure to music. In the final stage of the present research, the statistical systems developed in the first stage are used to examine the intrinsic computational demands of the task of composing a stylistically successful melody The results suggest that the systems lack the degree of expressive power needed to consistently meet the demands of the task. In contrast to previous research, however, the methodological framework developed for the evaluation of computational models of composition enables a detailed empirical examination and comparison of such models which facilitates the identification and resolution of their weaknesses.},
  institution = {{City University London}},
  type = {doctoral},
  urldate = {2016-06-27},
  date = {2005-12},
  author = {Pearce, M. T.},
  file = {D\:\\Sauve\\Zotero\\storage\\IFC2TG5P\\Pearce - 2005 - The construction and evaluation of statistical mod.pdf;D\:\\Sauve\\Zotero\\storage\\E5BHVD65\\8459.html}
}

@book{manningFoundationsStatisticalNatural1999,
  langid = {english},
  title = {Foundations of {{Statistical Natural Language Processing}}},
  isbn = {978-0-262-13360-9},
  abstract = {Statistical approaches to processing natural language text have become dominant in recent years. This foundational text is the first comprehensive introduction to statistical natural language processing (NLP) to appear. The book contains all the theory and algorithms needed for building NLP tools. It provides broad but rigorous coverage of mathematical and linguistic foundations, as well as detailed discussion of statistical methods, allowing students and researchers to construct their own implementations. The book covers collocation finding, word sense disambiguation, probabilistic parsing, information retrieval, and other applications.},
  pagetotal = {722},
  publisher = {{MIT Press}},
  date = {1999},
  keywords = {Language Arts & Disciplines / Linguistics / General},
  author = {Manning, Christopher D. and Schütze, Hinrich}
}

@inproceedings{clearyUnboundedLengthContexts1995,
  title = {Unbounded Length Contexts for {{PPM}}},
  doi = {10.1109/DCC.1995.515495},
  abstract = {The prediction by partial matching (PPM) data compression scheme has set the performance standard in lossless compression of text throughout the past decade. The original algorithm was first published in 1984 by Cleary and Witten, and a series of improvements was described by Moffat (1990), culminating in a careful implementation, called PPMC, which has become the benchmark version. This still achieves results superior to virtually all other compression methods, despite many attempts to better it. PPM, is a finite-context statistical modeling technique that can be viewed as blending together several fixed-order context models to predict the next character in the input sequence. Prediction probabilities for each context in the model are calculated from frequency counts which are updated adaptively; and the symbol that actually occurs is encoded relative to its predicted distribution using arithmetic coding. The paper describes a new algorithm, PPM*, which exploits contexts of unbounded length. It reliably achieves compression superior to PPMC, although our current implementation uses considerably greater computational resources (both time and space). The basic PPM compression scheme is described, showing the use of contexts of unbounded length, and how it can be implemented using a tree data structure. Some results are given that demonstrate an improvement of about 6\% over the old method},
  eventtitle = {Data {{Compression Conference}}, 1995. {{DCC}} '95. {{Proceedings}}},
  booktitle = {Data {{Compression Conference}}, 1995. {{DCC}} '95. {{Proceedings}}},
  date = {1995-03},
  pages = {52-61},
  keywords = {statistical analysis,Probability,Context modeling,Predictive models,Arithmetic,arithmetic codes,arithmetic coding,Benchmark testing,Computer science,data compression,Data structures,estimation theory,finite-context statistical modeling,fixed-order context models,Frequency,frequency counts,input sequence,lossless text compression,Performance loss,performance standard,PPM*,PPMC,predicted distribution,prediction by partial matching,prediction probabilities,prediction theory,tree data structure,tree data structures,unbounded length contexts,word processing},
  author = {Cleary, J. G. and Teahan, W. J. and Witten, I. H.},
  file = {D\:\\Sauve\\Zotero\\storage\\WNPBUXEC\\login.html}
}

@article{pearceImprovedMethodsStatistical2004,
  title = {Improved {{Methods}} for {{Statistical Modelling}} of {{Monophonic Music}}},
  volume = {33},
  issn = {0929-8215},
  url = {http://dx.doi.org/10.1080/0929821052000343840},
  doi = {10.1080/0929821052000343840},
  abstract = {N-Gram based models have been used for a variety of musical tasks including computer-assisted composition, machine improvisation, music information retrieval, stylistic analysis and cognitive modelling. We present an application-independent evaluation of some recent techniques for improving the performance of a subclass of n-gram models on a range of monophonic music data. We have applied these techniques incrementally to eight melodic datasets using cross entropy computed by 10-fold cross-validation on each dataset as our performance metric. The results demonstrate that significant and consistent improvements in performance are afforded by several of the evaluated techniques. We discuss the results in terms of previous research carried out in the field of data compression and with natural language and music corpora and conclude by presenting some important directions for future research.},
  number = {4},
  journaltitle = {Journal of New Music Research},
  urldate = {2016-06-26},
  date = {2004-12-01},
  pages = {367-385},
  author = {Pearce, Marcus and Wiggins, Geraint},
  file = {D\:\\Sauve\\Zotero\\storage\\CM56GM57\\0929821052000343840.html}
}

@article{conklinMultipleViewpointSystems1995,
  title = {Multiple Viewpoint Systems for Music Prediction},
  volume = {24},
  issn = {0929-8215},
  url = {http://dx.doi.org/10.1080/09298219508570672},
  doi = {10.1080/09298219508570672},
  abstract = {This paper examines the prediction and generation of music using a multiple viewpoint system, a collection of independent views of the musical surface each of which models a specific type of musical phenomena. Both the general style and a particular piece are modeled using dual short‐term and long‐term theories, and the model is created using machine learning techniques on a corpus of musical examples. The models are used for analysis and prediction, and we conjecture that highly predictive theories will also generate original, acceptable, works. Although the quality of the works generated is hard to quantify objectively, the predictive power of models can be measured by the notion of entropy, or unpredictability. Highly predictive theories will produce low‐entropy estimates of a musical language. The methods developed are applied to the Bach chorale melodies. Multiple‐viewpoint systems are learned from a sample of 95 chorales, estimates of entropy are produced, and a predictive theory is used to generate new, unseen pieces.},
  number = {1},
  journaltitle = {Journal of New Music Research},
  urldate = {2016-06-26},
  date = {1995-03-01},
  pages = {51-73},
  author = {Conklin, Darrell and Witten, Ian H.},
  file = {D\:\\Sauve\\Zotero\\storage\\I6TNIMRQ\\09298219508570672.html}
}

@book{narmourAnalysisCognitionBasic1990,
  location = {{Chicago}},
  title = {The Analysis and Cognition of Basic Melodic Structures: The Implication-Realization Model.},
  publisher = {{University of Chicago Press}},
  date = {1990},
  author = {Narmour, Eugene}
}

@book{narmourAnalysisCognitionMelodic1992,
  langid = {english},
  location = {{Chicago}},
  title = {The {{Analysis}} and {{Cognition}} of {{Melodic Complexity}}: {{The Implication}}-Realization {{Model}}},
  isbn = {978-0-226-56842-3},
  shorttitle = {The {{Analysis}} and {{Cognition}} of {{Melodic Complexity}}},
  abstract = {In this work, Eugene Narmour extends the unique theories of musical perception presented in The Analysis and Cognition of Basic Melodic Structures. The two books together constitute the first comprehensive theory of melody founded on psychological research. Narmour's earlier study dealt with cognitive relations between melodic tones at their most basic level. After summarizing the formalized methodology of the theory described in that work, Narmour develops an elaborate and original symbology to show how sixteen archetypes can combine to form some 200 complex structures that, in turn, can chain together in a theoretically infinite number of ways. He then explains and speculates on the cognitive operations by which listeners assimilate and ultimately encode these complex melodic structures. More than 250 musical examples from different historical periods and non-Western cultures demonstrate the panstylistic scope of Narmour's model. Of particular importance to music theorists and music historians is Narmour's argument that melodic analysis and formal analysis, though often treated separately, are in fact indissolubly linked. The Analysis and Cognition of Melodic Complexity will also appeal to ethnomusicologists, psychologists, and cognitive scientists.},
  pagetotal = {460},
  publisher = {{University of Chicago Press}},
  date = {1992-01},
  keywords = {Technology & Engineering / Acoustics & Sound,Music / Instruction & Study / General},
  author = {Narmour, Eugene}
}

@article{narmourTopdownBottomupSystems1991,
  langid = {english},
  title = {The {{Top}}-down and {{Bottom}}-up {{Systems}} of {{Musical Implication}}: {{Building}} on {{Meyer}}'s {{Theory}} of {{Emotional Syntax}}},
  volume = {9},
  issn = {0730-7829, 1533-8312},
  url = {http://mp.ucpress.edu/content/9/1/1},
  doi = {10.2307/40286156},
  shorttitle = {The {{Top}}-down and {{Bottom}}-up {{Systems}} of {{Musical Implication}}},
  abstract = {The implication-realization model hypothesizes that emotional syntax in music is a product of two expectation systems—one top down, the other bottom up. Syntactic mismatch or conflict in realizations can occur either within each system or between them. The theory argues that interruption or suppression of parametric expectations generated separately by the two systems explains certain types of recurrent aesthetic strategies in melodic composition and accounts for the most common kinds of musical forms (AAA, AAB, ABB, ABC, and ABA).},
  number = {1},
  journaltitle = {Music Perception: An Interdisciplinary Journal},
  urldate = {2016-06-22},
  date = {1991-10-01},
  pages = {1-26},
  author = {Narmour, Eugene},
  file = {D\:\\Sauve\\Zotero\\storage\\46CPZQHE\\1.html}
}

@article{schellenbergExpectancyMelodyTests1996,
  title = {Expectancy in Melody: Tests of the Implication-Realization Model},
  volume = {58},
  issn = {0010-0277},
  url = {http://www.sciencedirect.com/science/article/pii/0010027795006656},
  doi = {10.1016/0010-0277(95)00665-6},
  shorttitle = {Expectancy in Melody},
  abstract = {The implication-realization model's description of tone-to-tone expectancies for continuations of melodies was examined. The model's predictions for expectancies are described with a small number of principles specified precisely in terms of interval size and direction of pitch. These principles were quantified and used to predict the data from three experiments in which listeners were required to judge how well individual test tones continued melodic fragments. The model successfully predicted listeners' judgments across different musical styles (British and Chinese folk songs and Webern Lieder), regardless of the extent of listeners' musical training (Experiments 1 and 2) or whether they were born and raised in China or the U.S.A. (Experiment 3). For each experiment, however, the collinearity of the model's predictors indicated that a simplified version of the model might predict the data equally well. Indeed, a revised and simplified model did not result in a loss of predictive power for any of the three experiments. Convergent evidence was provided in a reanalysis of data reported by Carlsen (1981) and Unyk and Carlsen (1987), whose listeners were required to sing continuations to two-tone stimuli. Thus, these findings indicate that the implication-realization model is over-specified. The consistency that was found across experimental tasks, musical styles, and listeners raises the possibility, however, that the revised version of the model may withstand the original model's claims of universality.},
  number = {1},
  journaltitle = {Cognition},
  shortjournal = {Cognition},
  urldate = {2016-06-22},
  date = {1996-01},
  pages = {75-125},
  author = {Schellenberg, E. Glenn},
  file = {D\:\\Sauve\\Zotero\\storage\\2H3MN3VF\\Schellenberg - 1996 - Expectancy in melody tests of the implication-rea.pdf;D\:\\Sauve\\Zotero\\storage\\2RDVTGDE\\0010027795006656.html}
}

@article{russellCoreAffectPsychological2003,
  langid = {english},
  title = {Core Affect and the Psychological Construction of Emotion},
  volume = {110},
  issn = {0033-295X},
  abstract = {At the heart of emotion, mood, and any other emotionally charged event are states experienced as simply feeling good or bad, energized or enervated. These states--called core affect--influence reflexes, perception, cognition, and behavior and are influenced by many causes internal and external, but people have no direct access to these causal connections. Core affect can therefore be experienced as free-floating (mood) or can be attributed to some cause (and thereby begin an emotional episode). These basic processes spawn a broad framework that includes perception of the core-affect-altering properties of stimuli, motives, empathy, emotional meta-experience, and affect versus emotion regulation; it accounts for prototypical emotional episodes, such as fear and anger, as core affect attributed to something plus various nonemotional processes.},
  number = {1},
  journaltitle = {Psychological Review},
  shortjournal = {Psychol Rev},
  date = {2003-01},
  pages = {145-172},
  keywords = {cognition,humans,Psychology,affect,Behavior,Reflex},
  author = {Russell, James A.},
  eprinttype = {pmid},
  eprint = {12529060}
}

@article{deanSharedDistinctMechanisms2014,
  title = {Shared and Distinct Mechanisms of Individual and Expertise-Group Perception of Expressed Arousal in Four Works},
  volume = {8},
  issn = {1745-9737},
  url = {http://dx.doi.org/10.1080/17459737.2014.928753},
  doi = {10.1080/17459737.2014.928753},
  abstract = {We compare the continuously perceived expressed arousal of four three-minute musical extracts (three electroacoustic, one acoustic – for piano), for inter-individual and inter-expertise-group differences. Participants are electroacoustic musicians, generalist musicians, and non-musicians. Time series analysis methods are used, including cross-sectional time series analysis. The prevalence of stasis in individual responses is described. Then we determine whether group average responses differ between groups. Finally we define the inter-individual variation in responses, and how this impacts the detection of group differences. We find that inter-individual variations in each expertise group are large, and can overwhelm inter-group differences. There are substantial variations between the pieces, related to the extent of acoustic intensity changes, and distinguishing the instrumental and electroacoustic works. Nevertheless, a single optimised “parent” model of the influence of acoustic profiles on perceived arousal has predictive power for all four pieces. This includes acoustic intensity, spectral flatness, and autoregression. The pieces share mechanisms, and show differences, in how they evoke perceptions of expressed arousal.},
  number = {3},
  journaltitle = {Journal of Mathematics and Music},
  urldate = {2016-06-22},
  date = {2014-09-02},
  pages = {207-223},
  author = {Dean, Roger T. and Bailes, Freya and Dunsmuir, William T. M.},
  file = {D\:\\Sauve\\Zotero\\storage\\KSW2KSU9\\17459737.2014.html}
}

@book{meyerEmotionMeaningMusic1956,
  title = {Emotion and {{Meaning}} in {{Music}}},
  url = {http://www.press.uchicago.edu/ucp/books/book/chicago/E/bo3643659.html},
  abstract = {"Altogether it is a book that should be required reading for any student of music, be he composer, performer, or theorist. It clears the air of many confused notions . . . and lays the groundwork for exhaustive study of the basic problem of music theory and aesthetics, the relationship between pattern and meaning."—David Kraehenbuehl, Journal of Music Theory ~"This is the best study of its kind to have come to the attention of this reviewer."—Jules Wolffers, The Christian Science Monitor "It is not too much to say that his approach provides a basis for the meaningful discussion of emotion and meaning in all art."—David P. McAllester, American Anthropologist "A book which should be read by all who want deeper insights into music listening, performing, and composing."—Marcus G. Raskin, Chicago Review},
  publisher = {{Unviersity of Chicago Press}},
  urldate = {2016-06-22},
  date = {1956},
  author = {Meyer, Leonard},
  file = {D\:\\Sauve\\Zotero\\storage\\FPCQR6TR\\bo3643659.html}
}

@article{juslinEmotionalResponsesMusic2008,
  langid = {english},
  title = {Emotional Responses to Music: The Need to Consider Underlying Mechanisms},
  volume = {31},
  issn = {1469-1825},
  doi = {10.1017/S0140525X08005293},
  shorttitle = {Emotional Responses to Music},
  abstract = {Research indicates that people value music primarily because of the emotions it evokes. Yet, the notion of musical emotions remains controversial, and researchers have so far been unable to offer a satisfactory account of such emotions. We argue that the study of musical emotions has suffered from a neglect of underlying mechanisms. Specifically, researchers have studied musical emotions without regard to how they were evoked, or have assumed that the emotions must be based on the "default" mechanism for emotion induction, a cognitive appraisal. Here, we present a novel theoretical framework featuring six additional mechanisms through which music listening may induce emotions: (1) brain stem reflexes, (2) evaluative conditioning, (3) emotional contagion, (4) visual imagery, (5) episodic memory, and (6) musical expectancy. We propose that these mechanisms differ regarding such characteristics as their information focus, ontogenetic development, key brain regions, cultural impact, induction speed, degree of volitional influence, modularity, and dependence on musical structure. By synthesizing theory and findings from different domains, we are able to provide the first set of hypotheses that can help researchers to distinguish among the mechanisms. We show that failure to control for the underlying mechanism may lead to inconsistent or non-interpretable findings. Thus, we argue that the new framework may guide future research and help to resolve previous disagreements in the field. We conclude that music evokes emotions through mechanisms that are not unique to music, and that the study of musical emotions could benefit the emotion field as a whole by providing novel paradigms for emotion induction.},
  number = {5},
  journaltitle = {The Behavioral and Brain Sciences},
  shortjournal = {Behav Brain Sci},
  date = {2008-10},
  pages = {559-575; discussion 575-621},
  keywords = {Attention,brain,Auditory Perception,Music,humans,Psychoacoustics,emotions,Imagination,amygdala,Nerve Net,Mental Recall,Brain Stem,Set (Psychology),Arousal,Reflex,Conditioning (Psychology),Frontal Lobe,Hypothalamus,Psychological Theory},
  author = {Juslin, Patrik N. and Västfjäll, Daniel},
  eprinttype = {pmid},
  eprint = {18826699}
}

@article{barrRandomEffectsStructure2013,
  langid = {english},
  title = {Random Effects Structure for Confirmatory Hypothesis Testing: {{Keep}} It Maximal},
  volume = {68},
  issn = {0749-596X},
  doi = {10.1016/j.jml.2012.11.001},
  shorttitle = {Random Effects Structure for Confirmatory Hypothesis Testing},
  abstract = {Linear mixed-effects models (LMEMs) have become increasingly prominent in psycholinguistics and related areas. However, many researchers do not seem to appreciate how random effects structures affect the generalizability of an analysis. Here, we argue that researchers using LMEMs for confirmatory hypothesis testing should minimally adhere to the standards that have been in place for many decades. Through theoretical arguments and Monte Carlo simulation, we show that LMEMs generalize best when they include the maximal random effects structure justified by the design. The generalization performance of LMEMs including data-driven random effects structures strongly depends upon modeling criteria and sample size, yielding reasonable results on moderately-sized samples when conservative criteria are used, but with little or no power advantage over maximal models. Finally, random-intercepts-only LMEMs used on within-subjects and/or within-items data from populations where subjects and/or items vary in their sensitivity to experimental manipulations always generalize worse than separate F 1 and F 2 tests, and in many cases, even worse than F 1 alone. Maximal LMEMs should be the 'gold standard' for confirmatory hypothesis testing in psycholinguistics and beyond.},
  number = {3},
  journaltitle = {Journal of Memory and Language},
  shortjournal = {J Mem Lang},
  date = {2013-04},
  pages = {255-278},
  keywords = {Generalization,Statistics,linear mixed-effects models,Monte Carlo simulation},
  author = {Barr, Dale J. and Levy, Roger and Scheepers, Christoph and Tily, Harry J.},
  eprinttype = {pmid},
  eprint = {24403724},
  pmcid = {PMC3881361}
}

@article{clarkWhateverNextPredictive2013,
  langid = {english},
  title = {Whatever next? {{Predictive}} Brains, Situated Agents, and the Future of Cognitive Science},
  volume = {36},
  issn = {1469-1825},
  doi = {10.1017/S0140525X12000477},
  shorttitle = {Whatever Next?},
  abstract = {Brains, it has recently been argued, are essentially prediction machines. They are bundles of cells that support perception and action by constantly attempting to match incoming sensory inputs with top-down expectations or predictions. This is achieved using a hierarchical generative model that aims to minimize prediction error within a bidirectional cascade of cortical processing. Such accounts offer a unifying model of perception and action, illuminate the functional role of attention, and may neatly capture the special contribution of cortical processing to adaptive success. This target article critically examines this "hierarchical prediction machine" approach, concluding that it offers the best clue yet to the shape of a unified science of mind and action. Sections 1 and 2 lay out the key elements and implications of the approach. Section 3 explores a variety of pitfalls and challenges, spanning the evidential, the methodological, and the more properly conceptual. The paper ends (sections 4 and 5) by asking how such approaches might impact our more general vision of mind, experience, and agency.},
  number = {3},
  journaltitle = {The Behavioral and Brain Sciences},
  shortjournal = {Behav Brain Sci},
  date = {2013-06},
  pages = {181-204},
  keywords = {Attention,brain,cognition,humans,Learning,Perception,Models; Neurological,Cognitive Science},
  author = {Clark, Andy},
  eprinttype = {pmid},
  eprint = {23663408}
}

@article{bernikerEstimatingSourcesMotor2008,
  langid = {english},
  title = {Estimating the Sources of Motor Errors for Adaptation and Generalization},
  volume = {11},
  issn = {1546-1726},
  doi = {10.1038/nn.2229},
  abstract = {Motor adaptation is usually defined as the process by which our nervous system produces accurate movements while the properties of our bodies and our environment continuously change. Many experimental and theoretical studies have characterized this process by assuming that the nervous system uses internal models to compensate for motor errors. Here we extend these approaches and construct a probabilistic model that not only compensates for motor errors but estimates the sources of these errors. These estimates dictate how the nervous system should generalize. For example, estimated changes of limb properties will affect movements across the workspace but not movements with the other limb. We provide evidence that many movement-generalization phenomena emerge from a strategy by which the nervous system estimates the sources of our motor errors.},
  number = {12},
  journaltitle = {Nature Neuroscience},
  shortjournal = {Nat. Neurosci.},
  date = {2008-12},
  pages = {1454-1461},
  keywords = {humans,Models; Biological,Computer Simulation,Feedback,Bayes Theorem,Movement,Psychomotor Performance,Adaptation; Physiological,Biomechanical Phenomena,Generalization (Psychology),Hand,Kinesthesis,Nonlinear Dynamics,Postural Balance,Upper Extremity},
  author = {Berniker, Max and Kording, Konrad},
  eprinttype = {pmid},
  eprint = {19011624},
  pmcid = {PMC2707921}
}

@article{yuAdaptiveBehaviorHumans2007,
  langid = {english},
  title = {Adaptive Behavior: Humans Act as {{Bayesian}} Learners},
  volume = {17},
  issn = {0960-9822},
  doi = {10.1016/j.cub.2007.09.007},
  shorttitle = {Adaptive Behavior},
  abstract = {Subjects adapt to environmental changes differently depending on the perceived frequency of the changes--the environmental volatility--similar to an ideal Bayesian learner. This volatility information correlates with the fMRI BOLD signal in the anterior cingulate cortex.},
  number = {22},
  journaltitle = {Current biology: CB},
  shortjournal = {Curr. Biol.},
  date = {2007-11-20},
  pages = {R977-980},
  keywords = {animals,humans,Learning,Bayes Theorem,Cerebral Cortex,Adaptation; Psychological},
  author = {Yu, Angela J.},
  eprinttype = {pmid},
  eprint = {18029257}
}

@article{kordingCausalInferenceMultisensory2007,
  langid = {english},
  title = {Causal Inference in Multisensory Perception},
  volume = {2},
  issn = {1932-6203},
  doi = {10.1371/journal.pone.0000943},
  abstract = {Perceptual events derive their significance to an animal from their meaning about the world, that is from the information they carry about their causes. The brain should thus be able to efficiently infer the causes underlying our sensory events. Here we use multisensory cue combination to study causal inference in perception. We formulate an ideal-observer model that infers whether two sensory cues originate from the same location and that also estimates their location(s). This model accurately predicts the nonlinear integration of cues by human subjects in two auditory-visual localization tasks. The results show that indeed humans can efficiently infer the causal structure as well as the location of causes. By combining insights from the study of causal inference with the ideal-observer approach to sensory cue combination, we show that the capacity to infer causal structure is not limited to conscious, high-level cognition; it is also performed continually and effortlessly in perception.},
  number = {9},
  journaltitle = {PloS One},
  shortjournal = {PLoS ONE},
  date = {2007},
  pages = {e943},
  keywords = {brain,Auditory Perception,Cues,VISUAL perception,humans,Bayes Theorem,Neurons; Afferent,Space Perception,Task Performance and Analysis},
  author = {Körding, Konrad P. and Beierholm, Ulrik and Ma, Wei Ji and Quartz, Steven and Tenenbaum, Joshua B. and Shams, Ladan},
  eprinttype = {pmid},
  eprint = {17895984},
  pmcid = {PMC1978520}
}

@article{mehtaNeuronalDynamicsPredictive2001,
  langid = {english},
  title = {Neuronal {{Dynamics}} of {{Predictive Coding}}},
  volume = {7},
  issn = {1073-8584, 1089-4098},
  url = {http://nro.sagepub.com/content/7/6/490},
  doi = {10.1177/107385840100700605},
  abstract = {A critical task of the central nervous system is to learn causal relationships between stimuli to anticipate events in the future, such as the position of a moving prey or predator. What are the neuronal phenomena underlying anticipation? In this article, I review recent results in hippocampal electrophysiology that shed light on this issue. It is shown that hippocampal spatial receptive fields show large and rapid anticipatory changes in their firing characteristics. These changes are experience- and environment-dependent and can be explained by a computational model based on NMDA-dependent synaptic plasticity during behavior. Striking similarities between the anticipatory network dynamics of widely different neural circuits, such as the hippocampus and primary visual cortex, are discussed. These experimental and theoretical results indicate how the microscopic laws of synaptic plasticity give rise to emergent anticipatory properties of receptive fields and behavior.},
  number = {6},
  journaltitle = {The Neuroscientist},
  shortjournal = {Neuroscientist},
  urldate = {2016-06-14},
  date = {2001-01-12},
  pages = {490-495},
  keywords = {Learning,Direction selectivity,Hippocampus,LTP,Place fields,Tetrodes},
  author = {Mehta, Mayank R.},
  file = {D\:\\Sauve\\Zotero\\storage\\98HHX7G4\\490.html},
  eprinttype = {pmid},
  eprint = {11765126}
}

@article{hohwyPredictiveCodingExplains2008,
  title = {Predictive Coding Explains Binocular Rivalry: {{An}} Epistemological Review},
  volume = {108},
  issn = {0010-0277},
  url = {http://www.sciencedirect.com/science/article/pii/S0010027708001327},
  doi = {10.1016/j.cognition.2008.05.010},
  shorttitle = {Predictive Coding Explains Binocular Rivalry},
  abstract = {Binocular rivalry occurs when the eyes are presented with different stimuli and subjective perception alternates between them. Though recent years have seen a number of models of this phenomenon, the mechanisms behind binocular rivalry are still debated and we still lack a principled understanding of why a cognitive system such as the brain should exhibit this striking kind of behaviour. Furthermore, psychophysical and neurophysiological (single cell and imaging) studies of rivalry are not unequivocal and have proven difficult to reconcile within one framework. This review takes an epistemological approach to rivalry that considers the brain as engaged in probabilistic unconscious perceptual inference about the causes of its sensory input. We describe a simple empirical Bayesian framework, implemented with predictive coding, which seems capable of explaining binocular rivalry and reconciling many findings. The core of the explanation is that selection of one stimulus, and subsequent alternation between stimuli in rivalry occur when: (i) there is no single model or hypothesis about the causes in the environment that enjoys both high likelihood and high prior probability and (ii) when one stimulus dominates, the bottom–up, driving signal for that stimulus is explained away while, crucially, the bottom–up signal for the suppressed stimulus is not, and remains as an unexplained but explainable prediction error signal. This induces instability in perceptual dynamics that can give rise to perceptual transitions or alternations during rivalry.},
  number = {3},
  journaltitle = {Cognition},
  shortjournal = {Cognition},
  urldate = {2016-06-14},
  date = {2008-09},
  pages = {687-701},
  keywords = {predictive coding,Neurophysiology,Learning,Binocular rivalry,Consciousness,Empirical Bayes,Free-energy,Perceptual inference,Psychophysics},
  author = {Hohwy, Jakob and Roepstorff, Andreas and Friston, Karl},
  file = {D\:\\Sauve\\Zotero\\storage\\H29UPUBI\\S0010027708001327.html}
}

@article{wacongneNeuronalModelPredictive2012,
  langid = {english},
  title = {A {{Neuronal Model}} of {{Predictive Coding Accounting}} for the {{Mismatch Negativity}}},
  volume = {32},
  issn = {0270-6474, 1529-2401},
  url = {http://www.jneurosci.org/content/32/11/3665},
  doi = {10.1523/JNEUROSCI.5003-11.2012},
  abstract = {The mismatch negativity (MMN) is thought to index the activation of specialized neural networks for active prediction and deviance detection. However, a detailed neuronal model of the neurobiological mechanisms underlying the MMN is still lacking, and its computational foundations remain debated. We propose here a detailed neuronal model of auditory cortex, based on predictive coding, that accounts for the critical features of MMN. The model is entirely composed of spiking excitatory and inhibitory neurons interconnected in a layered cortical architecture with distinct input, predictive, and prediction error units. A spike-timing dependent learning rule, relying upon NMDA receptor synaptic transmission, allows the network to adjust its internal predictions and use a memory of the recent past inputs to anticipate on future stimuli based on transition statistics. We demonstrate that this simple architecture can account for the major empirical properties of the MMN. These include a frequency-dependent response to rare deviants, a response to unexpected repeats in alternating sequences (ABABAA…), a lack of consideration of the global sequence context, a response to sound omission, and a sensitivity of the MMN to NMDA receptor antagonists. Novel predictions are presented, and a new magnetoencephalography experiment in healthy human subjects is presented that validates our key hypothesis: the MMN results from active cortical prediction rather than passive synaptic habituation.},
  number = {11},
  journaltitle = {The Journal of Neuroscience},
  shortjournal = {J. Neurosci.},
  urldate = {2016-06-14},
  date = {2012-03-14},
  pages = {3665-3678},
  author = {Wacongne, Catherine and Changeux, Jean-Pierre and Dehaene, Stanislas},
  file = {D\:\\Sauve\\Zotero\\storage\\PZJG63ZB\\Wacongne et al. - 2012 - A Neuronal Model of Predictive Coding Accounting f.pdf;D\:\\Sauve\\Zotero\\storage\\FHGNCNZD\\3665.html},
  eprinttype = {pmid},
  eprint = {22423089}
}

@article{vuustPredictiveCodingMusic2009,
  title = {Predictive Coding of Music – {{Brain}} Responses to Rhythmic Incongruity},
  volume = {45},
  issn = {0010-9452},
  url = {http://www.sciencedirect.com/science/article/pii/S0010945208002499},
  doi = {10.1016/j.cortex.2008.05.014},
  abstract = {During the last decades, models of music processing in the brain have mainly discussed the specificity of brain modules involved in processing different musical components. We argue that predictive coding offers an explanatory framework for functional integration in musical processing. Further, we provide empirical evidence for such a network in the analysis of event-related MEG-components to rhythmic incongruence in the context of strong metric anticipation. This is seen in a mismatch negativity (MMNm) and a subsequent P3am component, which have the properties of an error term and a subsequent evaluation in a predictive coding framework. There were both quantitative and qualitative differences in the evoked responses in expert jazz musicians compared with rhythmically unskilled non-musicians. We propose that these differences trace a functional adaptation and/or a genetic pre-disposition in experts which allows for a more precise rhythmic prediction.},
  number = {1},
  journaltitle = {Cortex},
  shortjournal = {Cortex},
  series = {Special {{Issue}} on "{{The Rhythmic Brain}}"},
  urldate = {2016-06-14},
  date = {2009-01},
  pages = {80-92},
  keywords = {predictive coding,Music,MEG,meter,MMN},
  author = {Vuust, Peter and Ostergaard, Leif and Pallesen, Karen Johanne and Bailey, Christopher and Roepstorff, Andreas},
  file = {D\:\\Sauve\\Zotero\\storage\\8I2Z38VS\\S0010945208002499.html}
}

@article{largeResonancePerceptionMusical1994,
  title = {Resonance and the {{Perception}} of {{Musical Meter}}},
  volume = {6},
  issn = {0954-0091},
  url = {http://dx.doi.org/10.1080/09540099408915723},
  doi = {10.1080/09540099408915723},
  abstract = {Many connectionist approaches to musical expectancy and music composition let the question of ‘What next?’ overshadow the equally important question of ‘When next?’. One cannot escape the latter question, one of temporal structure, when considering the perception of musical meter. We view the perception of metrical structure as a dynamic process where the temporal organization of external musical events synchronizes, or entrains, a listener's internal processing mechanisms. This article introduces a novel connectionist unit, based upon a mathematical model of entrainment, capable of phase- and frequency-locking to periodic components of incoming rhythmic patterns. Networks of these units can self-organize temporally structured responses to rhythmic patterns. The resulting network behavior embodies the perception of metrical structure. The article concludes with a discussion of the implications of our approach for theories of metrical structure and musical expectancy.},
  number = {2-3},
  journaltitle = {Connection Science},
  urldate = {2016-06-14},
  date = {1994-01-01},
  pages = {177-208},
  author = {Large, Edward and Kolen, John},
  file = {D\:\\Sauve\\Zotero\\storage\\ZXSQZ88V\\09540099408915723.html}
}

@article{desainComposableTheoryRhythm1992,
  langid = {english},
  title = {A ({{De}}){{Composable Theory}} of {{Rhythm Perception}}},
  volume = {9},
  issn = {0730-7829, 1533-8312},
  url = {http://mp.ucpress.edu/content/9/4/439},
  doi = {10.2307/40285564},
  abstract = {A definition is given of expectancy of events projected into the future by a complex temporal sequence. The definition can be decomposed into basic expectancy components projected by each time interval implicit in the sequence. A preliminary formulation of these basic curves is proposed and the (de) composition method is stated in a formalized, mathematical way. The resulting expectancy of complex temporal patterns can be used to model such diverse topics as categorical rhythm perception, clock and meter inducement, rhythmicity, and the similarity of temporal sequences. Besides expectancy projected into the future, the proposed measure can be projected back into the past as well, generating reinforcement of past events by new data. The consistency of the predictions of the theory with some findings in categorical rhythm perception is shown.},
  number = {4},
  journaltitle = {Music Perception: An Interdisciplinary Journal},
  urldate = {2016-06-13},
  date = {1992-07-01},
  pages = {439-454},
  author = {Desain, Peter},
  file = {D\:\\Sauve\\Zotero\\storage\\JMGS77W3\\439.html}
}

@article{zantoNeuralCorrelatesRhythmic2006,
  title = {Neural Correlates of Rhythmic Expectancy},
  volume = {2},
  issn = {1895-1171},
  url = {http://newacp.vizja.pl/en/download-pdf/volume/2/issue/2/id/20},
  doi = {10.2478/v10053-008-0057-5},
  number = {2},
  journaltitle = {Advances in Cognitive Psychology},
  urldate = {2016-06-13},
  date = {2006-01-01},
  pages = {221-231},
  author = {Zanto, Theodore P. and Snyder, Joel S. and Large, Edward W.}
}

@article{henryLowFrequencyNeuralOscillations2014,
  title = {Low-{{Frequency Neural Oscillations Support Dynamic Attending}} in {{Temporal Context}}},
  volume = {2},
  issn = {2213-4468},
  url = {http://booksandjournals.brillonline.com/content/journals/10.1163/22134468-00002011},
  doi = {10.1163/22134468-00002011},
  abstract = {Behaviorally relevant environmental stimuli are often characterized by some degree of temporal regularity. Dynamic attending theory provides a framework for explaining how perception of stimulus events is affected by the temporal context within which they occur. However, the precise neural implementation of dynamic attending remains unclear. Here, we provide a suggestion for a potential neural implementation of dynamic attending by appealing to low-frequency neural oscillations. The current review will familiarize the reader with the basic theoretical tenets of dynamic attending theory, and review empirical work supporting predictions derived from the theory. The potential neural implementation of dynamic attending theory with respect to low-frequency neural oscillations will be outlined, covering stimulus processing in regular and irregular contexts. Finally, we will provide some more speculative connections between dynamic attending and neural oscillations, and suggest further avenues for future research.},
  number = {1},
  journaltitle = {Timing \& Time Perception},
  urldate = {2016-06-13},
  date = {2014-01-01},
  pages = {62-86},
  keywords = {continuous processing,Dynamic attending theory,nested oscillations,neural oscillations,rhythmic processing},
  author = {Henry, Molly J. and Herrmann, Björn},
  file = {D\:\\Sauve\\Zotero\\storage\\D8WG5EZ5\\Henry and Herrmann - 2014 - Low-Frequency Neural Oscillations Support Dynamic .pdf;D\:\\Sauve\\Zotero\\storage\\AU2TEFU9\\22134468-00002011.html}
}

@article{jonesTimeOurLost1976,
  title = {Time, Our Lost Dimension: {{Toward}} a New Theory of Perception, Attention, and Memory},
  volume = {83},
  issn = {1939-1471(Electronic);0033-295X(Print)},
  doi = {10.1037/0033-295X.83.5.323},
  shorttitle = {Time, Our Lost Dimension},
  abstract = {Presents a theory of perception and attention that emphasizes the relational nature of perceptual invariants and has been developed within the context of auditory pattern research. Part 1 of the theory examines world pattern structure; Part 2 describes interaction of organisms with pattern structure. In Part 1, world patterns are subjectively represented as nested relations within a multidimensional space defined by pitch, loudness, and time. But dependency of these defining dimensions means that a pattern's time scale determines the serial integrity of its pitch/loudness structure. Part 2 proposes a time scale for living things that is manifest in graded perceptual rhythms. These rhythms can be synchronized to corresponding nested time zones within world pattern structure. Related assumptions about the deployment of physical energy across time zones and cognitive locations of perceptual rhythms lead to a simple, but general, attentional theory. Theoretical support, found in research with tone patterns, speech, and sequences of noise, is cited. Beyond this focal research, the theory offers a general framework for understanding diverse phenomena that range from speech perception and aphasia to sleep, growth, and time estimation. (11/2 p ref)},
  number = {5},
  journaltitle = {Psychological Review},
  date = {1976},
  pages = {323-355},
  keywords = {time perception,*Attention,*Auditory Perception,*Memory,*Speech Perception,*Stimulus Variability},
  author = {Jones, Mari R.}
}

@article{jonesAttentionTiming2004,
  title = {Attention and Timing},
  journaltitle = {Ecological psychoacoustics},
  date = {2004},
  pages = {49-85},
  author = {Jones, M. R.}
}

@article{grahnFindingFeelingMusical2013,
  langid = {english},
  title = {Finding and {{Feeling}} the {{Musical Beat}}: {{Striatal Dissociations}} between {{Detection}} and {{Prediction}} of {{Regularity}}},
  volume = {23},
  issn = {1047-3211, 1460-2199},
  url = {http://cercor.oxfordjournals.org/content/23/4/913},
  doi = {10.1093/cercor/bhs083},
  shorttitle = {Finding and {{Feeling}} the {{Musical Beat}}},
  abstract = {Perception of temporal patterns is critical for speech, movement, and music. In the auditory domain, perception of a regular pulse, or beat, within a sequence of temporal intervals is associated with basal ganglia activity. Two alternative accounts of this striatal activity are possible: “searching” for temporal regularity in early stimulus processing stages or “prediction’ of the timing of future tones after the beat is found (relying on continuation of an internally generated beat). To resolve between these accounts, we used functional magnetic resonance imaging (fMRI) to investigate different stages of beat perception. Participants heard a series of beat and nonbeat (irregular) monotone sequences. For each sequence, the preceding sequence provided a temporal beat context for the following sequence. Beat sequences were preceded by nonbeat sequences, requiring the beat to be found anew (“beat finding” condition), or by beat sequences with the same beat rate (“beat continuation”), or a different rate (“beat adjustment”). Detection of regularity is highest during beat finding, whereas generation and prediction are highest during beat continuation. We found the greatest striatal activity for beat continuation, less for beat adjustment, and the least for beat finding. Thus, the basal ganglia's response profile suggests a role in beat prediction, not in beat finding.},
  number = {4},
  journaltitle = {Cerebral Cortex},
  shortjournal = {Cereb. Cortex},
  urldate = {2016-06-13},
  date = {2013-01-04},
  pages = {913-921},
  keywords = {Prediction,Auditory Perception,Music,Rhythm,timing,fMRI,basal ganglia,beat perception},
  author = {Grahn, Jessica A. and Rowe, James B.},
  file = {D\:\\Sauve\\Zotero\\storage\\7K9273XS\\Grahn and Rowe - 2013 - Finding and Feeling the Musical Beat Striatal Dis.pdf;D\:\\Sauve\\Zotero\\storage\\PA3FHNBW\\913.html},
  eprinttype = {pmid},
  eprint = {22499797}
}

@article{rohenkohlCombiningSpatialTemporal2014,
  langid = {english},
  title = {Combining Spatial and Temporal Expectations to Improve Visual Perception},
  volume = {14},
  issn = {1534-7362},
  url = {http://jov.arvojournals.org/Article.aspx?doi=10.1167/14.4.8},
  doi = {10.1167/14.4.8},
  number = {4},
  journaltitle = {Journal of Vision},
  urldate = {2016-06-13},
  date = {2014-04-10},
  pages = {8-8},
  author = {Rohenkohl, G. and Gould, I. C. and Pessoa, J. and Nobre, A. C.}
}

@article{fujiokaBetaBandOscillationsRepresent2015,
  langid = {english},
  title = {Beta-{{Band Oscillations Represent Auditory Beat}} and {{Its Metrical Hierarchy}} in {{Perception}} and {{Imagery}}},
  volume = {35},
  issn = {0270-6474, 1529-2401},
  url = {http://www.jneurosci.org/content/35/45/15187},
  doi = {10.1523/JNEUROSCI.2397-15.2015},
  abstract = {Dancing to music involves synchronized movements, which can be at the basic beat level or higher hierarchical metrical levels, as in a march (groups of two basic beats, one–two–one–two …) or waltz (groups of three basic beats, one–two–three–one–two–three …). Our previous human magnetoencephalography studies revealed that the subjective sense of meter influences auditory evoked responses phase locked to the stimulus. Moreover, the timing of metronome clicks was represented in periodic modulation of induced (non-phase locked) β-band (13–30 Hz) oscillation in bilateral auditory and sensorimotor cortices. Here, we further examine whether acoustically accented and subjectively imagined metric processing in march and waltz contexts during listening to isochronous beats were reflected in neuromagnetic β-band activity recorded from young adult musicians. First, we replicated previous findings of beat-related β-power decrease at 200 ms after the beat followed by a predictive increase toward the onset of the next beat. Second, we showed that the β decrease was significantly influenced by the metrical structure, as reflected by differences across beat type for both perception and imagery conditions. Specifically, the β-power decrease associated with imagined downbeats (the count “one”) was larger than that for both the upbeat (preceding the count “one”) in the march, and for the middle beat in the waltz. Moreover, beamformer source analysis for the whole brain volume revealed that the metric contrasts involved auditory and sensorimotor cortices; frontal, parietal, and inferior temporal lobes; and cerebellum. We suggest that the observed β-band activities reflect a translation of timing information to auditory–motor coordination.
SIGNIFICANCE STATEMENT With magnetoencephalography, we examined β-band oscillatory activities around 20 Hz while participants listened to metronome beats and imagined musical meters such as a march and waltz. We demonstrated that β-band event-related desynchronization in the auditory cortex differentiates between beat positions, specifically between downbeats and the following beat. This is the first demonstration of β-band oscillations related to hierarchical and internalized timing information. Moreover, the meter representation in the β oscillations was widespread across the brain, including sensorimotor and premotor cortices, parietal lobe, and cerebellum. The results extend current understanding of the role of β oscillations in neural processing of predictive timing.},
  number = {45},
  journaltitle = {The Journal of Neuroscience},
  shortjournal = {J. Neurosci.},
  urldate = {2016-06-13},
  date = {2015-11-11},
  pages = {15187-15198},
  keywords = {predictive coding,magnetoencephalography,ERD,event-related desynchronization,timing processing},
  author = {Fujioka, Takako and Ross, Bernhard and Trainor, Laurel J.},
  file = {D\:\\Sauve\\Zotero\\storage\\AVD7QQMN\\Fujioka et al. - 2015 - Beta-Band Oscillations Represent Auditory Beat and.pdf;D\:\\Sauve\\Zotero\\storage\\TW2PMUVJ\\15187.html},
  eprinttype = {pmid},
  eprint = {26558788}
}

@article{jonesDynamicPatternStructure1987,
  langid = {english},
  title = {Dynamic Pattern Structure in Music: {{Recent}} Theory and Research},
  volume = {41},
  issn = {0031-5117, 1532-5962},
  url = {http://link.springer.com/article/10.3758/BF03210494},
  doi = {10.3758/BF03210494},
  shorttitle = {Dynamic Pattern Structure in Music},
  abstract = {Recent theory and research addressed to dynamic pattern structure in music is reported. Dynamic pattern structure refers to the ways in which rhythm and melody combine; it is summarized here in terms of the constructof joint accent structure. Properties of joint accent structures involving accent couplings and time symmetries are used to address standard psychological issues of pattern similarity and pattern simplicity as they are realized in musical tasks. In particular, experimental work on melody recognition reveals the importance of formalizations concerning dynamic pattern similarities, and other research on reproductions of music-like patterns reveals the potential of a time-based approach to dynamic pattern simplicity.},
  number = {6},
  journaltitle = {Perception \& Psychophysics},
  shortjournal = {Perception \& Psychophysics},
  urldate = {2016-06-13},
  date = {1987-11},
  pages = {621-634},
  keywords = {cognitive psychology},
  author = {Jones, Mari Riess},
  file = {D\:\\Sauve\\Zotero\\storage\\VRB29M52\\Jones - 1987 - Dynamic pattern structure in music Recent theory .pdf;D\:\\Sauve\\Zotero\\storage\\HB94METI\\BF03210494.html}
}

@incollection{HumanBrainElectrophysiology,
  title = {Human {{Brain Electrophysiology}}: {{Evoked Potentials}} and {{Evoked Magnetic Fields}} in {{Science}} and {{Medicine}}}
}

@article{nozaradanIndividualDifferencesRhythmic2016,
  title = {Individual Differences in Rhythmic Cortical Entrainment Correlate with Predictive Behavior in Sensorimotor Synchronization},
  volume = {6},
  journaltitle = {Scientific reports},
  date = {2016},
  pages = {20612},
  author = {Nozaradan, Sylvie and Peretz, Isabelle and Keller, Peter E.},
  file = {D\:\\Sauve\\Zotero\\storage\\8F9IT54T\\srep20612.html;D\:\\Sauve\\Zotero\\storage\\DFQAA6ZR\\srep20612.html}
}

@article{salthouseWhatWhenCognitive2004,
  title = {What and When of Cognitive Aging},
  volume = {13},
  number = {4},
  journaltitle = {Current directions in psychological science},
  date = {2004},
  pages = {140--144},
  author = {Salthouse, Timothy A.},
  file = {D\:\\Sauve\\Zotero\\storage\\EZBQ6V67\\Salthouse - 2004 - What and when of cognitive aging.pdf;D\:\\Sauve\\Zotero\\storage\\C5EC45RX\\j.0963-7214.2004.00293.html}
}

@article{rossPhysicalNeuralEntrainment2014,
  langid = {english},
  title = {Physical and Neural Entrainment to Rhythm: Human Sensorimotor Coordination across Tasks and Effector Systems},
  volume = {8},
  issn = {1662-5161},
  url = {https://www.frontiersin.org/articles/10.3389/fnhum.2014.00576/full},
  doi = {10.3389/fnhum.2014.00576},
  shorttitle = {Physical and Neural Entrainment to Rhythm},
  abstract = {The human sensorimotor system can be readily entrained to environmental rhythms, through multiple sensory modalities. In this review, we provide an overview of theories of timekeeping that make this neuroentrainment possible. First, we present recent evidence that contests the assumptions made in classic timekeeper models. The role of state estimation, sensory feedback and movement parameters on the organization of sensorimotor timing are discussed in the context of recent experiments that examined simultaneous timing and force control. This discussion is extended to the study of coordinated multi-effector movements and how they may be entrained.},
  journaltitle = {Frontiers in Human Neuroscience},
  shortjournal = {Front. Hum. Neurosci.},
  urldate = {2018-10-02},
  date = {2014},
  keywords = {Rhythm,force control,neuroentrainment,sensorimotor coordination,state estimation,timekeeping},
  author = {Ross, Jessica Marie and Balasubramaniam, Ramesh},
  file = {D\:\\Sauve\\Zotero\\storage\\SQYG4D2F\\Ross and Balasubramaniam - 2014 - Physical and neural entrainment to rhythm human s.pdf}
}

@article{largeResonatingMusicalRhythm2008,
  title = {Resonating to Musical Rhythm: Theory and Experiment},
  shorttitle = {Resonating to Musical Rhythm},
  journaltitle = {The psychology of time},
  date = {2008},
  pages = {189--232},
  author = {Large, Edward W.},
  file = {D\:\\Sauve\\Zotero\\storage\\TL2HF9LD\\Large - 2008 - Resonating to musical rhythm theory and experimen.pdf;D\:\\Sauve\\Zotero\\storage\\RF3786SF\\books.html}
}

@article{grahnRhythmBeatPerception2007,
  title = {Rhythm and Beat Perception in Motor Areas of the Brain},
  volume = {19},
  number = {5},
  journaltitle = {Journal of cognitive neuroscience},
  date = {2007},
  pages = {893--906},
  author = {Grahn, Jessica A. and Brett, Matthew},
  file = {D\:\\Sauve\\Zotero\\storage\\N8NBHJ4V\\Grahn and Brett - 2007 - Rhythm and beat perception in motor areas of the b.pdf;D\:\\Sauve\\Zotero\\storage\\YQ2RCDH9\\jocn.2007.19.5.html}
}

@article{kellerMultilevelCoordinationStability2008,
  title = {Multilevel Coordination Stability: {{Integrated}} Goal Representations in Simultaneous Intra-Personal and Inter-Agent Coordination},
  volume = {128},
  shorttitle = {Multilevel Coordination Stability},
  number = {2},
  journaltitle = {Acta psychologica},
  date = {2008},
  pages = {378--386},
  author = {Keller, Peter E. and Repp, Bruno H.},
  file = {D\:\\Sauve\\Zotero\\storage\\276NQVSV\\S0001691808000498.html;D\:\\Sauve\\Zotero\\storage\\D3WMMY9N\\PMC2570261.html}
}

@article{daikokuConcurrentStatisticalLearning2019,
  title = {Concurrent Statistical Learning of Ignored and Attended Sound Sequences: {{An MEG}} Study},
  volume = {13},
  shorttitle = {Concurrent Statistical Learning of Ignored and Attended Sound Sequences},
  journaltitle = {Frontiers in Human Neuroscience},
  date = {2019},
  author = {Daikoku, Tatsuya and Yumoto, Masato},
  file = {D\:\\Sauve\\Zotero\\storage\\7XECUIAF\\Daikoku and Yumoto - 2019 - Concurrent statistical learning of ignored and att.pdf;D\:\\Sauve\\Zotero\\storage\\Y3LFD9NJ\\ViewItemOverviewPage.html}
}

@article{phillips-silverEcologyEntrainmentFoundations2010,
  title = {The Ecology of Entrainment: {{Foundations}} of Coordinated Rhythmic Movement},
  volume = {28},
  shorttitle = {The Ecology of Entrainment},
  number = {1},
  journaltitle = {Music Perception: An Interdisciplinary Journal},
  date = {2010},
  pages = {3--14},
  author = {Phillips-Silver, Jessica and Aktipis, C. Athena and Bryant, Gregory A.},
  file = {D\:\\Sauve\\Zotero\\storage\\7TXTRUNB\\Phillips-Silver et al. - 2010 - The ecology of entrainment Foundations of coordin.pdf;D\:\\Sauve\\Zotero\\storage\\KFZHQVCW\\3.html}
}

@incollection{balasubramaniamTrajectoryFormationTimed2006,
  title = {Trajectory Formation in Timed Repetitive Movements},
  booktitle = {Motor Control and Learning},
  publisher = {{Springer}},
  date = {2006},
  pages = {47--54},
  author = {Balasubramaniam, Ramesh},
  file = {D\:\\Sauve\\Zotero\\storage\\DXKHA72S\\Balasubramaniam - 2006 - Trajectory formation in timed repetitive movements.pdf;D\:\\Sauve\\Zotero\\storage\\FWFBAGXJ\\0-387-28287-4_4.html}
}

@software{toiviainenMIDIToolbox2016,
  title = {{{MIDI Toolbox}} 1.1},
  url = {https://github.com/miditoolbox/1.1},
  date = {2016},
  author = {Toiviainen, Petri and Eerola, Tuomas}
}

@thesis{sauvePredictionPolyphonyModelling2018,
  title = {Prediction in Polyphony: Modelling Musical Auditory Scene Analysis},
  institution = {{Queen Mary University of London}},
  date = {2018-09-10},
  author = {Sauvé, Sarah}
}

@article{nozaradanSelectiveNeuronalEntrainment2012,
  title = {Selective Neuronal Entrainment to the Beat and Meter Embedded in a Musical Rhythm},
  volume = {32},
  number = {49},
  journaltitle = {Journal of Neuroscience},
  date = {2012},
  pages = {17572--17581},
  author = {Nozaradan, Sylvie and Peretz, Isabelle and Mouraux, André},
  file = {D\:\\Sauve\\Zotero\\storage\\MLLYI8FY\\Nozaradan et al. - 2012 - Selective neuronal entrainment to the beat and met.pdf;D\:\\Sauve\\Zotero\\storage\\MLYRD7U7\\17572.html}
}

@article{nozaradanTaggingNeuronalEntrainment2011,
  title = {Tagging the Neuronal Entrainment to Beat and Meter},
  volume = {31},
  number = {28},
  journaltitle = {Journal of Neuroscience},
  date = {2011},
  pages = {10234--10240},
  author = {Nozaradan, Sylvie and Peretz, Isabelle and Missal, Marcus and Mouraux, André},
  file = {D\:\\Sauve\\Zotero\\storage\\5FJTZE5E\\Nozaradan et al. - 2011 - Tagging the neuronal entrainment to beat and meter.pdf;D\:\\Sauve\\Zotero\\storage\\CMBPRNQC\\10234.html}
}

@article{gillinghamOlderAdultsHearing2018,
  title = {Older {{Adults}} with Hearing Loss Have Reductions in Visual, Motor, and Attentional Functioning},
  volume = {10},
  journaltitle = {Frontiers in Aging Neuroscience},
  date = {2018},
  pages = {351},
  author = {Gillingham, Susan and Vallesi, Antonino and Pichora-Fuller, M. Kathleen and Alain, Claude},
  file = {D\:\\Sauve\\Zotero\\storage\\QL69V436\\full.html}
}

@article{hodgesHowWhyDoes2015,
  title = {How and Why Does Music Move Us? {{Answers}} from Psychology and Neuroscience},
  volume = {101},
  shorttitle = {How and Why Does Music Move Us?},
  number = {4},
  journaltitle = {Music Educators Journal},
  date = {2015},
  pages = {41--47},
  author = {Hodges, Donald A. and Wilkins, Robin W.},
  file = {D\:\\Sauve\\Zotero\\storage\\AJE57NYB\\Hodges and Wilkins - 2015 - How and why does music move us Answers from psych.pdf;D\:\\Sauve\\Zotero\\storage\\CICN7MPU\\0027432115575755.html}
}

@article{dedreuRehabilitationExerciseTherapy2012,
  title = {Rehabilitation, Exercise Therapy and Music in Patients with {{Parkinson}}'s Disease: A Meta-Analysis of the Effects of Music-Based Movement Therapy on Walking Ability, Balance and Quality of Life},
  volume = {18},
  shorttitle = {Rehabilitation, Exercise Therapy and Music in Patients with {{Parkinson}}'s Disease},
  journaltitle = {Parkinsonism \& related disorders},
  date = {2012},
  pages = {S114--S119},
  author = {de Dreu, Miek J. and Van Der Wilk, A. S. D. and Poppe, E. and Kwakkel, Gert and van Wegen, Erwin EH},
  options = {useprefix=true},