text:
1-12-01},
  pages = {165-172},
  keywords = {musical training},
  author = {Moreno, Sylvain and Friesen, Deanna and Bialystok, Ellen},
  file = {D\:\\Sauve\\Zotero\\storage\\4BQ6PFA6\\Moreno et al. - 2011 - Effect of Music Training on Promoting Preliteracy .pdf}
}

@article{tsangMusicTrainingReading2011,
  eprinttype = {jstor},
  eprint = {10.1525/mp.2011.29.2.157},
  title = {Music {{Training}} and {{Reading Readiness}}},
  volume = {29},
  issn = {0730-7829},
  doi = {10.1525/mp.2011.29.2.157},
  abstract = {several reports have noted significant associations among phonological awareness, early reading skills, and music perception skills in young children. We examined whether music processing skills differentially predicted reading performance in a broad age range of 69 children with and without formal music training. Pitch perception was correlated with phonological awareness, a finding consistent with the hypothesis that basic auditory processing skills underlie the association between music and reading abilities. Nevertheless, the correlation between music skills and reading skills was affected by the presence of formal music training: pitch discrimination predicted reading ability only in children without formal music training. Studies examining the association between music perception and reading (and perhaps other cognitive domains as well) should not ignore the factor of music training.},
  number = {2},
  journaltitle = {Music Perception: An Interdisciplinary Journal},
  shortjournal = {Music Perception: An Interdisciplinary Journal},
  date = {2011-12-01},
  pages = {157-163},
  keywords = {musical training},
  author = {Tsang, Christine D. and Conrad, Nicole J.},
  file = {D\:\\Sauve\\Zotero\\storage\\JJBFQFNW\\Tsang and Conrad - 2011 - Music Training and Reading Readiness.pdf}
}

@article{rammsayerMusiciansBetterNonmusicians2012,
  eprinttype = {jstor},
  eprint = {10.1525/mp.2012.30.1.85},
  title = {Musicians {{Do Better}} than {{Nonmusicians}} in {{Both Auditory}} and {{Visual Timing Tasks}}},
  volume = {30},
  issn = {0730-7829},
  doi = {10.1525/mp.2012.30.1.85},
  abstract = {the present study was designed to investigate differences in auditory and visual temporal information processing between musicians and nonmusicians. For this purpose, timing performance on a set of six different psychophysical temporal tasks for both the auditory and visual sensory modalities was compared in 40 formally trained musicians and 40 controls without musical experience. Across modalities, superior temporal acuity for musicians compared to nonmusicians could be shown for all temporal tasks except for temporal generalization. When comparing the two sensory modalities, temporal acuity was superior to auditory stimuli as compared to visual stimuli, with the exception of the temporal generalization task in the 1-s range. The overall pattern of our findings is consistent with the notion that musicians' long-lasting intensive music training, starting in childhood, improves general timing ability irrespective of sensory modality.},
  number = {1},
  journaltitle = {Music Perception: An Interdisciplinary Journal},
  shortjournal = {Music Perception: An Interdisciplinary Journal},
  date = {2012-09-01},
  pages = {85-96},
  keywords = {musical training},
  author = {Rammsayer, Thomas H. and Buttkus, Franziska and Altenmüller, Eckart},
  file = {D\:\\Sauve\\Zotero\\storage\\ANKU2WS3\\Rammsayer et al. - 2012 - Musicians Do Better than Nonmusicians in Both Audi.pdf}
}

@article{tardieuPerceptionDyadsImpulsive2012,
  eprinttype = {jstor},
  eprint = {10.1525/mp.2012.30.2.117},
  title = {Perception of {{Dyads}} of {{Impulsive}} and {{Sustained Instrument Sounds}}},
  volume = {30},
  issn = {0730-7829},
  doi = {10.1525/mp.2012.30.2.117},
  abstract = {perception of instrumental blend is important for understanding aspects of orchestration, but no work has studied blends of impulsive and sustained instruments. The first experiment identified the factors that influence the rating of blendedness of dyads formed of one sustained sound and one impulsive sound. Longer attack times and lower spectral centroids increased blend. The contribution of the impulsive sound’s properties to the degree of blend was greater than that of the sustained sound. The second experiment determined the factors that influence similarity ratings among dyads. The mean spectral envelope and the attack time of the dyad best explained the dissimilarity ratings. However, contrary to the first experiment, the spectral envelope of the sustained sound was more important than that of the impulsive sound. Multidimensional scaling of dissimilarity ratings on blended dyads yielded one dimension correlated with the attack time of the dyad and another dimension whose spectral correlate was different for two different clusters within the space, spectral spread for one and spectral flatness for the other, suggesting a combined categorical-analogical organization of the second dimension.},
  number = {2},
  journaltitle = {Music Perception: An Interdisciplinary Journal},
  shortjournal = {Music Perception: An Interdisciplinary Journal},
  date = {2012-12-01},
  pages = {117-128},
  keywords = {timbre},
  author = {Tardieu, Damien and McAdams, Stephen},
  file = {D\:\\Sauve\\Zotero\\storage\\DT7DWEWW\\Tardieu and McAdams - 2012 - Perception of Dyads of Impulsive and Sustained Ins.pdf}
}

@article{marozeauEffectTimbreLoudness2013,
  eprinttype = {jstor},
  eprint = {10.1525/mp.2012.30.3.259},
  title = {The {{Effect}} of {{Timbre}} and {{Loudness}} on {{Melody Segregation}}},
  volume = {30},
  issn = {0730-7829},
  doi = {10.1525/mp.2012.30.3.259},
  abstract = {The aim of this study was to examine the effects of three acoustic parameters on the difficulty of segregating a simple 4-note melody from a background of interleaved distractor notes. Melody segregation difficulty ratings were recorded while three acoustic parameters of the distractor notes were varied separately: intensity, temporal envelope, and spectral envelope. Statistical analyses revealed a significant effect of music training on difficulty rating judgments. For participants with music training, loudness was the most efficient perceptual cue, and no difference was found between the dimensions of timbre influenced by temporal and spectral envelope. For the group of listeners with less music training, both loudness and spectral envelope were the most efficient cues. We speculate that the difference between musicians and nonmusicians may be due to differences in processing the stimuli: musicians may process harmonic sound sequences using brain networks specialized for music, whereas nonmusicians may use speech networks.},
  number = {3},
  journaltitle = {Music Perception: An Interdisciplinary Journal},
  shortjournal = {Music Perception: An Interdisciplinary Journal},
  date = {2013-02-01},
  pages = {259-274},
  keywords = {timbre,streaming},
  author = {Marozeau, Jeremy and Innes-Brown, Hamish and Blamey, Peter J.},
  file = {D\:\\Sauve\\Zotero\\storage\\D33928BG\\Marozeau et al. - 2013 - The Effect of Timbre and Loudness on Melody Segreg.pdf}
}

@article{poudrierCanMusiciansTrack2013,
  eprinttype = {jstor},
  eprint = {10.1525/mp.2013.30.4.369},
  title = {Can {{Musicians Track Two Different Beats Simultaneously}}?},
  volume = {30},
  issn = {0730-7829},
  doi = {10.1525/mp.2013.30.4.369},
  abstract = {The simultaneous presence of different meters is not uncommon in Western art music and the music of various non-Western cultures. However, it is unclear how listeners and performers deal with this situation, and whether it is possible to cognitively establish and maintain different beats simultaneously without integrating them into a single metric framework. The present study is an attempt to address this issue empirically. Two rhythms, distinguished by pitch register and representing different meters (2/4 and 6/8), were presented simultaneously in various phase relationships, and participants (who were classically trained musicians) had to judge whether a probe fell on the beat in one or both rhythms. In a selective attention condition, they had to attend to one rhythm and to ignore the other, whereas in a divided attention condition, they had to attend to both. In Experiment 1, participants performed significantly better in the divided attention condition than predicted if they had been able to attend to only one rhythm at a time. In Experiments 2 and 3, however, which used more complex combinations of rhythms, performance did not differ significantly from chance. These results suggest that in Experiment 1 participants relied on the composite beat pattern (i.e., a nonisochronous sequence corresponding to the serial ordering of the two underlying beats) rather than tracking the two beats independently, while in Experiments 2 and 3, the level of complexity of the composite beat pattern may have prevented participants from tracking both beats simultaneously.},
  number = {4},
  journaltitle = {Music Perception: An Interdisciplinary Journal},
  shortjournal = {Music Perception: An Interdisciplinary Journal},
  date = {2013-04-01},
  pages = {369-390},
  keywords = {rhythm,musical training},
  author = {Poudrier, Ève and Repp, Bruno H.},
  file = {D\:\\Sauve\\Zotero\\storage\\FW46AMFJ\\Poudrier and Repp - 2013 - Can Musicians Track Two Different Beats Simultaneo.pdf}
}

@article{habibiCorticalActivityPerception2013,
  eprinttype = {jstor},
  eprint = {10.1525/mp.2013.30.5.463},
  title = {Cortical {{Activity During Perception}} of {{Musical Pitch}}: {{Comparing Musicians}} and {{Nonmusicians}}},
  volume = {30},
  issn = {0730-7829},
  doi = {10.1525/mp.2013.30.5.463},
  shorttitle = {Cortical {{Activity During Perception}} of {{Musical Pitch}}},
  abstract = {This study investigates the effects of music training on brain activity to violations of melodic expectancies. We recorded behavioral and event-related brain potential (ERP) responses of musicians and nonmusicians to discrepancies of pitch between pairs of unfamiliar melodies based on Western classical rules. Musicians detected pitch deviations significantly better than nonmusicians. In musicians compared to nonmusicians, auditory cortical potentials to notes but not unrelated warning tones exhibited enhanced P200 amplitude generally, and in response to pitch deviations enhanced amplitude for N150 and P300 (P3a) but not N100 was observed. P3a latency was shorter in musicians compared to nonmusicians. Both the behavioral and cortical activity differences observed between musicians and nonmusicians in response to deviant notes were significant with stimulation of the right but not the left ear, suggesting that left-sided brain activity differentiated musicians from nonmusicians. The enhanced amplitude of N150 among musicians with right ear stimulation was positively correlated with earlier age onset of music training. Our data support the notion that long-term music training in musicians leads to functional reorganization of auditory brain systems, and that these effects are potentiated by early age onset of training.},
  number = {5},
  journaltitle = {Music Perception: An Interdisciplinary Journal},
  shortjournal = {Music Perception: An Interdisciplinary Journal},
  date = {2013-06-01},
  pages = {463-479},
  keywords = {musical training},
  author = {Habibi, Assal and Wirantana, Vinthia and Starr, Arnold},
  file = {D\:\\Sauve\\Zotero\\storage\\G37H28EN\\Habibi et al. - 2013 - Cortical Activity During Perception of Musical Pit.pdf}
}

@article{londonBuildingRepresentativeCorpus2013,
  eprinttype = {jstor},
  eprint = {10.1525/mp.2013.31.1.68},
  title = {Building a {{Representative Corpus}} of {{Classical Music}}},
  volume = {31},
  issn = {0730-7829},
  doi = {10.1525/mp.2013.31.1.68},
  abstract = {This paper presents an object lesson in the challenges and considerations involved in assembling a musical corpus for empirical research. It develops a model for the construction of a representative corpus of classical music of the “common practice period” (1700-1900), using both specific composers as well as broader historical styles and musical genres (e.g., symphony, chamber music, songs, operas) as its sampling parameters. Five sources were used in the construction of the model: (a) The Oxford History of Western Music by Richard Taruskin (2005), (b) amalgamated Orchestral Repertoire Reports for the years 2000-2007, from the League of American Orchestras, (c) a list of titles from the Naxos.com “Music in the Movies” web-based library, (d) Barlow and Morgenstern’s Dictionary of Musical Themes (1948), and (e) for the composers listed in sources (a)-(d), counts of the number of recordings each has available from Amazon.com. General considerations for these sources are discussed, and specific aspects of each source are then detailed. Intersource agreement is assessed, showing strong consensus among all sources, save for the Taruskin History. Using the Amazon.com data to determine weighting factors for each parameter, a preliminary sampling model is proposed. Including adequate genre representation leads to a corpus of ≈300 pieces, suggestive of the minimum size for an adequately representative corpus of classical music. The approaches detailed here may be applied to more specialized contexts, such as the music of a particular geographic region, historical era, or genre.},
  number = {1},
  journaltitle = {Music Perception: An Interdisciplinary Journal},
  shortjournal = {Music Perception: An Interdisciplinary Journal},
  date = {2013-09-01},
  pages = {68-90},
  keywords = {corpus},
  author = {London, Justin},
  file = {D\:\\Sauve\\Zotero\\storage\\76ES9MS7\\London - 2013 - Building a Representative Corpus of Classical Musi.pdf}
}

@article{duaneAuditoryStreamingCues2013,
  eprinttype = {jstor},
  eprint = {10.1525/mp.2013.31.1.46},
  title = {Auditory {{Streaming Cues}} in {{Eighteenth}}- and {{Early Nineteenth}}-{{Century String Quartets}}: {{A Corpus}}-{{Based Study}}},
  volume = {31},
  issn = {0730-7829},
  doi = {10.1525/mp.2013.31.1.46},
  shorttitle = {Auditory {{Streaming Cues}} in {{Eighteenth}}- and {{Early Nineteenth}}-{{Century String Quartets}}},
  abstract = {This study uses a corpus of excerpts from eighteenth- and early nineteenth-century string quartets to examine how four acoustic cues—onset and offset synchrony, pitch comodulation, and spectral overlap—help to afford the perception of auditory streams. Two types of streams are dealt with: textural streams, which house individual string parts or groups of them that function as single musical units; and music streams, which typically house the music as a whole and distinguish it from other simultaneous sounds of music. The corpus contained real excerpts from classical string quartets as well as synthesized excerpts in which lines from two different quartets were combined. Both the author and ten survey respondents analyzed the corpus, identifying likely textural streams. Each of the four acoustic cues was modeled computationally, in order to assess its prevalence in textural and music streams found in the corpus. The results suggested that some cues are more important than others in establishing textural streams, music streams, or both.},
  number = {1},
  journaltitle = {Music Perception: An Interdisciplinary Journal},
  shortjournal = {Music Perception: An Interdisciplinary Journal},
  date = {2013-09-01},
  pages = {46-58},
  keywords = {model,streaming},
  author = {Duane, Ben},
  file = {D\:\\Sauve\\Zotero\\storage\\6XVTIEUP\\Duane - 2013 - Auditory Streaming Cues in Eighteenth- and Early N.pdf}
}

@article{albrechtUseLargeCorpora2013,
  eprinttype = {jstor},
  eprint = {10.1525/mp.2013.31.1.59},
  title = {The {{Use}} of {{Large Corpora}} to {{Train}} a {{New Type}} of {{Key}}-{{Finding Algorithm}}: {{An Improved Treatment}} of the {{Minor Mode}}},
  volume = {31},
  issn = {0730-7829},
  doi = {10.1525/mp.2013.31.1.59},
  shorttitle = {The {{Use}} of {{Large Corpora}} to {{Train}} a {{New Type}} of {{Key}}-{{Finding Algorithm}}},
  abstract = {Computational models of key estimation have struggled to emulate the accuracy levels of human listeners, especially with pieces in the minor mode. The current study proposes a new key-finding algorithm, which utilizes Euclidean distance, rather than correlation, and is trained on the statistical properties of a large musical sample. A model was trained on a dataset of 490 pieces encoded into the Humdrum “kern” format, in which the key was known. This model was tested on a reserve dataset of 492 pieces, and was found to have a significantly higher overall accuracy than previous models. In addition, we determined separate accuracy ratings for major mode and minor mode works for the existing key-finding models and report that most existing models provide greater accuracy for major mode rather than minor mode works. The proposed key-finding algorithm performs more accurately on minor mode works than all of the other models tested, although it does not perform significantly better than the models created by Aarden (2003), Bellman (2005), or Sapp (2011). Finally, an algorithm that combines the Aarden-Essen model (2003) and the proposed algorithm is suggested, and results in significantly more accurate key assessments than all of the other extant models.},
  number = {1},
  journaltitle = {Music Perception: An Interdisciplinary Journal},
  shortjournal = {Music Perception: An Interdisciplinary Journal},
  date = {2013-09-01},
  pages = {59-67},
  keywords = {model,key-finding},
  author = {Albrecht, Joshua and Shanahan, Daniel},
  file = {D\:\\Sauve\\Zotero\\storage\\U35VCPX5\\Albrecht and Shanahan - 2013 - The Use of Large Corpora to Train a New Type of Ke.pdf}
}

@article{aksentijevicRatespecificEntrainmentHarmonic2014,
  eprinttype = {jstor},
  eprint = {10.1525/mp.2014.31.4.316},
  title = {Rate-Specific {{Entrainment}} of {{Harmonic Pitch}}: {{Effects}} of {{Music Training}}},
  volume = {31},
  issn = {0730-7829},
  doi = {10.1525/mp.2014.31.4.316},
  shorttitle = {Rate-Specific {{Entrainment}} of {{Harmonic Pitch}}},
  abstract = {Recent evidence indicates that synchronized brain oscillations in the low gamma range (∼33 Hz) are involved in the perceptual integration of harmonic complex tones. At this rate, reaction times (RTs) are faster to targets that are not harmonically related to the prime. In the current study, we investigated the presence of this rate-specific inharmonic pop-out in groups of musicians and nonmusicians. We found that rather than increasing the salience of inharmonic targets, 33-pps priming reduced the salience of harmonic targets. This effect was observed in nonmusicians only, suggesting that music training reduces the role of oscillatory coding mechanisms in the perceptual integration of harmonic information.},
  number = {4},
  journaltitle = {Music Perception: An Interdisciplinary Journal},
  shortjournal = {Music Perception: An Interdisciplinary Journal},
  date = {2014-04-01},
  pages = {316-322},
  keywords = {musical training},
  author = {Aksentijevic, Aleksandar and Smith, Anthony and Elliott, Mark A.},
  file = {D\:\\Sauve\\Zotero\\storage\\ZS78UXF6\\Aksentijevic et al. - 2014 - Rate-specific Entrainment of Harmonic Pitch Effec.pdf}
}

@article{caoSimilarityFamiliesMusical2014,
  eprinttype = {jstor},
  eprint = {10.1525/mp.2014.31.5.444},
  title = {Similarity and {{Families}} of {{Musical Rhythms}}},
  volume = {31},
  issn = {0730-7829},
  doi = {10.1525/mp.2014.31.5.444},
  abstract = {What determines the similarity of musical rhythms? According to the “family” theory, which this paper presents, one factor is the temporal sequence of the onsets of notes: rhythms with the same pattern of interonset intervals tend to sound similar. Another factor is meter. It determines whether or not rhythms are members of the same family, where families depend only on three types of possibility for each metrical unit. If the beat is the relevant metrical unit, these three possibilities are: 1) a note starts on a beat and therefore reinforces the meter, 2) a syncopation anticipates the beat and lasts through its onset and therefore disturbs the meter, and 3) all other events such as rests or ties that start on the beat provided no syncopation anticipates them. Two experiments showed that similarity between rhythms depends on both their temporal patterns of onsets and their families, which combined give a better account than edit distance – a metric of the distance apart of two strings of symbols. Two further experiments examined the errors that participants made in reproducing rhythms by tapping them. Errors more often yielded rhythms in the same family as the originals than rhythms in a different family.},
  number = {5},
  journaltitle = {Music Perception: An Interdisciplinary Journal},
  shortjournal = {Music Perception: An Interdisciplinary Journal},
  date = {2014-06-01},
  pages = {444-469},
  keywords = {rhythm},
  author = {Cao, Erica and Lotstein, Max and Johnson-Laird, Philip N.},
  file = {D\:\\Sauve\\Zotero\\storage\\WKXIAPET\\Cao et al. - 2014 - Similarity and Families of Musical Rhythms.pdf}
}

@article{brozePolyphonicVoiceMultiplicity2014,
  eprinttype = {jstor},
  eprint = {10.1525/mp.2014.32.2.143},
  title = {Polyphonic {{Voice Multiplicity}}, {{Numerosity}}, and {{Musical Emotion Perception}}},
  volume = {32},
  issn = {0730-7829},
  abstract = {Three experimental studies suggest that music with more musical voices (higher voice multiplicity) tends to be perceived more positively. In the first experiment, participants heard brief extracts from polyphonic keyboard works representing conditions of one, two, three, or four concurrent musical voices. Two basic emotions (happiness and sadness) and two social emotions (pride and loneliness) were rated on a continuous scale. Listeners rated excerpts with higher voice multiplicity as sounding more happy, less sad, less lonely, and more proud. Results from a second experiment indicate that this effect might extend to positive and negative emotions more generally. In a third experiment, participants were asked to count (denumerate) the number of musical voices in the same stimuli. Denumeration responses corresponded closely with ratings for both positive and negative emotions, suggesting that a single musical feature or percept might play a role in both. Possible roles for both symbolic and psychoacoustic musical features are discussed.},
  number = {2},
  journaltitle = {Music Perception: An Interdisciplinary Journal},
  shortjournal = {Music Perception: An Interdisciplinary Journal},
  date = {2014-12-01},
  pages = {143-159},
  keywords = {emotion,polyphony},
  author = {Broze, Yuri and Paul, Brandon T. and Allen, Erin T. and Guarna, Kathleen M.},
  file = {D\:\\Sauve\\Zotero\\storage\\3DHNU7R5\\Broze et al. - 2014 - Polyphonic Voice Multiplicity, Numerosity, and Mus.pdf}
}

@article{zacharakisInterlanguageUnificationMusical2015,
  eprinttype = {jstor},
  eprint = {10.1525/mp.2015.32.4.394},
  title = {An {{Interlanguage Unification}} of {{Musical Timbre}}: {{Bridging Semantic}}, {{Perceptual}}, and {{Acoustic Dimensions}}},
  volume = {32},
  issn = {0730-7829},
  doi = {10.1525/mp.2015.32.4.394},
  shorttitle = {An {{Interlanguage Unification}} of {{Musical Timbre}}},
  abstract = {The current study expands our previous work on interlanguage musical timbre semantics by examining the relationship between semantics and perception of timbre. Following Zacharakis, Pastiadis, and Reiss (2014), a pairwise dissimilarity listening test involving participants from two separate linguistic groups (Greek and English) was conducted. Subsequent multidimensional scaling analysis produced a 3D perceptual timbre space for each language. The comparison between perceptual spaces suggested that timbre perception is unaffected by native language. Additionally, comparisons between semantic and perceptual spaces revealed substantial similarities which suggest that verbal descriptions can convey a considerable amount of perceptual information. The previously determined semantic labels “auditory texture” and “luminance” featured the highest associations with perceptual dimensions for both languages. “Auditory mass” failed to show any strong correlations. Acoustic analysis identified energy distribution of harmonic partials, spectral detail, temporal/spectrotemporal characteristics and the fundamental frequency as the most salient acoustic correlates of perceptual dimensions.},
  number = {4},
  journaltitle = {Music Perception: An Interdisciplinary Journal},
  shortjournal = {Music Perception: An Interdisciplinary Journal},
  date = {2015-04-01},
  pages = {394-412},
  keywords = {timbre},
  author = {Zacharakis, Asterios and Pastiadis, Konstantinos and Reiss, Joshua D.},
  file = {D\:\\Sauve\\Zotero\\storage\\2CE4THRT\\Zacharakis et al. - 2015 - An Interlanguage Unification of Musical Timbre Br.pdf}
}

@article{schutzSurveyingTemporalStructure2014,
  eprinttype = {jstor},
  eprint = {10.1525/mp.2014.31.3.288},
  title = {Surveying the {{Temporal Structure}} of {{Sounds Used}} in {{Music Perception}}},
  volume = {31},
  issn = {0730-7829},
  doi = {10.1525/mp.2014.31.3.288},
  abstract = {Recent work from our lab illustrates amplitude envelope’s crucial role in both perceptual (Schutz, 2009) and cognitive (Schutz \& Stefanucci, 2010) processing. Consequently, we surveyed the amplitude envelopes of sounds used in Music Perception, categorizing them as either flat (i.e., trapezoidal shape), percussive (aka “damped” or “decaying”), other, or undefined. Curiously, the undefined category represented the largest percentage of sounds observed, with 35\% lacking definition of this important property (approximately 27\% were percussive, 27\% flat, and 11\% other). This omission of relevant information was not indicative of general inattention to methodological detail. Studies using tones with undefined amplitude envelopes generally defined other properties such as spectral structure (85\%), duration (80\%), and even model of headphones/speakers (65\%) at high rates. Consequently, this targeted omission is intriguing, and suggests amplitude envelope is an area ripe for future research.},
  number = {3},
  journaltitle = {Music Perception: An Interdisciplinary Journal},
  shortjournal = {Music Perception: An Interdisciplinary Journal},
  date = {2014-02-01},
  pages = {288-296},
  author = {Schutz, Michael and Vaisberg, Jonathan M.},
  file = {D\:\\Sauve\\Zotero\\storage\\H8TANJ9A\\Schutz and Vaisberg - 2014 - Surveying the Temporal Structure of Sounds Used in.pdf}
}

@online{centerforhistoryandnewmediaZoteroQuickStart,
  title = {Zotero {{Quick Start Guide}}},
  url = {http://zotero.org/support/quick_start_guide},
  author = {{Center for History and New Media}}
}

@article{looiEffectCochlearImplantation2008,
  title = {The Effect of Cochlear Implantation on Music Perception by Adults with Usable Pre-Operative Acoustic Hearing},
  volume = {47},
  issn = {1499-2027},
  doi = {10.1080/14992020801955237},
  abstract = {This study investigated the change in music perception of adults undergoing cochlear implantation. Nine adults scheduled for a cochlear implant (CI) were assessed on a music test battery both prior to implantation (whilst using hearing aids; HAs), and three months after activation of their CIs. The results were compared with data from a group of longer-term CI users and a group of HA-only users. The tests comprised assessments of rhythm, pitch, instrument, and melody perception. Pre-to-post surgery comparisons showed no significant difference in the rhythm, melody, and instrument identification scores. Subjects' scores were significantly lower post-implant for ranking pitch intervals of one octave and a quarter octave (p = 0.007, and p {$<$} 0.001, respectively), and were only at chance levels for the smaller interval. However, although pitch perception was generally poorer with a CI than with a HA, it is likely that the use of both devices simultaneously could have provided higher scores for these subjects. Analysis of the other tests' results provided insights into factors affecting music perception for adults with severe to profound hearing impairment. (PsycINFO Database Record (c) 2012 APA, all rights reserved). (journal abstract)},
  number = {5},
  journaltitle = {International Journal of Audiology},
  shortjournal = {International Journal of Audiology},
  date = {2008-05},
  pages = {257-268},
  keywords = {acoustics,cochlear implantation,cochlear implants,Hearing Disorders,hearing impairment,music perception,pre-operative acoustic hearing},
  author = {Looi, Valerie and McDermott, Hugh and McKay, Colette and Hickson, Louise}
}

@article{swansonInvestigatingCochlearImplant2009,
  title = {Investigating Cochlear Implant Place-Pitch Perception with the {{Modified Melodies Test}}},
  volume = {10},
  issn = {1467-0100},
  doi = {10.1179/cim.2009.10.Supplement-1.100},
  abstract = {There has been speculation that cochlear implant place-of-excitation cues could be more akin to the brightness attribute of timbre (the spectral profile) than to melodic pitch. As brightness can be ordered on a low-to-high scale, it would allow high scores on pitch-ranking tests. In contrast, the Modified Melodies test measures pitch perception in a melodic context. In each trial, a familiar melody was presented twice. In one presentation, randomly selected, the pitch was deliberately modified. The subject's task was to select the un-modified melody. Six Nucleus implant recipients were tested with melodies presented as pure tones in the frequency range C5-C6 (523-1046 Hz) through the ACE strategy on the Freedom processor. All subjects were able to identify incorrect melodic contours and three subjects were able, to recognize errors in musical intervals. These results are consistent with the hypothesis that cochlear implant place cues alone are sufficient to convey a melody. (PsycINFO Database Record (c) 2015 APA, all rights reserved). (journal abstract)},
  issue = {Suppl1},
  journaltitle = {Cochlear Implants International},
  shortjournal = {Cochlear Implants International},
  date = {2009},
  pages = {100-104},
  keywords = {Stimulus Parameters,cochlear implants,music perception,Cues,Experimentation,investigation,melodic context,Modified Melodies Test,pitch perception,place of excitation cues,Treatment Effectiveness Evaluation},
  author = {Swanson, Brett and Dawson, Pam and McDermott, Hugh}
}

@article{sucherBimodalStimulationBenefits2009,
  title = {Bimodal Stimulation: {{Benefits}} for Music Perception and Sound Quality},
  volume = {10},
  issn = {1467-0100},
  doi = {10.1002/cii.398},
  shorttitle = {Bimodal Stimulation},
  abstract = {With recent expansions in cochlear implantation candidacy criteria, increasing numbers of implantees can exploit their remaining hearing by using bimodal stimulation (combining electrical stimulation via the implant with acoustic stimulation via hearing aids). This study examined the effect of bimodal stimulation on music perception and perceived sound quality. The perception of music and sound quality by nine post-lingually deafened adult implantees was examined in three conditions: implant alone, hearing aid alone and bimodal stimulation. On average, bimodal stimulation provided the best results for music perception and perceived sound quality when compared with results obtained with electrical stimulation alone. Thus, for implantees with usable acoustic hearing, bimodal stimulation may be advantageous when listening to music and other non-speech sounds. (PsycINFO Database Record (c) 2015 APA, all rights reserved). (journal abstract)},
  issue = {Suppl1},
  journaltitle = {Cochlear Implants International},
  shortjournal = {Cochlear Implants International},
  date = {2009},
  pages = {96-99},
  keywords = {Auditory Stimulation,acoustics,cochlear implants,music perception,Treatment Effectiveness Evaluation,bimodal stimulation,Electrical Stimulation,sound quality},
  author = {Sucher, Catherine M. and McDermott, Hugh J.}
}

@article{mcdermottMusicalPitchPerception1997,
  title = {Musical Pitch Perception with Electrical Stimulation of the Cochlea},
  volume = {101},
  issn = {0001-4966},
  doi = {10.1121/1.418177},
  abstract = {Investigated the ability of a 36-yr-old male musically trained cochlear implant user to judge pitch of electrical stimuli. It was found that the pitch perceived depended on the temporal properties of the stimulation and on the intracochlear location to which the stimulation was delivered. Stimulation rate, or modulation frequency of amplitude-modulated pulse trains, affected frequency in normal hearing. However, the pitch was relatively weak and could be varied only over a narrow range. The place-related pitch varied in accordance with the tonotopic organization of the cochlea. When place and rate changes occurred in combination, the pitch was more affected by the place of stimulation, although the rate also had a slight effect. (PsycINFO Database Record (c) 2012 APA, all rights reserved)},
  number = {3},
  journaltitle = {Journal of the Acoustical Society of America},
  shortjournal = {Journal of the Acoustical Society of America},
  date = {1997-03},
  pages = {1622-1631},
  keywords = {music perception,pitch perception,Electrical Stimulation,36 yr old male,Cochlea,musical pitch perception & cochlear electrical stimulation},
  author = {McDermott, Hugh J. and McKay, Colette M.}
}

@article{bendixenPredictabilityEffectsAuditory2014,
  title = {Predictability Effects in Auditory Scene Analysis: A Review},
  volume = {8},
  issn = {1662-4548},
  url = {http://www.ncbi.nlm.nih.gov/pmc/articles/PMC3978260/},
  doi = {10.3389/fnins.2014.00060},
  shorttitle = {Predictability Effects in Auditory Scene Analysis},
  abstract = {Many sound sources emit signals in a predictable manner. The idea that predictability can be exploited to support the segregation of one source's signal emissions from the overlapping signals of other sources has been expressed for a long time. Yet experimental evidence for a strong role of predictability within auditory scene analysis (ASA) has been scarce. Recently, there has been an upsurge in experimental and theoretical work on this topic resulting from fundamental changes in our perspective on how the brain extracts predictability from series of sensory events. Based on effortless predictive processing in the auditory system, it becomes more plausible that predictability would be available as a cue for sound source decomposition. In the present contribution, empirical evidence for such a role of predictability in ASA will be reviewed. It will be shown that predictability affects ASA both when it is present in the sound source of interest (perceptual foreground) and when it is present in other sound sources that the listener wishes to ignore (perceptual background). First evidence pointing toward age-related impairments in the latter capacity will be addressed. Moreover, it will be illustrated how effects of predictability can be shown by means of objective listening tests as well as by subjective report procedures, with the latter approach typically exploiting the multi-stable nature of auditory perception. Critical aspects of study design will be delineated to ensure that predictability effects can be unambiguously interpreted. Possible mechanisms for a functional role of predictability within ASA will be discussed, and an analogy with the old-plus-new heuristic for grouping simultaneous acoustic signals will be suggested.},
  journaltitle = {Frontiers in Neuroscience},
  shortjournal = {Front Neurosci},
  urldate = {2015-06-17},
  date = {2014-03-31},
  author = {Bendixen, Alexandra},
  file = {D\:\\Sauve\\Zotero\\storage\\DJ94Z596\\Bendixen - 2014 - Predictability effects in auditory scene analysis.pdf},
  eprinttype = {pmid},
  eprint = {24744695},
  pmcid = {PMC3978260}
}

@article{spielmannAttentionEffectsAuditory2014,
  title = {Attention Effects on Auditory Scene Analysis: {{Insights}} from Event-Related Brain Potentials},
  volume = {78},
  issn = {0340-0727},
  url = {http://search.ebscohost.com/login.aspx?direct=true&db=psyh&AN=2014-06861-001&site=ehost-live},
  doi = {10.1007/s00426-014-0547-7},
  shorttitle = {Attention Effects on Auditory Scene Analysis},
  abstract = {Sounds emitted by different sources arrive at our ears as a mixture that must be disentangled before meaningful information can be retrieved. It is still a matter of debate whether this decomposition happens automatically or requires the listener’s attention. These opposite positions partly stem from different methodological approaches to the problem. We propose an integrative approach that combines the logic of previous measurements targeting either auditory stream segregation (interpreting a mixture as coming from two separate sources) or integration (interpreting a mixture as originating from only one source). By means of combined behavioral and event-related potential (ERP) measures, our paradigm has the potential to measure stream segregation and integration at the same time, providing the opportunity to obtain positive evidence of either one. This reduces the reliance on zero findings (i.e., the occurrence of stream integration in a given condition can be demonstrated directly, rather than indirectly based on the absence of empirical evidence for stream segregation, and vice versa). With this two-way approach, we systematically manipulate attention devoted to the auditory stimuli (by varying their task relevance) and to their underlying structure (by delivering perceptual tasks that require segregated or integrated percepts). ERP results based on the mismatch negativity (MMN) show no evidence for a modulation of stream integration by attention, while stream segregation results were less clear due to overlapping attention-related components in the MMN latency range. We suggest future studies combining the proposed two-way approach with some improvements in the ERP measurement of sequential stream segregation. (PsycINFO Database Record (c) 2014 APA, all rights reserved). (journal abstract)},
  number = {3},
  journaltitle = {Psychological Research},
  shortjournal = {Psychological Research},
  urldate = {2015-06-17},
  date = {2014-05},
  pages = {361-378},
  keywords = {Attention,brain,Evoked Potentials,Auditory Stimulation,attention effects,Auditory Evoked Potentials,auditory scene analysis,auditory stimuli,event-related brain potentials},
  author = {Spielmann, Mona Isabel and Schröger, Erich and Kotz, Sonja A. and Bendixen, Alexandra},
  file = {D\:\\Sauve\\Zotero\\storage\\EJ7WAZB4\\Spielmann et al. - 2014 - Attention effects on auditory scene analysis Insi.pdf}
}

@article{haywoodBuildupAuditoryStream2013,
  title = {Build-up of Auditory Stream Segregation Induced by Tone Sequences of Constant or Alternating Frequency and the Resetting Effects of Single Deviants},
  volume = {39},
  issn = {0096-1523},
  url = {http://search.ebscohost.com/login.aspx?direct=true&db=pdh&AN=2013-17510-001&site=ehost-live},
  doi = {10.1037/a0032562},
  abstract = {A sequence of constant-frequency tones can promote streaming in a subsequent sequence of alternating-frequency tones, but why this effect occurs is not fully understood and its time course has not been investigated. Experiment 1 used a 2.0-s-long constant-frequency inducer (10 repetitions of a low-frequency pure tone) to promote segregation in a subsequent, 1.2-s test sequence of alternating low- and high-frequency tones. Replacing the final inducer tone with silence substantially reduced reported test-sequence segregation. This reduction did not occur when either the 4th or 7th inducer was replaced with silence. This suggests that a change at the induction/test-sequence boundary actively resets build-up, rather than less segregation occurring simply because fewer inducer tones were presented. Furthermore, Experiment 2 found that a constant-frequency inducer produced its maximum segregation-promoting effect after only three tones—this contrasts with the more gradual build-up typically observed for alternating-frequency sequences. Experiment 3 required listeners to judge continuously the grouping of 20-s test sequences. Constant-frequency inducers were considerably more effective at promoting segregation than alternating ones; this difference persisted for ∼10 s. In addition, resetting arising from a single deviant (longer tone) was associated only with constant-frequency inducers. Overall, the results suggest that constant-frequency inducers promote segregation by capturing one subset of test-sequence tones into an ongoing, preestablished stream, and that a deviant tone may reduce segregation by disrupting this capture. These findings offer new insight into the dynamics of stream segregation, and have implications for the neural basis of streaming and the role of attention in stream formation. (PsycINFO Database Record (c) 2013 APA, all rights reserved). (journal abstract)},
  number = {6},
  journaltitle = {Journal of Experimental Psychology: Human Perception and Performance},
  shortjournal = {Journal of Experimental Psychology: Human Perception and Performance},
  urldate = {2015-06-17},
  date = {2013-12},
  pages = {1652-1666},
  keywords = {Pitch (Frequency),Auditory Stimulation,auditory grouping,build-up,deviant tone,resetting,stream segregation},
  author = {Haywood, Nicholas R. and Roberts, Brian},
  file = {D\:\\Sauve\\Zotero\\storage\\R37E96KM\\Haywood and Roberts - 2013 - Build-up of auditory stream segregation induced by.pdf}
}

@incollection{munteSpecializationSpecializedElectrophysiological2003,
  location = {{New York, NY, US}},
  title = {Specialization of the Specialized: {{Electrophysiological}} Investigations in Professional Musicians},
  isbn = {1-57331-452-8},
  shorttitle = {Specialization of the Specialized},
  abstract = {Several event-related brain potential (ERP) studies examining the processing of auditory stimuli by professional musicians compared with nonmusicians are reviewed. In the first study, musicians (string players) and nonmusicians attended to one of two streams of auditory stimuli characterized by a specific pitch. Musicians showed a prolonged ERP attention effect, the late portion of which was more frontally distributed than was that of the nonmusicians. In the second study, we investigated auditory spatial processing in conductors, pianists, and nonmusicians. Only the conductors showed behavioral selectivity of sound sources located in the peripheral auditory space. In addition, this group showed a negative/positive mismatch response for deviant stimuli occurring outside the focus of spatial attention. Finally, a group of drummers was compared to woodwind players and nonmusicians in a passive listening task. A real continuous drum sequence was manipulated so that some beats were anticipated by 80 ms. The drummers showed a mismatch response not only for the anticipated beats but also for the subsequent beats, suggesting a more complex representation of the temporal aspects stimulus sequence in this subject group. Together, these studies suggest qualitative differences of the neural correlates of auditory processing between musicians and nonmusicians. Moreover, these differences appear to be shaped by the specific training of a musician. (PsycINFO Database Record (c) 2012 APA, all rights reserved). (chapter)},
  booktitle = {The Neurosciences and Music.},
  series = {Annals of the {{New York Academy}} of {{Sciences}}, {{Vol}}. 999},
  publisher = {{New York Academy of Sciences}},
  date = {2003},
  pages = {131-139},
  keywords = {Attention,Musicians,Auditory Perception,Auditory Stimulation,Auditory Evoked Potentials,nonmusicians,professional musicians,spatial attention},
  author = {Münte, Thomas F. and Nager, Wido and Beiss, Tilla and Schroeder, Christine and Altenmüller, Eckart},
  editor = {Avanzini, Giuliano and Faienza, Carmine and Minciacchi, Diego and Lopez, Luisa and Majno, Maria and Avanzini, Giuliano (Ed) and Faienza, Carmine (Ed) and Minciacchi, Diego (Ed) and Lopez, Luisa (Ed) and Majno, Maria (Ed)}
}

@article{munteSuperiorAuditorySpatial2001,
  title = {Superior Auditory Spatial Tuning in Conductors},
  volume = {409},
  issn = {0028-0836},
  doi = {10.1038/35054668},
  abstract = {Provides evidence from brain-potential recordings that experienced professional conductors develop enhanced auditory localization mechanisms in peripheral space. Seven classical-music conductors, 7 pianists, and 7 non-musicians participated in the study. Ss listened to brief pink-noise bursts delivered by central and peripheral arrays of 3 loudspeakers each. Although a spatial gradient was evident in all 3 groups for central auditory space, only the conductors displayed a gradient for the periphery. The very similar scalp topography of the attention effect for the different groups indicates that conductors probably do not engage different neural populations to perform the task. The authors believe that although conductors probably employ other mechanisms such as perceptual grouping to identify single musicians, the findings of this study provide another example of how extensive training can shape cognitive processes and their neural underpinnings. (PsycINFO Database Record (c) 2012 APA, all rights reserved)},
  number = {6820},
  journaltitle = {Nature},
  shortjournal = {Nature},
  date = {2001-02},
  pages = {580-580},
  keywords = {brain,Musicians,Auditory Localization,music perception,conductors vs pianists vs non-musicians,enhanced auditory localization mechanisms in peripheral space,spatial gradient for central vs peripheral auditory space shown by brain-potential recordings,Spatial Perception},
  author = {Münte, Thomas F. and Kohlmetz, Christine and Nager, Wido and Altenmüller, Eckart}
}

@article{nagerFateSoundsConductors2003,
  title = {The Fate of Sounds in Conductors' Brains: An {{ERP}} Study},
  volume = {17},
  issn = {0926-6410},
  doi = {10.1016/S0926-6410(03)00083-1},
  shorttitle = {The Fate of Sounds in Conductors' Brains},
  abstract = {Professional music conductors are required to home in on a particular musician but at the same time have to monitor the entire orchestra. It was hypothesized that this unique experience should be reflected by superior auditory spatial processing. Event-related brain potentials were obtained, while conductors, professional pianists, and non-musicians listened to sequences of bandpass-filtered noise-bursts presented in random order from 6 speakers, 3 located in front and 3 to the right of the subjects. In different runs, Ss either attended the centermost or the most peripheral speaker in order to detect slightly deviant noise-bursts. For centrally located speakers, the ERPs showed a typical negative displacement (Nd) attention effect for the relevant location with a steep decline for the neighboring speakers in all S groups. For peripheral speakers, only the conductors showed attentional selectivity, while the Nd effect was of similar size for all 3 peripheral speakers in the other 2 groups. These ERP effects were paralleled by an enhanced behavioral selectivity in peripheral auditory space in conductors. Moreover, the pre-attentive monitoring of the entire auditory scene indexed by the mismatch negativity was superior in musicians compared to non-musicians. (PsycINFO Database Record (c) 2012 APA, all rights reserved)},
  number = {1},
  journaltitle = {Cognitive Brain Research},
  shortjournal = {Cognitive Brain Research},
  date = {2003-06},
  pages = {83-93},
  keywords = {Musicians,Auditory Discrimination,Auditory Stimulation,Auditory Localization,music perception,Auditory Evoked Potentials,event-related brain potentials,Spatial Perception,attentional selectivity,auditory spatial processing,conductors,negative displacement attention effect,peripheral auditory,pianists},
  author = {Nager, Wido and Kohlmetz, Christine and Altenmuller, Eckart and Rodriguez-Fornells, Antoni and Münte, Thomas F.}
}

@article{weintraubEffectsAttentionAwareness2014,
  title = {Effects of Attention to and Awareness of Preceding Context Tones on Auditory Streaming},
  volume = {40},
  issn = {0096-1523},
  url = {http://search.ebscohost.com/login.aspx?direct=true&db=pdh&AN=2013-38554-001&site=ehost-live},
  doi = {10.1037/a0034720},
  abstract = {This study determined whether facilitation of auditory stream segregation could occur when facilitating context tones are accompanied by other sounds. Facilitation was measured as the likelihood of a repeated context tone that could match the low (A) or high (B) frequency of a repeating ABA test to increase the likelihood of hearing the test as segregated. We observed this type of facilitation when matching tones were alone, or with simultaneous bandpass noises or continuous speech, neither of which masked the tones. However, participants showed no streaming facilitation when a harmonic complex masked the context tones. Mistuning or desynchronizing the context tone relative to the rest of the complex did not facilitate streaming, despite the fact that the context tone was accessible to awareness and attention. Even presenting the context tone in a separate ear from the rest of the harmonic complex did not facilitate streaming, ruling out peripheral interference. Presenting the test as mistuned or desynchronized tones relative to complex tones eliminated the possibility that timbre changes from context to test interfered with facilitation resulting from the context. These results demonstrate the fragility of streaming facilitation and show that awareness of and attention to the context tones are not sufficient to overcome interference. (PsycINFO Database Record (c) 2014 APA, all rights reserved). (journal abstract)},
  number = {2},
  journaltitle = {Journal of Experimental Psychology: Human Perception and Performance},
  shortjournal = {Journal of Experimental Psychology: Human Perception and Performance},
  urldate = {2015-06-17},
  date = {2014-04},
  pages = {685-701},
  keywords = {Attention,Auditory Perception,Auditory Stimulation,Stimulus Frequency,auditory scene analysis,awareness,facilitation,frequency dependence},
  author = {Weintraub, David M. and Metzger, Brian A. and Snyder, Joel S.},
  file = {D\:\\Sauve\\Zotero\\storage\\QHDA47W4\\Weintraub et al. - 2014 - Effects of attention to and awareness of preceding.pdf}
}

@article{carlRolePatternRegularity2013,
  title = {Role of Pattern, Regularity, and Silent Intervals in Auditory Stream Segregation Based on Inter-Aural Time Differences},
  volume = {224},
  issn = {0014-4819},
  doi = {10.1007/s00221-012-3333-z},
  abstract = {Tone triplets separated by a pause (ABA\_) are a popular tone-repetition pattern to study auditory stream segregation. Such triplets produce a galloping rhythm when integrated, but isochronous rhythms when segregated. Other patterns lacking a pause may produce less-prominent rhythmic differences but stronger streaming. Here, we evaluated whether this difference is readily explained by the presence of the pause and potentially associated with the reduction of adaptation, or whether there is contribution of tone pattern per se. Sequences with repetitive ABA\_ and ABAA patterns were presented in magnetoencephalography. A and B tones were separated by differences in inter-aural time differences (ΔITD). Results showed that the stronger streaming of ABAA was associated with a more prominent release from the adaptation of the P₁m in auditory cortex. We further compared behavioral streaming responses for patterns with and without pauses, and varied the position of the pause and pattern regularity. Results showed a major effect of the pauses’ presence, but no prominent effects of tone pattern or pattern regularity. These results make a case for the existence of an early, primitive streaming mechanism that does not require an analysis of the tone pattern at later stages suggested by predictive-coding models of auditory streaming. The results are better explained by the simpler population-separation model and stress the previously observed role of neural adaptation for streaming perception. (PsycINFO Database Record (c) 2013 APA, all rights reserved). (journal abstract)},
  number = {4},
  journaltitle = {Experimental Brain Research},
  shortjournal = {Experimental Brain Research},
  date = {2013-02},
  pages = {557-570},
  keywords = {auditory stream segregation,Pitch (Frequency),Auditory Stimulation,inter-aural time differences,isochronous rhythms,Rhythm,silent intervals,time perception,tone repetition pattern,tone repetition regularity},
  author = {Carl, David and Gutschalk, Alexander}
}

@article{francoisFasterSoundStream2014,
  title = {Faster {{Sound Stream Segmentation}} in {{Musicians}} than in {{Nonmusicians}}},
  volume = {9},
  url = {http://dx.doi.org/10.1371/journal.pone.0101340},
  doi = {10.1371/journal.pone.0101340},
  abstract = {The musician's brain is considered as a good model of brain plasticity as musical training is known to modify auditory perception and related cortical organization. Here, we show that music-related modifications can also extend beyond motor and auditory processing and generalize (transfer) to speech processing. Previous studies have shown that adults and newborns can segment a continuous stream of linguistic and non-linguistic stimuli based only on probabilities of occurrence between adjacent syllables, tones or timbres. The paradigm classically used in these studies consists of a passive exposure phase followed by a testing phase. By using both behavioural and electrophysiological measures, we recently showed that adult musicians and musically trained children outperform nonmusicians in the test following brief exposure to an artificial sung language. However, the behavioural test does not allow for studying the learning process per se but rather the result of the learning. In the present study, we analyze the electrophysiological learning curves that are the ongoing brain dynamics recorded as the learning is taking place. While musicians show an inverted U shaped learning curve, nonmusicians show a linear learning curve. Analyses of Event-Related Potentials (ERPs) allow for a greater understanding of how and when musical training can improve speech segmentation. These results bring evidence of enhanced neural sensitivity to statistical regularities in musicians and support the hypothesis of positive transfer of training effect from music to sound stream segmentation in general.},
  number = {7},
  journaltitle = {PLoS ONE},
  shortjournal = {PLoS ONE},
  urldate = {2015-06-17},
  date = {2014-07-11},
  pages = {e101340},
  author = {François, Clément and Jaillet, Florent and Takerkart, Sylvain and Schön, Daniele},
  file = {D\:\\Sauve\\Zotero\\storage\\F8Q2N2CT\\François et al. - 2014 - Faster Sound Stream Segmentation in Musicians than.pdf}
}

@article{mullensiefenMusicalityNonMusiciansIndex2014,
  title = {The {{Musicality}} of {{Non}}-{{Musicians}}: {{An Index}} for {{Assessing Musical Sophistication}} in the {{General Population}}},
  volume = {9},
  url = {http://dx.doi.org/10.1371/journal.pone.0089642},
  doi = {10.1371/journal.pone.0089642},
  shorttitle = {The {{Musicality}} of {{Non}}-{{Musicians}}},
  abstract = {Musical skills and expertise vary greatly in Western societies. Individuals can differ in their repertoire of musical behaviours as well as in the level of skill they display for any single musical behaviour. The types of musical behaviours we refer to here are broad, ranging from performance on an instrument and listening expertise, to the ability to employ music in functional settings or to communicate about music. In this paper, we first describe the concept of ‘musical sophistication’ which can be used to describe the multi-faceted nature of musical expertise. Next, we develop a novel measurement instrument, the Goldsmiths Musical Sophistication Index (Gold-MSI) to assess self-reported musical skills and behaviours on multiple dimensions in the general population using a large Internet sample (n{$\mkern1mu$}={$\mkern1mu$}147,636). Thirdly, we report results from several lab studies, demonstrating that the Gold-MSI possesses good psychometric properties, and that self-reported musical sophistication is associated with performance on two listening tasks. Finally, we identify occupation, occupational status, age, gender, and wealth as the main socio-demographic factors associated with musical sophistication. Results are discussed in terms of theoretical accounts of implicit and statistical music learning and with regard to social conditions of sophisticated musical engagement.},
  number = {2},
  journaltitle = {PLoS ONE},
  shortjournal = {PLoS ONE},
  urldate = {2015-06-17},
  date = {2014-02-26},
  pages = {e89642},
  author = {Müllensiefen, Daniel and Gingras, Bruno and Musil, Jason and Stewart, Lauren},
  file = {D\:\\Sauve\\Zotero\\storage\\6KSNFZJB\\Müllensiefen et al. - 2014 - The Musicality of Non-Musicians An Index for Asse.pdf}
}

@article{marieHighvoiceSuperiorityEffect2012,
  title = {The High-Voice Superiority Effect in Polyphonic Music Is Influenced by Experience: {{A}} Comparison of Musicians Who Play Soprano-Range Compared with Bass-Range Instruments},
  volume = {22},
  issn = {0275-3987},
  url = {http://search.ebscohost.com/login.aspx?direct=true&db=pdh&AN=2013-01453-003&site=ehost-live},
  doi = {10.1037/a0030858},
  shorttitle = {The High-Voice Superiority Effect in Polyphonic Music Is Influenced by Experience},
  abstract = {Western polyphonic music is typically composed of multiple simultaneous melodic lines of equal importance, referred to as “voices.” Previous studies have shown that adult nonmusicians are able to encode each voice in separate parallel sensory memory traces during passive listening. Specifically, when presented with sequences composed of two simultaneous voices (melodies), listeners show mismatch negativity (MMN) responses to pitch changes in each voice, although only 50\% of trials are unchanged. Interestingly, MMN is larger for the change in the higher compared to lower voice in both musicians and nonmusicians. This high-voice superiority effect has also been found in nonmusician adults and 7-month-old infants presented with two simultaneous tones, suggesting that a more robust memory trace for the higher-pitched voice might be an innate or early-acquired characteristic of human auditory processing. The present study tested whether musicians with experience playing a bass-range instrument (e.g., cello, double bass) would show a similar high-voice superiority effect as musicians with experience playing a soprano-range instrument (e.g., violin, flute). We found that musicians playing soprano-range instruments showed a high-voice superiority effect in line with previous studies, but musicians playing bass-range instruments showed similar MMN responses for both voices. These results suggest that with years of experience playing a lower-voiced instrument, cortical encoding of the lower of two simultaneous voices can be enhanced to some extent despite the early developing bias for better encoding of the higher voice. (PsycINFO Database Record (c) 2013 APA, all rights reserved). (journal abstract)},
  number = {2},
  journaltitle = {Psychomusicology: Music, Mind, and Brain},
  shortjournal = {Psychomusicology: Music, Mind, and Brain},
  series = {Neurosciences and {{Music}}},
  urldate = {2015-06-17},
  date = {2012-12},
  pages = {97-104},
  keywords = {Musicians,Music,auditory scene analysis (ASA),bass-range instruments,brain plasticity,high-voice superiority effect,mismatch negativity,Mismatch negativity (MMN),musical expertise,Musical Instruments,polyphonic music,soprano-range,Voice},
  author = {Marie, Céline and Fujioka, Takako and Herrington, Leland and Trainor, Laurel J.},
  file = {D\:\\Sauve\\Zotero\\storage\\F6TEB6KH\\Marie et al. - 2012 - The high-voice superiority effect in polyphonic mu.pdf}
}

@article{fujiokaAutomaticEncodingPolyphonic2005,
  title = {Automatic Encoding of Polyphonic Melodies in Musicians and Nonmusicians},
  volume = {17},
  issn = {0898-929X},
  doi = {10.1162/089892905774597263},
  abstract = {In music, multiple musical objects often overlap in time. Western polyphonic music contains multiple simultaneous melodic lines (referred to as "voices") of equal importance. Previous electrophysiological studies have shown that pitch changes in a single melody are automatically encoded in memory traces, as indexed by mismatch negativity (MMN) and its magnetic counterpart (MMNm), and that this encoding process is enhanced by musical experience. In the present study, we examined whether two simultaneous melodies in polyphonic music are represented as separate entities in the auditory memory trace. Musicians and untrained controls were tested in both magnetoencephalogram and behavioral sessions. Polyphonic stimuli were created by combining two melodies (A and B), each consisting of the same five notes but in a different order. Melody A was in the high voice and Melody B in the low voice in one condition, and this was reversed in the other condition. On 50\% of trials, a deviant final (5th) note was played either in the high or in the low voice, and it either went outside the key of the melody or remained within the key. These four deviations occurred with equal probability of 12.5\% each. Clear MMNm was obtained for most changes in both groups, despite the 50\% deviance level, with a larger amplitude in musicians than in controls. The response pattern was consistent across groups, with larger MMNm for deviants in the high voice than in the low voice, and larger MMNm for in-key than out-of-key changes, despite better behavioral performance for out-of-key changes. The results suggest that melodic information in each voice in polyphonic music is encoded in the sensory memory trace, that the higher voice is more salient than the lower, and that tonality may be processed primarily at cognitive stages subsequent to MMN generation. (PsycINFO Database Record (c) 2012 APA, all rights reserved). (journal abstract)},
  number = {10},
  journaltitle = {Journal of Cognitive Neuroscience},
  shortjournal = {Journal of Cognitive Neuroscience},
  date = {2005-10},
  pages = {1578-1592},
  keywords = {Musicians,Music,mismatch negativity,auditory memory trace,automatic encoding,encoding process,Human Information Storage,Memory Trace,polyphonic melodies},
  author = {Fujioka, Takako and Trainor, Laurel J. and Ross, Bernhard and Kakigi, Ryusuke and Pantev, Christo}
}

@article{cirelliBeatinducedFluctuationsAuditory2014,
  title = {Beat-Induced Fluctuations in Auditory Cortical Beta-Band Activity: {{Using EEG}} to Measure Age-Related Changes},
  volume = {5},
  issn = {1664-1078},
  shorttitle = {Beat-Induced Fluctuations in Auditory Cortical Beta-Band Activity},
  abstract = {People readily extract regularity in rhythmic auditory patterns, enabling prediction of the onset of the next beat. Recent magnetoencephalography (MEG) research suggests that such prediction is reflected by the entrainment of oscillatory networks in the brain to the tempo of the sequence. In particular, induced beta-band oscillatory activity from auditory cortex decreases after each beat onset and rebounds prior to the onset of the next beat across tempi in a predictive manner. The objective of the present study was to examine the development of such oscillatory activity by comparing electroencephalography (EEG) measures of beta-band fluctuations in 7-year-old children to adults. EEG was recorded while participants listened passively to isochronous tone sequences at three tempi (390, 585, and 780 ms for onset-to-onset interval). In adults, induced power in the high beta-band (20– 25 Hz) decreased after each tone onset and rebounded prior to the onset of the next tone across tempo conditions, consistent with MEG findings. In children, a similar pattern was measured in the two slower tempo conditions, but was weaker in the fastest condition. The results indicate that the beta-band timing network works similarly in children, although there are age-related changes in consistency and the tempo range over which it operates. (PsycINFO Database Record (c) 2014 APA, all rights reserved). (journal abstract)},
  journaltitle = {Frontiers in Psychology},
  shortjournal = {Frontiers in Psychology},
  date = {2014-07-11},
  keywords = {time perception,Age Differences,Auditory Cortex,Beta Rhythm,child development,Childhood Development,electroencephalography,electroencephalography (EEG),musical rhythm,neural oscillation,Oscillatory Network},
  author = {Cirelli, Laura K. and Bosnyak, Dan and Manning, Fiona C. and Spinelli, Christina and Marie, Céline and Fujioka, Takako and Ghahremani, Ayda and Trainor, Laurel J.}
}

@article{fujiokaOneYearMusical2006,
  title = {One Year of Musical Training Affects Development of Auditory Cortical-Evoked Fields in Young Children},
  volume = {129},
  issn = {0006-8950},
  doi = {10.1093/brain/awl247},
  abstract = {Auditory evoked responses to a violin tone and a noise-burst stimulus were recorded from 4- to 6-year-old children in four repeated measurements over a 1-year period using magnetoencephalography (MEG). Half of the subjects participated in musical lessons throughout the year; the other half had no music lessons. Auditory evoked magnetic fields showed prominent bilateral P100m, N250m, P320m and N450m peaks. Significant change in the peak latencies of all components except P100m was observed over time. Larger P100m and N450m amplitude as well as more rapid change of N250m amplitude and latency was associated with the violin rather than the noise stimuli. Larger P100m and P320m peak amplitudes in the left hemisphere than in the right are consistent with left-lateralized cortical development in this age group. A clear musical training effect was expressed in a larger and earlier N250m peak in the left hemisphere in response to the violin sound in musically trained children compared with untrained children. This difference coincided with pronounced morphological change in a time window between 100 and 400 ms, which was observed in musically trained children in response to violin stimuli only, whereas in untrained children a similar change was present regardless of stimulus type. This transition could be related to establishing a neural network associated with sound categorization and/or involuntary attention, which can be altered by music learning experience. (PsycINFO Database Record (c) 2013 APA, all rights reserved). (journal abstract)},
  number = {10},
  journaltitle = {Brain: A Journal of Neurology},
  shortjournal = {Brain: A Journal of Neurology},
  date = {2006-10},
  pages = {2593-2608},
  keywords = {musical training,Auditory Evoked Potentials,Auditory Cortex,auditory evoked responses,cortical plasticity,magnetoencephalography,maturation,Music Education,Neural Development,Neural Plasticity},
  author = {Fujioka, Takako and Ross, Bernhard and Kakigi, Ryusuke and Pantev, Christo and Trainor, Laurel J.},
  file = {D\:\\Sauve\\Zotero\\storage\\8TM4HIQK\\293065.html;D\:\\Sauve\\Zotero\\storage\\VCJEMNAC\\293065.html}
}

@article{fujiokaSimultaneousPitchesAre2008,
  title = {Simultaneous Pitches Are Encoded Separately in Auditory Cortex: {{An MMNm}} Study},
  volume = {19},
  issn = {0959-4965},
  doi = {10.1097/WNR.0b013e3282f51d91},
  shorttitle = {Simultaneous Pitches Are Encoded Separately in Auditory Cortex},
  abstract = {This study examined whether two simultaneous pitches have separate memory representations or an integrated representation in preattentive auditory memory. Mismatch negativity fields were examined when a pitch change occurred in either the higher-pitched or the lower-pitched tone at 25\% probability each, thus making the total deviation rate of the two-tone dyad 50\%. Clear MMNm was obtained for deviants in both tones confirming separate memory traces for concurrent tones. At the same time, deviants to the lower-pitched, but not higher-pitched, tone within the two-tone dyad elicited a reduced MMNm compared to when each tone was presented alone, indicating that the representations of two pitches are not completely independent. (PsycINFO Database Record (c) 2012 APA, all rights reserved). (journal abstract)},
  number = {3},
  journaltitle = {NeuroReport: For Rapid Communication of Neuroscience Research},
  shortjournal = {NeuroReport: For Rapid Communication of Neuroscience Research},
  date = {2008-02},
  pages = {361-366},
  keywords = {Auditory Perception,Pitch (Frequency),Auditory Stimulation,Auditory Evoked Potentials,mismatch negativity,Auditory Cortex,auditory memory,Memory,memory representations,simultaneous pitches,tones},
  author = {Fujioka, Takako and Trainor, Laurel J. and Ross, Bernhard}
}

@article{vuustNewFastMismatch2011,
  title = {New Fast Mismatch Negativity Paradigm for Determining the Neural Prerequisites for Musical Ability},
  volume = {47},
  issn = {0010-9452},
  doi = {10.1016/j.cortex.2011.04.026},
  abstract = {Studies have consistently shown that the mismatch negativity (MMN) for different auditory features correlates with musical skills, and that this effect is more pronounced for stimuli integrated in complex musical contexts. Hence, the MMN can potentially be used for determining the development of auditory skills and musical expertise. MMN paradigms, however, are typically very long in duration, and far from sounding musical. Therefore, we developed a novel multi-feature MMN paradigm with 6 different deviant types integrated in a complex musical context of no more than 20 min in duration. We found significant MMNs for all 6 deviant types. Hence, this short objective measure can putatively be used as an index for auditory and musical development. (PsycINFO Database Record (c) 2014 APA, all rights reserved). (journal abstract)},
  number = {9},
  journaltitle = {Cortex: A Journal Devoted to the Study of the Nervous System and Behavior},
  shortjournal = {Cortex: A Journal Devoted to the Study of the Nervous System and Behavior},
  date = {2011-10},
  pages = {1091-1098},
  keywords = {music perception,mismatch negativity,Neural Development,mismatch negativity paradigm,Musical Ability,musical development,neural prerequisites},
  author = {Vuust, Peter and Brattico, Elvira and Glerean, Enrico and Seppänen, Miia and Pakarinen, Satu and Tervaniemi, Mari and Näätänen, Risto}
}

@article{hansenWorkingMemoryMusical2013,
  title = {Working Memory and Musical Competence of Musicians and Non-Musicians},
  volume = {41},
  issn = {0305-7356},
  doi = {10.1177/0305735612452186},
  abstract = {Musical ability has been found to be associated with an enhancement of verbal working memory. In this study, we investigated whether this effect would generalize to visual-spatial working memory as would be expected if the effect were driven by general intelligence. We administered the WAIS-III Digit Span; the WMS-III Spatial Span; and the Musical Ear Test (MET), a forced-choice same/different listening task measuring musical ability, to non-musicians, amateur musicians, and expert musicians. Expert musicians significantly outperformed non-musicians on the Digit Span. Additionally, Digit Span Forward scores were found to be correlated with MET total scores and with scores on the rhythm subtest of the MET. No between-group differences were found on the Spatial Span. (PsycINFO Database Record (c) 2014 APA, all rights reserved). (journal abstract)},
  number = {6},
  journaltitle = {Psychology of Music},
  shortjournal = {Psychology of Music},
  date = {2013-11},
  pages = {779-793},
  keywords = {Musicians,Auditory Perception,Musical Instruments,Musical Ability,Competence,general intelligence,Intelligence,listening,musical competence,Short Term Memory,visual-spatial working memory,Visuospatial Ability},
  author = {Hansen, Mads and Wallentin, Mikkel and Vuust, Peter}
}

@article{wallentinMusicalEarTest2010,
  title = {The {{Musical Ear Test}}, a New Reliable Test for Measuring Musical Competence},
  volume = {20},
  issn = {1041-6080},
  doi = {10.1016/j.lindif.2010.02.004},
  abstract = {[Correction Notice: An erratum for this article was reported in Vol 20(6) of Learning and Individual Differences (see record [rid]2010-26710-007[/rid]). In the original article, the reported measures of Cronbach alpha internal consistency were wrong. The correct values are given in the erratum.] This paper reports results from three experiments using the Musical Ear Test (MET), a new test designed for measuring musical abilities in both musicians and non-musicians in an objective way with a relatively short duration ({$<$}20 min.). In the first experiment we show how the MET is capable of clearly distinguishing between a group of professional musicians and a group of non-musicians. In the second experiment we demonstrate that results from the MET are strongly correlated with measures of musical expertise obtained using an imitation test. In the third experiment we show that the MET also clearly distinguishes groups of non-musicians, amateurs and professional musicians. The test is found to have a large internal consistency (Cronbach alpha: 0.87). We further show a correlation with amount of practice within the group of professionals as well as a correlation with a forward digit span test. (PsycINFO Database Record (c) 2014 APA, all rights reserved). (journal abstract)},
  number = {3},
  journaltitle = {Learning and Individual Differences},
  shortjournal = {Learning and Individual Differences},
  date = {2010-06},
  pages = {188-196},
  keywords = {Musicians,Musical Ability,Measurement,musical competence measurement,Musical Ear Test,psychometrics,test reliability,test validity},
  author = {Wallentin, Mikkel and Nielsen, Andreas Højlund and Friis-Olivarius, Morten and Vuust, Christian and Vuust, Peter}
}

@article{mackenDoesAuditoryStreaming2003,
  title = {Does Auditory Streaming Require Attention? {{Evidence}} from Attentional Selectivity in Short-Term Memory},
  volume = {29},
  issn = {0096-1523},
  url = {http://search.ebscohost.com/login.aspx?direct=true&db=psyh&AN=2003-04481-003&site=ehost-live},
  doi = {10.1037/0096-1523.29.1.43},
  shorttitle = {Does Auditory Streaming Require Attention?},
  abstract = {R. P. Carlyon, R. Cusack, J. M. Foxton, and I. H. Robertson (2001; see record [rid]2001-16068-008[/rid]) have argued that attention is crucial for auditory streaming. The authors review R. P. Carlyon et al.'s (2001) arguments and suggest that a pertinent literature, the irrelevant sound paradigm--demonstrating preattentive auditory streaming--has been overlooked. In illustration of this alternative approach, the authors include a novel single experiment demonstrating the impact of preattentive auditory streaming on short-term serial memory. It is concluded that R. P. Carlyon et al.'s (2001) results do not definitively demonstrate that auditory streaming processes are dependent on attention; indeed, they are compatible with alternative accounts of the relationship between perceptual organization and attention. (PsycINFO Database Record (c) 2012 APA, all rights reserved). (journal abstract)},
  number = {1},
  journaltitle = {Journal of Experimental Psychology: Human Perception and Performance},
  shortjournal = {Journal of Experimental Psychology: Human Perception and Performance},
  urldate = {2015-06-17},
  date = {2003-02},
  pages = {43-51},
  keywords = {Attention,auditory stream segregation,Auditory Discrimination,auditory streaming,Stimulus Parameters,Short Term Memory,attention selectivity,disruption,irrelevant sound paradigm,rate of presentation,selective attention},
  author = {Macken, William J. and Tremblay, Sébastien and Houghton, Robert J. and Nicholls, Alastair P. and Jones, Dylan M.},
  file = {D\:\\Sauve\\Zotero\\storage\\4TI97WMC\\Macken et al. - 2003 - Does auditory streaming require attention Evidenc.pdf}
}

@article{mackenAuditoryDistractionPerceptual2014,
  title = {Auditory Distraction and Perceptual Organization: {{Streams}} of Unconscious Processing},
  volume = {3},
  issn = {2046-0252},
  doi = {10.1002/pchj.46},
  shorttitle = {Auditory Distraction and Perceptual Organization},
  abstract = {Abstract Perceptual organization is key to understanding auditory distraction. In order to achieve a fundamental understanding of distraction it is necessary to understand how auditory stimuli are perceived; specifically, how they are organized into entities that do not map directly onto simple single stimuli as defined by the experimenter. It is important not to mistake some arbitrary unit of analysis, such as the word, as the correct unit for understanding auditory processing; rather, the unit of the auditory object and its relative position to other auditory objects is the key to understanding distraction (as well as the whole of auditory cognition more generally). Here I provide two illustrative examples of auditory perceptual organization showing the superlative power of organizational principles: streaming by similarity and stimulus capture. I go on to show how these have been used to refine our understanding of distraction, and of the effects of distraction from sequences of sound, from single sounds, or single changes within a sequence. A common feature of work described here is that it compares the effects of different forms of organization: The nominal stimuli themselves are largely unchanged but the way they relate to each other can change distraction appreciably. That is, it is not the mere presence of sound that causes distraction but its organization and the way that relates to the currently prevailing activity. (PsycINFO Database Record (c) 2014 APA, all rights reserved). (journal abstract)},
  number = {1},
  journaltitle = {PsyCh Journal},
  shortjournal = {PsyCh Journal},
  date = {2014-03},
  pages = {4-16},
  keywords = {Attention,Auditory Perception,Auditory Stimulation,auditory distraction,Cognitive Processes,Distraction,perceptual grouping,Perceptual Style,unconscious processing},
  author = {Macken, Bill}
}

@article{sussmanInvestigationAuditoryStreaming1999,
  title = {An Investigation of the Auditory Streaming Effect Using Event-Related Brain Potentials},
  volume = {36},
  issn = {0048-5772},
  doi = {10.1017/S0048577299971056},
  abstract = {There is uncertainty concerning the extent to which the auditory streaming effect is a function of attentive or preattentive mechanisms. The mismatch negativity (MMN), which indexes preattentive acoustic processing, was used to probe whether the segregation associated with the streaming effect occurs preattentively. In Experiment 1, with 10 subjects (aged 23–42 yrs), alternating high and low tones were presented at fast and slow paces while subjects ignored the stimuli. At the slow pace, tones were heard as alternating high and low pitches, and no MMN was elicited. At the fast pace a streaming effect was induced and an MMN was observed for the low stream, indicating a preattentive locus for the streaming effect. The high deviant did not elicit an MMN. MMNs were obtained to both the high and low deviants when the interval between the across-stream deviance was lengthened to more than 250 ms in Experiment 2 (with 11 subjects aged 21–45 yrs), indicating that the MMN system is susceptible to processing constraints. (PsycINFO Database Record (c) 2012 APA, all rights reserved)},
  number = {1},
  journaltitle = {Psychophysiology},
  shortjournal = {Psychophysiology},
  date = {1999-01},
  pages = {22-34},
  keywords = {Evoked Potentials,Auditory Discrimination,Auditory Stimulation,Stimulus Parameters,acoustics,21–45 yr olds,mechanisms of auditory streaming effect & auditory stream segregation using event related potentials},
  author = {Sussman, Elyse and Ritter, Walter and Vaughan, Herbert G. Jr.}
}

@article{sussmanPredictabilityStimulusDeviance1998,
  title = {Predictability of Stimulus Deviance and the Mismatch Negativity},
  volume = {9},
  issn = {0959-4965},
  doi = {10.1097/00001756-199812210-00031},
  abstract = {The purpose of this study was to test the previous report that generation of the mismatch negativity (MMN) component of event-related brain potentials (ERPs) is indifferent to the predictable occurrence of stimulus deviance. A total of 14 Ss (aged 26–47 yrs) participated in the experiment. A pattern of standards (S) and deviants (D) were delivered in a predictable fashion (SSSSD) at two different speeds (1.3 sec and 100 msec). An MMN was obtained to the D position tone at the slow but not the fast pace. These results demonstrate that, unlike the P3 component, the MMN is sensitive to the predictable occurrence of stimulus deviance when the predictability can be detected by the brain within the estimated limits of sensory memory. (PsycINFO Database Record (c) 2012 APA, all rights reserved)},
  number = {18},
  journaltitle = {Neuroreport: An International Journal for the Rapid Communication of Research in Neuroscience},
  shortjournal = {Neuroreport: An International Journal for the Rapid Communication of Research in Neuroscience},
  date = {1998-12},
  pages = {4167-4170},
  keywords = {Auditory Stimulation,Auditory Evoked Potentials,mismatch negativity,26–47 yr olds,Predictability (Measurement),predictability of auditory stimulus deviance,Stimulus Discrimination},
  author = {Sussman, Elyse and Ritter, Walter and Vaughan, Herbert G. Jr.}
}

@article{jonesOrganizationalFactorsSelective1999,
  title = {Organizational Factors in Selective Attention: {{The}} Interplay of Acoustic Distinctiveness and Auditory Streaming in the Irrelevant Sound Effect},
  volume = {25},
  issn = {0278-7393},
  url = {http://search.ebscohost.com/login.aspx?direct=true&db=pdh&AN=1999-00904-010&site=ehost-live},
  doi = {10.1037/0278-7393.25.2.464},
  shorttitle = {Organizational Factors in Selective Attention},
  abstract = {A series of studies further explored the way in which irrelevant sound disrupts the serial recall of visually presented verbal sequences. The hypothesis that distinctiveness (stimulus mismatch) within auditory irrelevant sequences is a critical determinant of disruption of serial recall was tested. Experiment 1 showed that the degree of disruption was related to the degree of mismatch between successive stimuli. However, in Experiment 2, changes in 2 attributes of a stimulus produced less disruption than when only 1 was changed, suggesting mismatch alone was not the key factor. These results were reconciled with the changing-state hypothesis in Experiment 3 in which change and disruption were monotonically related up to the point at which mismatch created 2 streams. Object-based theories are able to explain this pattern of results. (PsycINFO Database Record (c) 2013 APA, all rights reserved). (journal abstract)},
  number = {2},
  journaltitle = {Journal of Experimental Psychology: Learning, Memory, and Cognition},
  shortjournal = {Journal of Experimental Psychology: Learning, Memory, and Cognition},
  urldate = {2015-06-17},
  date = {1999-03},
  pages = {464-473},
  keywords = {Auditory Stimulation,college students,selective attention,distinctiveness of auditory irrelevant sequences,Serial Recall,serial recall of visually presented verbal sequences,Stimulus Salience,Visual Stimulation},
  author = {Jones, Dylan and Alford, David and Bridges, Andrew and Tremblay, Sébastien and Macken, Bill},
  file = {D\:\\Sauve\\Zotero\\storage\\I9ZIJQGU\\Jones et al. - 1999 - Organizational factors in selective attention The.pdf}
}

@article{arnottFunctionalOrganizationAuditory2005,
  title = {The {{Functional Organization}} of {{Auditory Working Memory}} as {{Revealed}} by {{fMRI}}},
  volume = {17},
  issn = {0898-929X},
  doi = {10.1162/0898929053747612},
  abstract = {Spatial and nonspatial auditory tasks preferentially recruit dorsal and ventral brain areas, respectively. However, the extent to which these auditory differences reflect specific aspects of mental processing has not been directly studied. In the present functional magnetic resonance imaging experiment, participants encoded and maintained either the location or the identity of a sound for a delay period of several seconds and then subsequently compared that information with a second sound. Relative to sound localization, sound identification was associated with greater hemodynamic activity in the left rostral superior temporal gyrus. In contrast, localizing sounds recruited greater activity in the parietal cortex, posterior temporal lobe, and superior frontal sulcus. The identification differences were most prominent during the early stage of the trial, whereas the location differences were most evident during the late (i.e., comparison) stage. Accordingly, our results suggest that auditory spatial and identity dissociations as revealed by functional imaging may be dependent to some degree on the type of processing being carried out. In addition, dorsolateral prefrontal and lateral superior parietal areas showed greater activity during the comparison as opposed to the earlier stage of the trial, regardless of the type of auditory task, consistent with results from visual working memory studies. (PsycINFO Database Record (c) 2012 APA, all rights reserved). (journal abstract)},
  number = {5},
  journaltitle = {Journal of Cognitive Neuroscience},
  shortjournal = {Journal of Cognitive Neuroscience},
  date = {2005-05},
  pages = {819-831},
  keywords = {Auditory Discrimination,Auditory Localization,Short Term Memory,auditory working memory,functional organization,Magnetic Resonance Imaging,sound identification,sound location},
  author = {Arnott, Stephen R. and Grady, Cheryl L. and Hevenor, Stephanie J. and Graham, Simon and Alain, Claude}
}

@article{chennuExpectationAttentionHierarchical2013,
  title = {Expectation and Attention in Hierarchical Auditory Prediction},
  volume = {33},
  issn = {0270-6474},
  doi = {10.1523/JNEUROSCI.0114-13.2013},
  abstract = {Hierarchical predictive coding suggests that attention in humans emerges from increased precision in probabilistic inference, whereas expectation biases attention in favor of contextually anticipated stimuli. We test these notions within auditory perception by independently manipulating top-down expectation and attentional precision alongside bottom-up stimulus predictability. Our findings support an integrative interpretation of commonly observed electrophysiological signatures of neurodynamics, namely mismatch negativity (MMN), P300, and contingent negative variation (CNV), as manifestations along successive levels of predictive complexity. Early first-level processing indexed by the MMN was sensitive to stimulus predictability: here, attentional precision enhanced early responses, but explicit top-down expectation diminished it. This pattern was in contrast to later, second-level processing indexed by the P300: although sensitive to the degree of predictability, responses at this level were contingent on attentional engagement and in fact sharpened by top-down expectation. At the highest level, the drift of the CNV was a fine-grained marker of top-down expectation itself. Source reconstruction of high-density EEG, supported by intracranial recordings, implicated temporal and frontal regions differentially active at early and late levels. The cortical generators of the CNV suggested that it might be involved in facilitating the consolidation of context-salient stimuli into conscious perception. These results provide convergent empirical support to promising recent accounts of attention and expectation in predictive coding. (PsycINFO Database Record (c) 2013 APA, all rights reserved). (journal abstract)},
  number = {27},
  journaltitle = {The Journal of Neuroscience},
  shortjournal = {The Journal of Neuroscience},
  date = {2013-07-03},
  pages = {11194-11205},
  keywords = {Auditory Perception,mismatch negativity,electroencephalography,Contingent Negative Variation,EEG,hierarchical auditory prediction,P300},
  author = {Chennu, Srivas and Noreika, Valdas and Gueorguiev, David and Blenkmann, Alejandro and Kochen, Silvia and Ibáñez, Agustín and Owen, Adrian M. and Bekinschtein, Tristan A.}
}

@article{snyderNeurophysiologicalTheoryAuditory2007,
  title = {Toward a Neurophysiological Theory of Auditory Stream Segregation},
  volume = {133},
  issn = {0033-2909},
  url = {http://search.ebscohost.com/login.aspx?direct=true&db=pdh&AN=2007-12463-004&site=ehost-live},
  doi = {10.1037/0033-2909.133.5.780},
  abstract = {Auditory stream segregation (or streaming) is a phenomenon in which 2 or more repeating sounds differing in at least 1 acoustic attribute are perceived as 2 or more separate sound sources (i.e., streams). This article selectively reviews psychophysical and computational studies of streaming and comprehensively reviews more recent neurophysiological studies that have provided important insights into the mechanisms of streaming. On the basis of these studies, segregation of sounds is likely to occur beginning in the auditory periphery and continuing at least to primary auditory cortex for simple cues such as pure-tone frequency but at stages as high as secondary auditory cortex for more complex cues such as periodicity pitch. Attention-dependent and perception-dependent processes are likely to take place in primary or secondary auditory cortex and may also involve higher level areas outside of auditory cortex. Topographic maps of acoustic attributes, stimulus-specific suppression, and competition between representations are among the neurophysiological mechanisms that likely contribute to streaming. A framework for future research is proposed. (PsycINFO Database Record (c) 2013 APA, all rights reserved). (journal abstract)},
  number = {5},
  journaltitle = {Psychological Bulletin},
  shortjournal = {Psychological Bulletin},
  urldate = {2015-06-17},
  date = {2007-09},
  pages = {780-799},
  keywords = {Attention,Auditory Perception,Pitch (Frequency),Auditory Discrimination,acoustics,auditory scene analysis,Auditory Cortex,neural suppression,Neurophysiology,tonotopic organization},
  author = {Snyder, Joel S. and Alain, Claude},
  file = {D\:\\Sauve\\Zotero\\storage\\BG73D3FR\\Snyder and Alain - 2007 - Toward a neurophysiological theory of auditory str.pdf}
}

@article{snyderAdaptationRevealsMultiple2009,
  title = {Adaptation Reveals Multiple Levels of Representation in Auditory Stream Segregation},
  volume = {35},
  issn = {0096-1523},
  url = {http://search.ebscohost.com/login.aspx?direct=true&db=pdh&AN=2009-11357-017&site=ehost-live},
  doi = {10.1037/a0012741},
  abstract = {When presented with alternating low and high tones, listeners are more likely to perceive 2 separate streams of tones (“streaming”) than a single coherent stream when the frequency separation (Δƒ) between tones is greater and the number of tone presentations is greater (“buildup”). However, the same large-Δƒ sequence reduces streaming for subsequent patterns presented after a gap of up to several seconds. Buildup occurs at a level of neural representation with sharp frequency tuning. The authors used adaptation to demonstrate that the contextual effect of prior Δƒ arose from a representation with broad frequency tuning, unlike buildup. Separate adaptation did not occur in a representation of Δƒ independent of frequency range, suggesting that any frequency-shift detectors undergoing adaptation are also frequency specific. A separate effect of prior perception was observed, dissociating stimulus-related (i.e., Δƒ) and perception-related (i.e., 1 stream vs. 2 streams) adaptation. Viewing a visual analogue to auditory streaming had no effect on subsequent perception of streaming, suggesting adaptation in auditory-specific brain circuits. These results, along with previous findings on buildup, suggest that processing in at least 3 levels of auditory neural representation underlies segregation and formation of auditory streams. (PsycINFO Database Record (c) 2013 APA, all rights reserved). (journal abstract)},
  number = {4},
  journaltitle = {Journal of Experimental Psychology: Human Perception and Performance},
  shortjournal = {Journal of Experimental Psychology: Human Perception and Performance},
  urldate = {2015-06-17},
  date = {2009-08},
  pages = {1232-1244},
  keywords = {Auditory Perception,auditory scene analysis,Adaptation,buildup,cross-modal,frequency shift detector},
  author = {Snyder, Joel S. and Carter, Olivia L. and Hannon, Erin E. and Alain, Claude},
  file = {D\:\\Sauve\\Zotero\\storage\\76XPWVQK\\Snyder et al. - 2009 - Adaptation reveals multiple levels of representati.pdf}
}

@article{snyderEffectsContextAuditory2008,
  title = {Effects of Context on Auditory Stream Segregation},
  volume = {34},
  issn = {0096-1523},
  url = {http://search.ebscohost.com/login.aspx?direct=true&db=pdh&AN=2008-09670-017&site=ehost-live},
  doi = {10.1037/0096-1523.34.4.1007},
  abstract = {The authors examined the effect of preceding context on auditory stream segregation. Low tones (A), high tones (B), and silences (-) were presented in an ABA- pattern. Participants indicated whether they perceived 1 or 2 streams of tones. The A tone frequency was fixed, and the B tone was the same as the A tone or had 1 of 3 higher frequencies. Perception of 2 streams in the current trial increased with greater frequency separation between the A and B tones (Δf). Larger Δf in previous trials modified this pattern, causing less streaming in the current trial. This occurred even when listeners were asked to bias their perception toward hearing 1 stream or 2 streams. The effect of previous Δf was not due to response bias because simply perceiving 2 streams in the previous trial did not cause less streaming in the current trial. Finally, the effect of previous Δf was diminished, though still present, when the silent duration between trials was increased to 5.76 s. The time course of this context effect on streaming implicates the involvement of auditory sensory memory or neural adaptation. (PsycINFO Database Record (c) 2013 APA, all rights reserved). (journal abstract)},
  number = {4},
  journaltitle = {Journal of Experimental Psychology: Human Perception and Performance},
  shortjournal = {Journal of Experimental Psychology: Human Perception and Performance},
  urldate = {2015-06-17},
  date = {2008-08},
  pages = {1007-1016},
  keywords = {Auditory Perception,Auditory Discrimination,auditory scene analysis,Neural Plasticity,Memory,Adaptation,auditory sensory memory,neural adaptation},
  author = {Snyder, Joel S. and Carter, Olivia L. and Lee, Suh-Kyung and Hannon, Erin E. and Alain, Claude},
  file = {D\:\\Sauve\\Zotero\\storage\\AGSS3U2Z\\Snyder et al. - 2008 - Effects of context on auditory stream segregation.pdf}
}

@article{snyderEffectsPriorStimulus2009,
  title = {Effects of Prior Stimulus and Prior Perception on Neural Correlates of Auditory Stream Segregation},
  volume = {46},
  issn = {0048-5772},
  doi = {10.1111/j.1469-8986.2009.00870.x},
  abstract = {We examined whether effects of prior experience are mediated by distinct brain processes from those processing current stimulus features. We recorded event-related potentials (ERPs) during an auditory stream segregation task that presented an adaptation sequence with a small, intermediate, or large frequency separation between low and high tones (Δf), followed by a test sequence with intermediate Δf. Perception of two streams during the test was facilitated by small prior Δf and by prior perception of two streams and was accompanied by more positive ERPs. The scalp topography of these perception-related changes in ERPs was different from that observed for ERP modulations due to increasing the current Δf. These results reveal complex interactions between stimulus-driven activity and temporal-context-based processes and suggest a complex set of brain areas involved in modulating perception based on current and previous experience. (PsycINFO Database Record (c) 2012 APA, all rights reserved). (journal abstract)},
  number = {6},
  journaltitle = {Psychophysiology},
  shortjournal = {Psychophysiology},
  date = {2009-11},
  pages = {1208-1215},
  keywords = {brain,Evoked Potentials,Auditory Perception,auditory stream segregation,brain processes,Early Experience,event related potentials,neural correlates,Neural Pathways,prior experience,prior perception},
  author = {Snyder, Joel S. and Holder, W. Trent and Weintraub, David M. and Carter, Olivia L. and Alain, Claude}
}

@article{snyderAttentionAwarenessPerception2012,
  title = {Attention, Awareness, and the Perception of Auditory Scenes},
  volume = {3},
  issn = {1664-1078},
  doi = {10.3389/fpsyg.2012.00015},
  abstract = {Auditory perception and cognition entails both low-level and high-level processes, which are likely to interact with each other to create our rich conscious experience of soundscapes. Recent research that we review has revealed numerous influences of high-level factors, such as attention, intention, and prior experience, on conscious auditory perception. And recently, studies have shown that auditory scene analysis tasks can exhibit multistability in a manner very similar to ambiguous visual stimuli, presenting a unique opportunity to study neural correlates of auditory awareness and the extent to which mechanisms of perception are shared across sensory modalities. Research has also led to a growing number of techniques through which auditory perception can be manipulated and even completely suppressed. Such findings have important consequences for our understanding of the mechanisms of perception and also should allow scientists to precisely distinguish the influences of different higher-level influences. (PsycINFO Database Record (c) 2012 APA, all rights reserved). (journal abstract)},
  journaltitle = {Frontiers in Psychology},
  shortjournal = {Frontiers in Psychology},
  date = {2012-02-07},
  keywords = {Attention,cognition,Auditory Perception,awareness,Visual Stimulation,auditory scenes perception,Consciousness States,intention,visual stimuli},
  author = {Snyder, Joel S. and Gregg, Melissa K. and Weintraub, David M. and Alain, Claude}
}

@article{summerfieldExpectationAttentionVisual2009,
  title = {Expectation (and Attention) in Visual Cognition},
  volume = {13},
  issn = {1364-6613},
  doi = {10.1016/j.tics.2009.06.003},
  abstract = {Visual cognition is limited by computational capacity, because the brain can process only a fraction of the visual sensorium in detail, and by the inherent ambiguity of the information entering the visual system. Two mechanisms mitigate these burdens: attention prioritizes stimulus processing on the basis of motivational relevance, and expectations constrain visual interpretation on the basis of prior likelihood. Of the two, attention has been extensively investigated while expectation has been relatively neglected. Here, we review recent work that has begun to delineate a neurobiology of visual expectation, and contrast the findings with those of the attention literature, to explore how these two central influences on visual perception overlap, differ and interact. (PsycINFO Database Record (c) 2012 APA, all rights reserved). (journal abstract)},
  number = {9},
  journaltitle = {Trends in Cognitive Sciences},
  shortjournal = {Trends in Cognitive Sciences},
  date = {2009-09},
  pages = {403-409},
  keywords = {Attention,cognition,Expectations,neurobiology,Visual Attention,visual cognition,VISUAL perception},
  author = {Summerfield, Christopher and Egner, Tobias}
}

@article{denhamRolePredictiveModels2006,
  langid = {english},
  title = {The Role of Predictive Models in the Formation of Auditory Streams},
  volume = {100},
  issn = {0928-4257},
  doi = {10.1016/j.jphysparis.2006.09.012},
  abstract = {Sounds provide us with useful information about our environment which complements that provided by other senses, but also poses specific processing problems. How does the auditory system distentangle sounds from different sound sources? And what is it that allows intermittent sound events from the same source to be associated with each other? Here we review findings from a wide range of studies using the auditory streaming paradigm in order to formulate a unified account of the processes underlying auditory perceptual organization. We present new computational modelling results which replicate responses in primary auditory cortex [Fishman, Y.I., Arezzo, J.C., Steinschneider, M., 2004. Auditory stream segregation in monkey auditory cortex: effects of frequency separation, presentation rate, and tone duration. J. Acoust. Soc. Am. 116, 1656-1670; Fishman, Y. I., Reser, D. H., Arezzo, J.C., Steinschneider, M., 2001. Neural correlates of auditory stream segregation in primary auditory cortex of the awake monkey. Hear. Res. 151, 167-187] to tone sequences. We also present the results of a perceptual experiment which confirm the bi-stable nature of auditory streaming, and the proposal that the gradual build-up of streaming may be an artefact of averaging across many subjects [Pressnitzer, D., Hupé, J. M., 2006. Temporal dynamics of auditory and visual bi-stability reveal common principles of perceptual organization. Curr. Biol. 16(13), 1351-1357.]. Finally we argue that in order to account for all of the experimental findings, computational models of auditory stream segregation require four basic processing elements; segregation, predictive modelling, competition and adaptation, and that it is the formation of effective predictive models which allows the system to keep track of different sound sources in a complex auditory environment.},
  number = {1-3},
  journaltitle = {Journal of Physiology, Paris},
  shortjournal = {J. Physiol. Paris},
  year = {2006 Jul-Sep},
  pages = {154-170},
  keywords = {Attention,Auditory Perception,Auditory Cortex,Acoustic Stimulation,animals,Auditory Pathways,humans,Models; Biological},
  author = {Denham, S. L. and Winkler, I.},
  eprinttype = {pmid},
  eprint = {17084600}
}

@inproceedings{denhamCompetitionCooperationModel2029,
  title = {Competition and Cooperation in a Model of Auditory Scene Analysis},
  url = {http://search.ebscohost.com/login.aspx?direct=true&db=pxh&AN=636952013-318&site=ehost-live},
  doi = {10.1037/e636952013-318},
  abstract = {Auditory scene analysis addresses the difficult task of interpreting the sound world in terms of an unknown number of discrete sound sources with possibly overlapping signals. The problem is underconstrained as there are many different ways in which incoming events can be associated. This problem has been studied using the auditory streaming paradigm, and it has become apparent that instead of making one fixed perceptual decision, auditory perception switches back and forth between alternative groupings; a phenomenon known as perceptual multi-stability. We propose a new model of auditory scene analysis at the core of which is a process that seeks to discover predictable patterns in the ongoing sound sequence. Representations of predictable fragments are created on the fly, and are maintained, strengthened or weakened on the basis of their predictive success and clashes with other representations. Auditory perceptual organisation emerges spontaneously from process. The model accounts for many important findings, including the emergence of, and switching between, alternative organisations and the influence of stimulus parameters. Its principal contribution is to show that a two-stage process of pattern discovery, and competition between incompatible patterns, can account for both the contents (perceptual organisations) and the dynamics of human perception in auditory streaming. (PsycEXTRA Database Record (c) 2014 APA, all rights reserved)},
  eventtitle = {{{ESCOP}} 2013: 18th {{Meeting}} of the {{European Society}} for {{Cognitive Psychology}}, {{Budapest}}, {{Hungary}}, {{August}} 29-{{September}} 1, 2013 [{{Abstracts}}]},
  booktitle = {{{ESCOP}} 2013: 18th {{Meeting}} of the {{European Society}} for {{Cognitive Psychology}}, {{Budapest}}, {{Hungary}}, {{August}} 29-{{September}} 1, 2013 [{{Abstracts}}]},
  publisher = {{European Society for Cognitive Psychology}},
  urldate = {2015-06-17},
  date = {2029-08},
  pages = {140-140},
  keywords = {auditory streaming,Auditory Localization,decision making,human perception,Perceptual Closure,perceptual decision},
  author = {Denham, Susan L. and Mill, Robert W. and Bohm, Tamas M. and Winkler, Istvan},
  file = {D\:\\Sauve\\Zotero\\storage\\NRP97CZ2\\Denham et al. - 2029 - Competition and cooperation in a model of auditory.pdf}
}

@article{hadenTimbreindependentExtractionPitch2009,
  title = {Timbre-Independent Extraction of Pitch in Newborn Infants},
  volume = {46},
  issn = {0048-5772},
  doi = {10.1111/j.1469-8986.2008.00749.x},
  abstract = {The ability to separate pitch from other spectral sound features, such as timbre, is an important prerequisite of veridical auditory perception underlying speech acquisition and music cognition. The current study investigated whether or not newborn infants generalize pitch across different timbres. Perceived resonator size is an aspect of timbre that informs the listener about the size of the sound source, a cue that may be important already at birth. Therefore, detection of infrequent pitch changes was tested by recording event-related brain potentials in healthy newborn infants to frequent standard and infrequent pitch-deviant sounds while the perceived resonator size of all sounds was randomly varied. The elicitation of an early negative and a later positive discriminative response by deviant sounds demonstrated that the neonate auditory system represents pitch separately from timbre, thus showing advanced pitch processing capabilities. (PsycINFO Database Record (c) 2012 APA, all rights reserved). (journal abstract)},
  number = {1},
  journaltitle = {Psychophysiology},
  shortjournal = {Psychophysiology},
  date = {2009-01},
  pages = {69-74},
  keywords = {brain,Auditory Perception,Pitch (Frequency),timbre,pitch perception,Auditory Evoked Potentials,event-related brain potentials,mismatch negativity,Infant Development,neonates,resonator size},
  author = {Háden, Gábor P. and Stefanics, Gábor and Vestergaard, Martin D. and Denham, Susan L. and Sziller, István and Winkler, István}
}

@article{vestergaardAuditorySizedeviantDetection2009,
  title = {Auditory Size-Deviant Detection in Adults and Newborn Infants},
  volume = {82},
  issn = {0301-0511},
  doi = {10.1016/j.biopsycho.2009.07.004},
  abstract = {Auditory size perception refers to the ability to make accurate judgements of the size of a sound source based solely upon the sound emitted from the source. Electro-physiological and behavioural data were collected to test whether sound-source size parameters are detected from task-irrelevant sequences in adults and newborn infants. The mismatch negativity (MMN) obtained from adults indexed automatic detection of changes in size for voices, musical instruments and animal calls, regardless of whether the acoustic change indicated larger or smaller sources. Neonates detected changes in the size of a musical instrument. The data are consistent with the notion that auditory size-deviant detection in humans is an innate automatic process. This conclusion is compatible with the theory that the ability to assess the size of sound sources evolved because it provided selective advantage of being able to detect larger (more competent) suitors and larger (more dangerous) predators. (PsycINFO Database Record (c) 2012 APA, all rights reserved). (journal abstract)},
  number = {2},
  journaltitle = {Biological Psychology},
  shortjournal = {Biological Psychology},
  date = {2009-10},
  pages = {169-175},
  keywords = {Auditory Perception,Auditory Discrimination,mismatch negativity,electroencephalography,Cognitive Processes,neonates,auditory system,automatic source-size pre-processing,glottal pulse rate,Size Discrimination,size perception,vocal tract length},
  author = {Vestergaard, Martin D. and Háden, Gábor P. and Shtyrov, Yury and Patterson, Roy D. and Pulvermüller, Friedemann and Denham, Sue L. and Sziller, István and Winkler, István}
}

@article{winklerModelingAuditoryScene2009,
  title = {Modeling the Auditory Scene: {{Predictive}} Regularity Representations and Perceptual Objects},
  volume = {13},
  issn = {1364-6613},
  doi = {10.1016/j.tics.2009.09.003},
  shorttitle = {Modeling the Auditory Scene},
  abstract = {Predictive processing of information is essential for goal-directed behavior. We offer an account of auditory perception suggesting that representations of predictable patterns, or ‘regularities’, extracted from the incoming sounds serve as auditory perceptual objects. The auditory system continuously searches for regularities within the acoustic signal. Primitive regularities may be encoded by neurons adapting their response to specific sounds. Such neurons have been observed in many parts of the auditory system. Representations of the detected regularities produce predictions of upcoming sounds as well as alternative solutions for parsing the composite input into coherent sequences potentially emitted by putative sound sources. Accuracy of the predictions can be utilized for selecting the most likely interpretation of the auditory input. Thus in our view, perception generates hypotheses about the causal structure of the world. (PsycINFO Database Record (c) 2012 APA, all rights reserved). (journal abstract)},
  number = {12},
  journaltitle = {Trends in Cognitive Sciences},
  shortjournal = {Trends in Cognitive Sciences},
  date = {2009-12},
  pages = {532-540},
  keywords = {Prediction,Auditory Perception,auditory scene,Causality,goal-directed behavior,modeling,perceptual objects,predictive regularity representations},
  author = {Winkler, István and Denham, Susan L. and Nelken, Israel}
}

@article{schrogerPredictiveRegularityRepresentations2014,
  title = {Predictive Regularity Representations in Violation Detection and Auditory Stream Segregation: {{From}} Conceptual to Computational Models},
  volume = {27},
  issn = {0896-0267},
  doi = {10.1007/s10548-013-0334-6},
  shorttitle = {Predictive Regularity Representations in Violation Detection and Auditory Stream Segregation},
  abstract = {Predictive accounts of perception have received increasing attention in the past 20 years. Detecting violations of auditory regularities, as reflected by the Mismatch Negativity (MMN) auditory event-related potential, is amongst the phenomena seamlessly fitting this approach. Largely based on the MMN literature, we propose a psychological conceptual framework called the Auditory Event Representation System (AERS), which is based on the assumption that auditory regularity violation detection and the formation of auditory perceptual objects are based on the same predictive regularity representations. Based on this notion, a computational model of auditory stream segregation, called CHAINS, has been developed. In CHAINS, the auditory sensory event representation of each incoming sound is considered for being the continuation of likely combinations of the preceding sounds in the sequence, thus providing alternative interpretations of the auditory input. Detecting repeating patterns allows predicting upcoming sound events, thus providing a test and potential support for the corresponding interpretation. Alternative interpretations continuously compete for perceptual dominance. In this paper, we briefly describe AERS and deduce some general constraints from this conceptual model. We then go on to illustrate how these constraints are computationally specified in CHAINS. (PsycINFO Database Record (c) 2014 APA, all rights reserved). (journal abstract)},
  number = {4},
  journaltitle = {Brain Topography},
  shortjournal = {Brain Topography},
  date = {2014-07},
  pages = {565-577},
  keywords = {Auditory Evoked Potentials,auditory scene analysis,mismatch negativity,Mismatch negativity (MMN),Auditory object,Computational Modeling,Deviance detection,Predictive modelling},
  author = {Schröger, Erich and Bendixen, Alexandra and Denham, Susan L. and Mill, Robert W. and Bőhm, Tamás M. and Winkler, István}
}

@article{alainSelectivelyAttendingAuditory2000,
  langid = {english},
  title = {Selectively Attending to Auditory Objects},
  volume = {5},
  issn = {1093-9946},
  abstract = {The ability to maintain a conversation with one person while at a noisy cocktail party has often been used to illustrate a general characteristic of auditory selective attention, namely that perceivers' attention is usually directed to a particular set of sounds and not to others. Part of the cocktail party problem involves parsing co-occurring speech sounds and simultaneously integrating these various speech tokens into meaningful units ("auditory scene analysis"). Here, we review auditory perception and selective attention studies in an attempt to determine the role of perceptual organization in selective attention. Results from several behavioral and electrophysiological studies indicate that the ability to focus attention selectively on a particular sound source depends on a preliminary analysis that partitions the auditory input into distinct perceptual objects. Most findings can be accounted for by an object-based hypothesis in which auditory attention is allocated to perceptual objects derived from the auditory scene according to perceptual grouping principles.},
  journaltitle = {Frontiers in Bioscience: A Journal and Virtual Library},
  shortjournal = {Front. Biosci.},
  date = {2000-01-01},
  pages = {D202-212},
  keywords = {Attention,Auditory Perception,humans,electrophysiology,HEARING},
  author = {Alain, C. and Arnott, S. R.},
  eprinttype = {pmid},
  eprint = {10702369}
}

@article{arnottEffectsPerceptualContext2002,
  title = {Effects of Perceptual Context on Event-Related Brain Potentials during Auditory Spatial Attention},
  volume = {39},
  issn = {0048-5772},
  doi = {10.1017/S0048577202394149},
  abstract = {The effects of auditory spatial attention on event-related brain potentials (ERPs) were examined in situations that promoted stream segregation. Short and long noise bursts were presented at three azimuth locations and listeners were asked to respond to the longer sounds occurring at either the right- or left-most location. Data from 15 young adults (7 men; aged 18-39 yrs) were analyzed. In the baseline condition, the three sound sources were evenly spaced apart. In the distractor clustering conditions, middle and far sounds were clustered. In the attended clustering conditions, middle and attended sounds were clustered. ERP indices of attention, isolated as negative difference (Nd) waves, were greater over the hemisphere contralateral to the attended location. Nd waves were also larger when the middle sounds were moved toward the far distractors, consistent with an object-based gradient of auditory attention in which higher order information provided by the perceptual context influences selective processing. (PsycINFO Database Record (c) 2012 APA, all rights reserved)},
  number = {5},
  journaltitle = {Psychophysiology},
  shortjournal = {Psychophysiology},
  date = {2002-09},
  pages = {625-632},
  keywords = {Attention,Evoked Potentials,Auditory Stimulation,event-related brain potentials,Spatial Perception,auditory spatial attention,distractor clustering,perceptual context,selective processing},
  author = {Arnott, Stephen R. and Alain, Claude}
}

@article{alainBottomTopInfluences2001,
  title = {Bottom–up and Top–down Influences on Auditory Scene Analysis: {{Evidence}} from Event-Related Brain Potentials},
  volume = {27},
  issn = {0096-1523},
  url = {http://search.ebscohost.com/login.aspx?direct=true&db=pdh&AN=2001-18525-004&site=ehost-live},
  doi = {10.1037/0096-1523.27.5.1072},
  shorttitle = {Bottom–up and Top–down Influences on Auditory Scene Analysis},
  abstract = {The physiological processes underlying the segregation of concurrent sounds were investigated through the use of event-related brain potentials. The stimuli were complex sounds containing multiple harmonics, one of which could be mistuned so that it was no longer an integer multiple of the fundamental. Perception of concurrent auditory objects increased with degree of mistuning and was accompanied by negative and positive waves that peaked at 180 and 400 ms poststimulus, respectively. The negative wave, referred to as object-related negativity, was present during passive listening, but the positive wave was not. These findings indicate bottom–up and top–down influences during auditory scene analysis. Brain electrical source analyses showed that distinguishing simultaneous auditory objects involved a widely distributed neural network that included auditory cortices, the medial temporal lobe, and posterior association cortices. (PsycINFO Database Record (c) 2013 APA, all rights reserved). (journal abstract)},
  number = {5},
  journaltitle = {Journal of Experimental Psychology: Human Perception and Performance},
  shortjournal = {Journal of Experimental Psychology: Human Perception and Performance},
  urldate = {2015-06-17},
  date = {2001-10},
  pages = {1072-1089},
  keywords = {Auditory Discrimination,Auditory Evoked Potentials,event-related brain potentials,Contingent Negative Variation,bottom-up influences,brain electrical source analysis,object-related negativity,perception of concurrent auditory objects,top-down influences},
  author = {Alain, Claude and Arnott, Stephen R. and Picton, Terence W.},
  file = {D\:\\Sauve\\Zotero\\storage\\V98A6HVX\\Alain et al. - 2001 - Bottom–up and top–down influences on auditory scen.pdf}
}

@article{arnottSteppingOutSpotlight2002,
  title = {Stepping out of the Spotlight: {{MMN}} Attenuation as a Function of Distance from the Attended Location},
  volume = {13},
  issn = {0959-4965},
  doi = {10.1097/00001756-200212030-00009},
  shorttitle = {Stepping out of the Spotlight},
  abstract = {In this report we present neurophysiological evidence that spatial separation between attended and unattended sound sources influences a listener's ability to register changes in sounds presented outside the focus of attention. Standard and deviant stimuli were presented at three azimuth locations. Participants were asked to press a key whenever they heard a deviant at a designated location. Mismatch negativity waves were generated for deviants at the attended location and were attenuated for deviants occurring 30° away from the attended location. Mismatch negativities were not observed at distances of 60° or more. The results are consistent with a spotlight model of auditory attention in which the processing of stimuli outside the attentional focus is attenuated as a function of increasing distance from the focus. (PsycINFO Database Record (c) 2012 APA, all rights reserved). (journal abstract)},
  number = {17},
  journaltitle = {NeuroReport: For Rapid Communication of Neuroscience Research},
  shortjournal = {NeuroReport: For Rapid Communication of Neuroscience Research},
  date = {2002-12},
  pages = {2209-2212},
  keywords = {Auditory Localization,Stimulus Parameters,Auditory Evoked Potentials,mismatch negativity,selective attention,Neurophysiology,attended location,attenuated sound sources,distance,listener's ability,MMN attenuation,neurophysiological evidence,Spatial Organization,spatial separation,unattenuated sound sources},
  author = {Arnott, Stephen R. and Alain, Claude}
}

@article{duRapidTuningAuditory2015,
  title = {Rapid Tuning of Auditory 'what' and 'Where' Pathways by Training},
  volume = {25},
  issn = {1047-3211},
  doi = {10.1093/cercor/bht251},
  abstract = {Behavioral improvement within the first hour of training is commonly explained as procedural learning (i.e., strategy changes resulting from task familiarization). However, it may additionally reflect a rapid adjustment of the perceptual and/or attentional system in a goal-directed task. In support of this latter hypothesis, we show feature-specific gains in performance for groups of participants briefly trained to use either a spectral or spatial difference between 2 vowels presented simultaneously during a vowel identification task. In both groups, the neuromagnetic activity measured during the vowel identification task following training revealed source activity in auditory cortices, prefrontal, inferior parietal, and motor areas. More importantly, the contrast between the 2 groups revealed a striking double dissociation in which listeners trained on spectral or spatial cues showed higher source activity in ventral (“what”) and dorsal (“where”) brain areas, respectively. These feature-specific effects indicate that brief training can implicitly bias top-down processing to a trained acoustic cue and induce a rapid recalibration of the ventral and dorsal auditory streams during speech segregation and identification. (PsycINFO Database Record (c) 2015 APA, all rights reserved). (journal abstract)},
  number = {2},
  journaltitle = {Cerebral Cortex},
  shortjournal = {Cerebral Cortex},
  date = {2015-02},
  pages = {496-506},
  keywords = {Attention,plasticity,Training,Auditory Cortex,HEARING,Learning,MEG,speech},
  author = {Du, Yi and He, Yu and Arnott, Stephen R. and Ross, Bernhard and Wu, Xihong and Li, Liang and Alain, Claude}
}

@article{yabeOrganizingSoundSequences2001,
  title = {Organizing Sound Sequences in the Human Brain: {{The}} Interplay of Auditory Streaming and Temporal Integration},
  volume = {897},
  issn = {0006-8993},
  doi = {10.1016/S0006-8993(01)02224-7},
  shorttitle = {Organizing Sound Sequences in the Human Brain},
  abstract = {Examined the relationship between 2 of the early brain processes of sound organization: auditory streaming and the temporal window of integration. The precedence between these 2 sound organization processes was determined by using the stimulus-omission mismatch negativity paradigm. With 10 healthy 27–40 yr olds, magnetic brain responses elicited by infrequent stimulus omissions appearing in a sequence of 2 alternating tones were recorded. The magnetic mismatch negativity event related potential (ERP) was elicited by tone omission when the alternating tones formed a single stream (with no or only small frequency separation between the 2 tones) but not when separate high and low streams emerged in perception (large frequency separation between the 2 alternating tones). It is concluded that this result shows auditory streaming takes precedence over the processes of temporal integration. (PsycINFO Database Record (c) 2012 APA, all rights reserved)},
  number = {1-2},
  journaltitle = {Brain Research},
  shortjournal = {Brain Research},
  date = {2001-04},
  pages = {222-227},
  keywords = {Pitch (Frequency),Auditory Stimulation,Auditory Evoked Potentials,27–40 yr olds,infrequent tone omission in sequence of 2 alternating tones,magnetic mismatch negativity ERP indicating precedence of auditory streaming vs temporal integration,Sensory Integration,Stimulus Onset,Stimulus Variability},
  author = {Yabe, Hirooki and Winkler, István and Czigler, István and Koyama, Sachiko and Kakigi, Ryusuke and Sutoh, Takeyuki and Hiruma, Tomiharu and Kaneko, Sunao}
}

@incollection{cziglerTemporalCharacteristicsAuditory2003,
  location = {{Ashland, OH, US}},
  title = {Temporal Characteristics of Auditory Event-Synthesis: {{Electrophysiological}} Studies},
  isbn = {0-88937-281-0},
  shorttitle = {Temporal Characteristics of Auditory Event-Synthesis},
  abstract = {Mismatch-negativity component of event-related potentials (MMN) is a sensitive indicator of automatic change detection in the auditory modality. This wave is elicited whenever auditory events do not fit the rules stored in sensory memory. No attention to the irregular event is needed to elicit MMN (see Naatanen, 1992, for a review). MMN studies will be reviewed showing that the stream of auditory input is integrated into chunks of approximately 200 ms. However, shorter stimuli within such chunks may preserve their identities, i.e., they are available for further processing. (PsycINFO Database Record (c) 2012 APA, all rights reserved). (chapter)},
  booktitle = {Time and Mind {{II}}: {{Information}} Processing Perspectives.},
  publisher = {{Hogrefe \& Huber Publishers}},
  date = {2003},
  pages = {117-124},
  keywords = {Auditory Evoked Potentials,electrophysiology,auditory event-related potentials,mismatch-negativity,Time},
  author = {Czigler, István and Winkler, István and Sussmann, Elyse and Yabe, Hirooki and Horváth, János},
  editor = {Helfrich, Hede and Helfrich, Hede (Ed)}
}

@article{zendelMusiciansExperienceLess2012,
  title = {Musicians Experience Less Age-Related Decline in Central Auditory Processing},
  volume = {27},
  issn = {0882-7974},
  url = {http://search.ebscohost.com/login.aspx?direct=true&db=pdh&AN=2011-20240-001&site=ehost-live},
  doi = {10.1037/a0024816},
  abstract = {Age-related decline in auditory perception reflects changes in the peripheral and central auditory systems. These age-related changes include a reduced ability to detect minute spectral and temporal details in an auditory signal, which contributes to a decreased ability to understand speech in noisy environments. Given that musical training in young adults has been shown to improve these auditory abilities, we investigated the possibility that musicians experience less age-related decline in auditory perception. To test this hypothesis we measured auditory processing abilities in lifelong musicians (N = 74) and nonmusicians (N = 89), aged between 18 and 91. Musicians demonstrated less age-related decline in some auditory tasks (i.e., gap detection and speech in noise), and had a lifelong advantage in others (i.e., mistuned harmonic detection). Importantly, the rate of age-related decline in hearing sensitivity, as measured by pure-tone thresholds, was similar between both groups, demonstrating that musicians experience less age-related decline in central auditory processing. (PsycINFO Database Record (c) 2013 APA, all rights reserved). (journal abstract)},
  number = {2},
  journaltitle = {Psychology and Aging},
  shortjournal = {Psychology and Aging},
  urldate = {2015-06-17},
  date = {2012-06},
  pages = {410-417},
  keywords = {Musicians,Auditory Perception,Age Differences,aging,auditory processing,musician},
  author = {Zendel, Benjamin Rich and Alain, Claude},
  file = {D\:\\Sauve\\Zotero\\storage\\B7PMM6Z8\\Zendel and Alain - 2012 - Musicians experience less age-related decline in c.pdf}
}

@article{zendelInfluenceLifelongMusicianship2013,
  title = {The Influence of Lifelong Musicianship on Neurophysiological Measures of Concurrent Sound Segregation},
  volume = {25},
  issn = {0898-929X},
  doi = {10.1162/jocn_a_00329},
  abstract = {The ability to separate concurrent sounds based on periodicity cues is critical for parsing complex auditory scenes. This ability is enhanced in young adult musicians and reduced in older adults. Here, we investigated the impact of lifelong musicianship on concurrent sound segregation and perception using scalp-recorded ERPs. Older and younger musicians and nonmusicians were presented with periodic harmonic complexes where the second harmonic could be tuned or mistuned by 1–16\% of its original value. The likelihood of perceiving two simultaneous sounds increased with mistuning, and musicians, both older and younger, were more likely to detect and report hearing two sounds when the second harmonic was mistuned at or above 2\%. The perception of a mistuned harmonic as a separate sound was paralleled by an object-related negativity that was larger and earlier in younger musicians compared with the other three groups. When listeners made a judgment about the harmonic stimuli, the perception of the mistuned harmonic as a separate sound was paralleled by a positive wave at about 400 msec poststimulus (P400), which was enhanced in both older and younger musicians. These findings suggest attention-dependent processing