text:
of a mistuned harmonic is enhanced in older musicians and provides further evidence that age-related decline in hearing abilities are mitigated by musical training. (PsycINFO Database Record (c) 2013 APA, all rights reserved). (journal abstract)},
  number = {4},
  journaltitle = {Journal of Cognitive Neuroscience},
  shortjournal = {Journal of Cognitive Neuroscience},
  date = {2013-04},
  pages = {503-516},
  keywords = {Musicians,Evoked Potentials,Auditory Perception,musical training,acoustics,Age Differences,Neurophysiology,auditory scenes,concurrent sound segregation,hearing abilities,lifelong musicianship,neurophysiological measures},
  author = {Zendel, Benjamin Rich and Alain, Claude}
}

@article{zendelConcurrentSoundSegregation2009,
  title = {Concurrent Sound Segregation Is Enhanced in Musicians},
  volume = {21},
  issn = {0898-929X},
  doi = {10.1162/jocn.2009.21140},
  abstract = {The ability to segregate simultaneously occurring sounds is fundamental to auditory perception. Many studies have shown that musicians have enhanced auditory perceptual abilities; however, the impact of musical expertise on segregating concurrently occurring sounds is unknown. Therefore, we examined whether long-term musical training can improve listeners' ability to segregate sounds that occur simultaneously. Participants were presented with complex sounds that had either all harmonics in tune or the second harmonic mistuned by 1\%, 2\%, 4\%, 8\%, or 16\% of its original value. The likelihood of hearing two sounds simultaneously increased with mistuning, and this effect was greater in musicians than nonmusicians. The segregation of the mistuned harmonic from the harmonic series was paralleled by an object-related negativity that was larger and peaked earlier in musicians. It also coincided with a late positive wave referred to as the P400 whose amplitude was larger in musicians than in nonmusicians. The behavioral and electrophysiological effects of musical expertise were specific to processing the mistuned harmonic as the N1, the N1c, and the P2 waves elicited by the tuned stimuli were comparable in both musicians and nonmusicians. These results demonstrate that listeners' ability to segregate concurrent sounds based on harmonicity is modulated by experience and provides a basis for further studies assessing the potential rehabilitative effects of musical training on solving complex scene analysis problems illustrated by the cocktail party example. (PsycINFO Database Record (c) 2012 APA, all rights reserved). (journal abstract)},
  number = {8},
  journaltitle = {Journal of Cognitive Neuroscience},
  shortjournal = {Journal of Cognitive Neuroscience},
  date = {2009-08},
  pages = {1488-1498},
  keywords = {Musicians,Auditory Perception,Auditory Stimulation,concurrent sound segregation,complex sounds},
  author = {Zendel, Benjamin Rich and Alain, Claude}
}

@article{zendelEnhancedAttentiondependentActivity2014,
  title = {Enhanced Attention-Dependent Activity in the Auditory Cortex of Older Musicians},
  volume = {35},
  issn = {0197-4580},
  doi = {10.1016/j.neurobiolaging.2013.06.022},
  abstract = {Musical training improves auditory processing abilities, which correlates with neuro-plastic changes in exogenous (input-driven) and endogenous (attention-dependent) components of auditory event-related potentials (ERPs). Evidence suggests that musicians, compared to non-musicians, experience less age-related decline in auditory processing abilities. Here, we investigated whether lifelong musicianship mitigates exogenous or endogenous processing by measuring auditory ERPs in younger and older musicians and non-musicians while they either attended to auditory stimuli or watched a muted subtitled movie of their choice. Both age and musical training-related differences were observed in the exogenous components; however, the differences between musicians and non-musicians were similar across the lifespan. These results suggest that exogenous auditory ERPs are enhanced in musicians, but decline with age at the same rate. On the other hand, attention-related activity, modeled in the right auditory cortex using a discrete spatiotemporal source analysis, was selectively enhanced in older musicians. This suggests that older musicians use a compensatory strategy to overcome age-related decline in peripheral and exogenous processing of acoustic information. (PsycINFO Database Record (c) 2013 APA, all rights reserved). (journal abstract)},
  number = {1},
  journaltitle = {Neurobiology of Aging},
  shortjournal = {Neurobiology of Aging},
  date = {2014-01},
  pages = {55-63},
  keywords = {Attention,Musicians,Training,acoustics,Auditory Evoked Potentials,Age Differences,Auditory Cortex,event related potentials,older musicians},
  author = {Zendel, Benjamin Rich and Alain, Claude}
}

@article{alainTurningNoiseBenefit2014,
  title = {Turning down the Noise: {{The}} Benefit of Musical Training on the Aging Auditory Brain},
  volume = {308},
  issn = {0378-5955},
  doi = {10.1016/j.heares.2013.06.008},
  shorttitle = {Turning down the Noise},
  abstract = {Age-related decline in hearing abilities is a ubiquitous part of aging, and commonly impacts speech understanding, especially when there are competing sound sources. While such age effects are partially due to changes within the cochlea, difficulties typically exist beyond measurable hearing loss, suggesting that central brain processes, as opposed to simple peripheral mechanisms (e.g., hearing sensitivity), play a critical role in governing hearing abilities late into life. Current training regimens aimed to improve central auditory processing abilities have experienced limited success in promoting listening benefits. Interestingly, recent studies suggest that in young adults, musical training positively modifies neural mechanisms, providing robust, long-lasting improvements to hearing abilities as well as to non-auditory tasks that engage cognitive control. These results offer the encouraging possibility that musical training might be used to counteract age-related changes in auditory cognition commonly observed in older adults. Here, we reviewed studies that have examined the effects of age and musical experience on auditory cognition with an emphasis on auditory scene analysis. We infer that musical training may offer potential benefits to complex listening and might be utilized as a means to delay or even attenuate declines in auditory perception and cognition that often emerge later in life. (PsycINFO Database Record (c) 2014 APA, all rights reserved). (journal abstract)},
  journaltitle = {Hearing Research},
  shortjournal = {Hearing Research},
  date = {2014-02},
  pages = {162-173},
  keywords = {Training,Music,Auditory Stimulation,musical training,Hearing Disorders,Music Education,aging,auditory cognition & processing,cognitive control,hearing loss},
  author = {Alain, Claude and Zendel, Benjamin Rich and Hutka, Stefanie and Bidelman, Gavin M.}
}

@article{singhInfluenceDifferentTimbre1997,
  title = {The Influence of Different Timbre Attributes on the Perceptual Segregation of Complex-Tone Sequences},
  volume = {102},
  issn = {0001-4966},
  doi = {10.1121/1.419688},
  abstract = {Investigated the influence of different timbre attributes on the perceptual organization of tone sequences. In particular this article examined the relative efficacy of differences in amplitude-envelope features, and harmonic content on stream segregation. A 2nd goal was to devise a paradigm that would provide a common scale against which to measure or "titrate" the potency of different physical features as initiators of stream segregation. Sequences of sounds with different spectral and temporal-amplitude envelope features were constructed following a 2-factor design to generate 4 presentation conditions with 10 listeners (aged 21–36 yrs). Results corroborated the importance of spectral differences in facilitating stream segregation. In the 2 conditions under which the sounds in a sequence differed from each other in terms of number of harmonics, Ss registered significantly lower ΔF0 values for segregation than the reference condition in which there was a difference between sounds in terms of harmonic structure. Ss attained significantly lower crossover points for the condition under which changes were made only in the envelope feature of sounds. (PsycINFO Database Record (c) 2012 APA, all rights reserved)},
  number = {4},
  journaltitle = {Journal of the Acoustical Society of America},
  shortjournal = {Journal of the Acoustical Society of America},
  date = {1997-10},
  pages = {1943-1952},
  keywords = {Pitch (Frequency),Auditory Discrimination,Auditory Stimulation,Pitch Discrimination,21–36 yr olds,harmonic content & amplitude envelope features,perceptual segregation of complex tone sequences,Stimulus Complexity},
  author = {Singh, Punita G. and Bregman, Albert S.}
}

@article{mcadamsPerceptualScalingSynthesized1995,
  title = {Perceptual Scaling of Synthesized Musical Timbres: {{Common}} Dimensions, Specificities, and Latent Subject Classes},
  volume = {58},
  issn = {0340-0727},
  doi = {10.1007/BF00419633},
  shorttitle = {Perceptual Scaling of Synthesized Musical Timbres},
  abstract = {Examined the perceptual structure of musical timbre and effects of musical training, using the ratings of 98 Ss (aged 18–57 yrs), with varying musical training, on timbral dissimilarities of synthesized instrument sounds. Ss in professional, amateur, and nonmusician groups, also completed a questionnaire on the amount and kind of musical training received, number of years of music making, and amounts and types of music listening. Results reveal 5 latent classes of a 3-dimensional spatial model. Further, musical timbres possessed specific attributes not accounted for by these shared perceptual dimensions. Weight patterns indicated that perceptual salience of dimensions and specificities varied across classes. A comparison of class structure with biographical factors associated with degree of musical training and activity was not clearly related to class structure. (PsycINFO Database Record (c) 2013 APA, all rights reserved)},
  number = {3},
  journaltitle = {Psychological Research},
  shortjournal = {Psychological Research},
  date = {1995-12},
  pages = {177-192},
  keywords = {Musicians,Auditory Perception,Music,Pitch (Frequency),18–57 yr old professional vs amateur musicians vs nonmusicians,Experience Level,France,perceptual structure of musical timbre & perceived timbral dissimilarities of synthesized instrument sounds},
  author = {McAdams, Stephen and Winsberg, Suzanne and Donnadieu, Sophie and De Soete, Geert and Krimphoff, Jochen}
}

@article{hartmannStreamSegregationPeripheral1991,
  title = {Stream Segregation and Peripheral Channeling},
  volume = {9},
  issn = {0730-7829},
  abstract = {Examined whether stream segregation is mediated entirely by channeling that is established in the auditory periphery or whether more complicated principles of source grouping are at work. Seven listeners with normal hearing and some musical experience performed 2 interleaved melody identification tasks. Data show that peripheral channeling was of paramount importance, suggesting that a set of rather simple rules can predict whether 2 interleaved melodies will be perceived as segregated or not. The data reveal a secondary effect of tone duration. Otherwise, in the absence of peripheral channeling, the experiments find little or no stream segregation, even in those cases where individual tones should clearly evoke images of different sources. (PsycINFO Database Record (c) 2012 APA, all rights reserved)},
  number = {2},
  journaltitle = {Music Perception},
  shortjournal = {Music Perception},
  year = {Win  1991},
  pages = {155-183},
  keywords = {Auditory Perception,Music,auditory peripheral channeling,listeners,stream segregation in interleaved melody identification},
  author = {Hartmann, William M. and Johnson, Douglas}
}

@article{beauvoisEffectToneDuration1998,
  title = {The Effect of Tone Duration on Auditory Stream Formation},
  volume = {60},
  issn = {0031-5117},
  doi = {10.3758/BF03206068},
  abstract = {Studied the effect of tone duration on the formation of auditory streams. 17 20–32-yr-olds were presented with 15-sec alternating pure-tone sequences (e.g., ABAB) and were asked to orient their attention over the duration of the sequence toward hearing either a temporally coherent or a segregated percept. At stimulus offset, Ss indicated whether their percept had been that of a temporally coherent ABAB trill or that of segregated A and B streams. Results indicate that the occurrence of stream segregation increases as (1) the duration of the A and B tones increases in unison, and (2) the difference in duration between the A and B tones increases, with the duration differences between the tones producing the strongest segregation effects. A simulation of the results using the M. W. Beauvois and R. Meddis (1996) stream segregation model suggests that both the tone duration effects reported here, and Gestalt auditory grouping on the basis of temporal proximity can be understood in terms of low-level neurophysiological processes and peripheral-channeling factors. (PsycINFO Database Record (c) 2012 APA, all rights reserved)},
  number = {5},
  journaltitle = {Perception \& Psychophysics},
  shortjournal = {Perception \& Psychophysics},
  date = {1998-07},
  pages = {852-861},
  keywords = {Auditory Perception,Pitch (Frequency),20–32 yr olds,auditory stream formation,Stimulus Duration,tone duration},
  author = {Beauvois, Michael W.}
}

@article{beauvoisTimeDelayAuditory1997,
  title = {Time Delay of Auditory Stream Biasing},
  volume = {59},
  issn = {0031-5117},
  doi = {10.3758/BF03206850},
  abstract = {Investigated the time decay of auditory stream biasing (ASB). 18 Ss (aged 19–30 yrs) were required to listen to a 1-sec induction sequence of repeated tones (AAAA…) designed to bias the listener's percept toward hearing an A stream. The induction sequence was followed immediately by a silent interval (0–8 sec), and then a short ABAB… test sequence. To measure the amount of ASB remaining at the end of the silent interval, Ss were asked to indicate whether the test sequence was temporally coherent or had segregated into separate A and B streams. A plot of the mean number of segregation responses against silent-interval duration indicated that the overall time decay of ASB can be described by an exponential decay function with a time constant of τ\hspace{0.6em}=\hspace{0.6em}3.84 sec, with musicians having a longer time constant (τ\hspace{0.6em}=\hspace{0.6em}7.84 sec) than nonmusicians (τ\hspace{0.6em}=\hspace{0.6em}1.42 sec). The length of the time constants for musicians and nonmusicians suggests that the mechanism responsible for ASB is associated with long auditory storage and that future experiments investigating auditory streaming phenomena should use interstimulus intervals of at least 8 sec. (PsycINFO Database Record (c) 2012 APA, all rights reserved)},
  number = {1},
  journaltitle = {Perception \& Psychophysics},
  shortjournal = {Perception \& Psychophysics},
  date = {1997-01},
  pages = {81-86},
  keywords = {Auditory Perception,Pitch (Frequency),Auditory Discrimination,Auditory Stimulation,19–30 yr olds,auditory stream biasing through sequence of repeated tones & silent interval & short segregated tones,Constant Time Delay,time delay & perception of coherent vs segregated tone streams},
  author = {Beauvois, Michael W. and Meddis, Ray}
}

@article{beauvoisComputerSimulationAuditory1996,
  title = {Computer Simulation of Auditory Stream Segregation in Alternating-Tone Sequences},
  volume = {99},
  issn = {0001-4966},
  doi = {10.1121/1.415414},
  abstract = {Presents a computer model to show that a number of auditory figure/ground phenomena can be accounted for by a small number of low-level processing principles compatible with the known physiology of the peripheral auditory system. A summary of model features is outlined. The operation of the model suggests that some Gestalt auditory grouping may be the product of low-level processes. (PsycINFO Database Record (c) 2012 APA, all rights reserved)},
  issue = {4, Pt 1},
  journaltitle = {Journal of the Acoustical Society of America},
  shortjournal = {Journal of the Acoustical Society of America},
  date = {1996-04},
  pages = {2270-2280},
  keywords = {Auditory Discrimination,computer model of low-level processing principles related to physiology of peripheral auditory system,Figure Ground Discrimination,Gestalt group of auditory figure/ground phenomena,Gestalt Psychology,Mathematical Modeling,Peripheral Nervous System},
  author = {Beauvois, Michael W. and Meddis, Ray}
}

@article{beauvoisComputerModelAuditory1991,
  title = {A Computer Model of Auditory Stream Segregation},
  volume = {43A},
  issn = {0272-4987},
  abstract = {Describes a computer model that simulates some aspects of auditory stream segregation. The model consists of a multichannel bandpass-filter bank with a "noisy" output and an attentional mechanism that responds selectively to the channel with the greatest activity. The model produced similar results to 2 experimental demonstrations of streaming phenomena. In one experiment, 6 Ss listened to an alternating tone sequence and determined whether the percept was streaming or temporally coherent. The other experiment used data from a study by S. Anstis and S. Saida (see record [rid]1986-10938-001[/rid]). Results are discussed in terms of the emergent properties of a system governed by simple physiological principles. As such, the model is contrasted with higher-level Gestalt explanations of the same phenomena while accepting that they may constitute complementary kinds of explanation. (PsycINFO Database Record (c) 2012 APA, all rights reserved)},
  number = {3},
  journaltitle = {The Quarterly Journal of Experimental Psychology A: Human Experimental Psychology},
  shortjournal = {The Quarterly Journal of Experimental Psychology A: Human Experimental Psychology},
  series = {Hearing and Speech},
  date = {1991-08},
  pages = {517-541},
  keywords = {Auditory Discrimination,26–45 yr olds,computer simulated auditory stream segregation for successive pure tone stimuli & empirical verification,Computer Simulation},
  author = {Beauvois, Michael W. and Meddis, Ray}
}

@article{roseEffectsFrequencyLevel2000,
  langid = {english},
  title = {Effects of Frequency and Level on Auditory Stream Segregation},
  volume = {108},
  issn = {0001-4966},
  abstract = {This study examined the effect of center frequency and level on the perceptual grouping of rapid tone sequences. The sequence ABA-ABA-...was used, where A and B represent sinusoidal tone bursts (10-ms rise/fall, 80-ms steady state, 20-ms interval between tones) and - represents a silent interval of 120 ms. In experiment 1, tone A was fixed in frequency at 62, 125, 250, 500, 1000, 2000, 4000, 6000, or 8000 Hz. Both tones had a level of approximately 40 dB SL. Tone B started with a frequency well above that of tone A, and its frequency was swept toward that of tone A so that the frequency separation between them decreased in an exponential manner. Subjects were required to indicate when they could no longer hear the tones A and B as two separate streams, but heard only a single stream with a "gallop" rhythm. This changeover point between percepts is called the fission boundary. The separation between tones A and B at the fission boundary was roughly independent of the frequency of tone A when expressed as the difference in number of equivalent rectangular bandwidths (ERBs) between A and B, but varied more with frequency when the difference was expressed in barks or cents. In experiment 2, the center frequency was fixed at 250, 1000, or 4000 Hz, and the level of the A and B tones was 40, 55, 70, or 85 dB SPL. The frequency separation of the A and B tones at the fission boundary tended to increase slightly with increasing level, in a manner consistent with the broadening of the auditory filter with increasing level. The results support the "peripheral channeling" explanation of stream segregation advanced by Hartmann and Johnson [Music Percept. 9, 155-184 (1991)], and indicate that the perception of fusion or fission in alternating-tone sequences depends partly upon the degree of overlap of the excitation patterns evoked by the successive sounds in the cochlea, as assumed in the theory of Beauvois and Meddis [J. Acoust. Soc. Am. 99, 2270-2280 (1996)].},
  issue = {3 Pt 1},
  journaltitle = {The Journal of the Acoustical Society of America},
  shortjournal = {J. Acoust. Soc. Am.},
  date = {2000-09},
  pages = {1209-1214},
  keywords = {Auditory Perception,humans,Models; Biological,Adult,Auditory Threshold,Middle Aged},
  author = {Rose, M. M. and Moore, B. C.},
  eprinttype = {pmid},
  eprint = {11008821}
}

@article{marozeauDependencyTimbreFundamental2003,
  langid = {english},
  title = {The Dependency of Timbre on Fundamental Frequency},
  volume = {114},
  issn = {0001-4966},
  abstract = {The dependency of the timbre of musical sounds on their fundamental frequency (F0) was examined in three experiments. In experiment I subjects compared the timbres of stimuli produced by a set of 12 musical instruments with equal F0, duration, and loudness. There were three sessions, each at a different F0. In experiment II the same stimuli were rearranged in pairs, each with the same difference in F0, and subjects had to ignore the constant difference in pitch. In experiment III, instruments were paired both with and without an F0 difference within the same session, and subjects had to ignore the variable differences in pitch. Experiment I yielded dissimilarity matrices that were similar at different F0's, suggesting that instruments kept their relative positions within timbre space. Experiment II found that subjects were able to ignore the salient pitch difference while rating timbre dissimilarity. Dissimilarity matrices were symmetrical, suggesting further that the absolute displacement of the set of instruments within timbre space was small. Experiment III extended this result to the case where the pitch difference varied from trial to trial. Multidimensional scaling (MDS) of dissimilarity scores produced solutions (timbre spaces) that varied little across conditions and experiments. MDS solutions were used to test the validity of signal-based predictors of timbre, and in particular their stability as a function of F0. Taken together, the results suggest that timbre differences are perceived independently from differences of pitch, at least for F0 differences smaller than an octave. Timbre differences can be measured between stimuli with different F0's.},
  number = {5},
  journaltitle = {The Journal of the Acoustical Society of America},
  shortjournal = {J. Acoust. Soc. Am.},
  date = {2003-11},
  pages = {2946-2957},
  keywords = {pitch perception,humans,Adult,Female,Male,Models; Theoretical},
  author = {Marozeau, Jeremy and de Cheveigné, Alain and McAdams, Stephen and Winsberg, Suzanne},
  options = {useprefix=true},
  eprinttype = {pmid},
  eprint = {14650028}
}

@article{gutschalkNeuralCorrelatesAuditory2008,
  title = {Neural {{Correlates}} of {{Auditory Perceptual Awareness}} under {{Informational Masking}}},
  volume = {6},
  url = {http://dx.doi.org/10.1371/journal.pbio.0060138},
  doi = {10.1371/journal.pbio.0060138},
  abstract = {How does the brain process sound when we can't always be aware of all auditory information at once? A new study shows that auditory processing depends on whether the sound is consciously perceived.},
  number = {6},
  journaltitle = {PLoS Biol},
  shortjournal = {PLoS Biol},
  urldate = {2015-06-17},
  date = {2008-06-10},
  pages = {e138},
  author = {Gutschalk, Alexander and Micheyl, Christophe and Oxenham, Andrew J},
  file = {D\:\\Sauve\\Zotero\\storage\\8TR7ISZS\\Gutschalk et al. - 2008 - Neural Correlates of Auditory Perceptual Awareness.pdf}
}

@article{wilsonCorticalFMRIActivation2007,
  title = {Cortical {{fMRI}} Activation to Sequences of Tones Alternating in Frequency: {{Relationship}} to Perceived Rate and Streaming},
  volume = {97},
  issn = {0022-3077},
  doi = {10.1152/jn.00788.2006},
  shorttitle = {Cortical {{fMRI}} Activation to Sequences of Tones Alternating in Frequency},
  abstract = {Human listeners were functionally imaged while reporting their perception of sequences of alternating-frequency tone bursts separated by 0, 1/8, 1, or 20 semitones. Our goal was to determine whether functional magnetic resonance imaging (fMRI) activation of auditory cortex changes with frequency separation in a manner predictable from the perceived rate of the stimulus. At the null and small separations, the tones were generally heard as a single stream with a perceived rate equal to the physical tone presentation rate. fMRI activation in auditory cortex was appreciably phasic, showing prominent peaks at the sequence onset and offset. At larger-frequency separations, the higher- and lower-frequency tones perceptually separated into two streams, each with a rate equal to half the overall tone presentation rate. Under those conditions, fMRI activation in auditory cortex was more sustained throughout the sequence duration and was larger in magnitude and extent. Phasic to sustained changes in fMRI activation with changes in frequency separation and perceived rate are comparable to, and consistent with, those produced by changes in the physical rate of a sequence and are far greater than the effects produced by changing other physical stimulus variables, such as sound level or bandwidth. We suggest that the neural activity underlying the changes in fMRI activation with frequency separation contribute to the coding of the co-occurring changes in perceived rate and perceptual organization of the sound sequences into auditory streams. (PsycINFO Database Record (c) 2012 APA, all rights reserved). (journal abstract)},
  number = {3},
  journaltitle = {Journal of Neurophysiology},
  shortjournal = {Journal of Neurophysiology},
  date = {2007-03},
  pages = {2230-2238},
  keywords = {Auditory Perception,Pitch (Frequency),Pitch Discrimination,Auditory Cortex,Magnetic Resonance Imaging,alternating-frequency tone bursts,fMRI activation,Functional Magnetic Resonance Imaging},
  author = {Wilson, E. Courtenay and Melcher, Jennifer R. and Micheyl, Christophe and Gutschalk, Alexander and Oxenham, Andrew J.}
}

@article{gutschalkHumanCorticalActivity2007,
  title = {Human Cortical Activity during Streaming without Spectral Cues Suggests a General Neural Substrate for Auditory Stream Segregation},
  volume = {27},
  issn = {0270-6474},
  doi = {10.1523/JNEUROSCI.2299-07.2007},
  abstract = {The brain continuously disentangles competing sounds, such as two people speaking, and assigns them to distinct streams. Neural mechanisms have been proposed for streaming based on gross spectral differences between sounds, but not for streaming based on other nonspectral features. Here, human listeners were presented with sequences of harmonic complex tones that had identical spectral envelopes, and unresolved spectral fine structure, but one of two fundamental frequencies (f₀) and pitches. As the f₀ difference between tones increased, listeners perceived the tones as being segregated into two streams (one stream for each f₀ ) and cortical activity measured with functional magnetic resonance imaging and magnetoencephalography increased. This trend was seen in primary cortex of Heschl's gyrus and in surrounding nonprimary areas. The results strongly resemble those for pure tones. Both the present and pure tone results may reflect neuronal forward suppression that diminishes as one or more features of successive sounds become increasingly different. We hypothesize that feature-specific forward suppression subserves streaming based on diverse perceptual cues and results in explicit neural representations for auditory streams within auditory cortex. (PsycINFO Database Record (c) 2012 APA, all rights reserved). (journal abstract)},
  number = {48},
  journaltitle = {The Journal of Neuroscience},
  shortjournal = {The Journal of Neuroscience},
  date = {2007-11},
  pages = {13074-13081},
  keywords = {brain,Auditory Stimulation,Cues,Auditory Cortex,tones,Afferent Pathways,neural mechanisms,neural streaming,Neurology,spectral cues},
  author = {Gutschalk, Alexander and Oxenham, Andrew J. and Micheyl, Christophe and Wilson, E. Courtenay and Melcher, Jennifer R.}
}

@article{womelsdorfRoleNeuronalSynchronization2007,
  title = {The Role of Neuronal Synchronization in Selective Attention},
  volume = {17},
  issn = {0959-4388},
  doi = {10.1016/j.conb.2007.02.002},
  abstract = {Attention selectively enhances the influence of neuronal responses conveying information about relevant sensory attributes. Accumulating evidence suggests that this selective neuronal modulation relies on rhythmic synchronization at local and long-range spatial scales: attention selectively synchronizes the rhythmic responses of those neurons that are tuned to the spatial and featural attributes of the attended sensory input. The strength of synchronization is thereby functionally related to perceptual accuracy and behavioural efficiency. Complementing this synchronization at a local level, attention has recently been demonstrated to regulate which locally synchronized neuronal groups phase-synchronize their rhythmic activity across long-range connections. These results point to a general computational role for selective synchronization in dynamically controlling which neurons communicate information about sensory inputs effectively. (PsycINFO Database Record (c) 2012 APA, all rights reserved). (journal abstract)},
  number = {2},
  journaltitle = {Current Opinion in Neurobiology},
  shortjournal = {Current Opinion in Neurobiology},
  date = {2007-04},
  pages = {154-160},
  keywords = {selective attention,Neurology,neuronal modulation,neuronal synchronization role,Neurons,sensory attributes},
  author = {Womelsdorf, Thilo and Fries, Pascal}
}

@article{nieburSynchronyNeuronalMechanism2002,
  title = {Synchrony: {{A}} Neuronal Mechanism for Attentional Selection?},
  volume = {12},
  issn = {0959-4388},
  doi = {10.1016/S0959-4388(02)00310-0},
  shorttitle = {Synchrony},
  abstract = {Reviews studies on the neural mechanisms of descending attentional selection. Attentional selection involves brain processes that select and control the flow of information into the mechanisms that underlie perception and consciousness. One theory proposes that the neural activity that represents the stimuli or events to be attended to is selected through modification of its synchrony. Recent experimental evidence supports this theory, by showing that changes in attentional focus increase the synchrony of neural firing in some neuron pairs and decrease it in others. (PsycINFO Database Record (c) 2012 APA, all rights reserved)},
  number = {2},
  journaltitle = {Current Opinion in Neurobiology},
  shortjournal = {Current Opinion in Neurobiology},
  date = {2002-04},
  pages = {190-194},
  keywords = {selective attention,Neurophysiology,neural mechanisms,attentional selection,synchrony},
  author = {Niebur, Ernst and Hsiao, Steven S. and Johnson, Kenneth O.}
}

@article{rahneMultilevelCrossmodalApproach2008,
  title = {A Multilevel and Cross-Modal Approach towards Neuronal Mechanisms of Auditory Streaming},
  volume = {1220},
  issn = {0006-8993},
  doi = {10.1016/j.brainres.2007.08.011},
  abstract = {We report first results of a multilevel, cross-modal study on the neuronal mechanisms underlying auditory sequential streaming, with the focus on the impact of visual sequences on perceptually ambiguous tone sequences which can either be perceived as two separate streams or one alternating stream. We combined two psychophysical experiments performed on humans and monkeys with two human brain imaging experiments which allow to obtain complementary information on brain activation with high spatial (fMRI) and high temporal (MEG) resolution. The same acoustic paradigm based on the pairing of tone sequences with visual stimuli was used in all human studies and, in an adapted version, in the psychophysical study on monkeys. Our multilevel approach provides experimental evidence that the pairing of auditory and visual stimuli can reliably introduce a bias towards either an integrated or a segregated perception of ambiguous sequences. Thus, comparable to an explicit instruction, this approach can be used to control the subject's perceptual organization of an ambiguous sound sequence without the need for the subject to directly report it. This finding is of particular importance for animal studies because it allows to compare electrophysiological responses of auditory cortex neurons to the same acoustic stimulus sequence eliciting either a segregated or integrated percept. (PsycINFO Database Record (c) 2012 APA, all rights reserved). (journal abstract)},
  journaltitle = {Brain Research},
  shortjournal = {Brain Research},
  series = {Active Listening},
  date = {2008-07},
  pages = {118-131},
  keywords = {Auditory Stimulation,Auditory Evoked Potentials,Auditory Cortex,auditory sequential streaming,electrophysiological responses,neuronal mechanisms},
  author = {Rahne, Torsten and Deike, Susann and Selezneva, Elena and Brosch, Michael and König, Reinhard and Scheich, Henning and Böckmann, Martin and Brechmann, André}
}

@book{bregmanAuditorySceneAnalysis1990,
  langid = {english},
  title = {Auditory {{Scene Analysis}}: {{The Perceptual Organization}} of {{Sound}}},
  isbn = {978-0-262-52195-6},
  shorttitle = {Auditory {{Scene Analysis}}},
  abstract = {"Bregman has written a major book, a unique and important contribution to the rapidly expanding field of complex auditory perception. This is a big, rich, and fulfilling piece of work that deserves the wide audience it is sure to attract." -- Stewart H. Hulse, "Science" Auditory Scene Analysis addresses the problem of hearing complex auditory environments, using a series of creative analogies to describe the process required of the human auditory system as it analyzes mixtures of sounds to recover descriptions of individual sounds. In a unified and comprehensive way, Bregman establishes a theoretical framework that integrates his findings with an unusually wide range of previous research in psychoacoustics, speech perception, music theory and composition, and computer modeling.},
  pagetotal = {800},
  publisher = {{MIT Press}},
  date = {1990},
  keywords = {Psychology / Cognitive Psychology,Psychology / Cognitive Psychology & Cognition,Science / General},
  author = {Bregman, Albert S.}
}

@article{elhilaliTemporalCoherencePerceptual2009,
  title = {Temporal {{Coherence}} in the {{Perceptual Organization}} and {{Cortical Representation}} of {{Auditory Scenes}}},
  volume = {61},
  issn = {0896-6273},
  url = {http://www.sciencedirect.com/science/article/pii/S0896627308010532},
  doi = {10.1016/j.neuron.2008.12.005},
  abstract = {Summary
Just as the visual system parses complex scenes into identifiable objects, the auditory system must organize sound elements scattered in frequency and time into coherent “streams.” Current neurocomputational theories of auditory streaming rely on tonotopic organization of the auditory system to explain the observation that sequential spectrally distant sound elements tend to form separate perceptual streams. Here, we show that spectral components that are well separated in frequency are no longer heard as separate streams if presented synchronously rather than consecutively. In contrast, responses from neurons in primary auditory cortex of ferrets show that both synchronous and asynchronous tone sequences produce comparably segregated responses along the tonotopic axis. The results argue against tonotopic separation per se as a neural correlate of stream segregation. Instead we propose a computational model of stream segregation that can account for the data by using temporal coherence as the primary criterion for predicting stream formation.},
  number = {2},
  journaltitle = {Neuron},
  shortjournal = {Neuron},
  urldate = {2015-06-17},
  date = {2009-01-29},
  pages = {317-329},
  author = {Elhilali, Mounya and Ma, Ling and Micheyl, Christophe and Oxenham, Andrew J. and Shamma, Shihab A.},
  file = {D\:\\Sauve\\Zotero\\storage\\VM95QRU5\\Elhilali et al. - 2009 - Temporal Coherence in the Perceptual Organization .pdf;D\:\\Sauve\\Zotero\\storage\\9CQBSQIK\\S0896627308010532.html}
}

@article{shinn-cunninghamSoundElementGets2007,
  title = {A Sound Element Gets Lost in Perceptual Competition},
  volume = {104},
  issn = {0027-8424},
  doi = {10.1073/pnas.0704641104},
  abstract = {Our ability to understand auditory signals depends on properly separating the mixture of sound arriving from multiple sources. Sound elements tend to belong to only one object at a time, consistent with the principle of disjoint allocation, although there are instances of duplex perception or coallocation, in which two sound objects share one sound element. Here we report an effect of "nonallocation," in which a sound element "disappears" when two ongoing objects compete for its ownership. When a target tone is presented either as one of a sequence of tones or simultaneously with a harmonic vowel complex, it is heard as part of the corresponding object. However, depending on the spatial configuration of the scene, if the target, the tones, and the vowel are all presented together, the target may not be perceived in either the tones or the vowel, even though it is not perceived as a separate entity. This finding suggests an asymmetry in the strength of the perceptual evidence required to reject vs. to include an element within the auditory foreground, a result with important implications for how we process complex auditory scenes containing ambiguous information. (PsycINFO Database Record (c) 2012 APA, all rights reserved). (journal abstract)},
  number = {29},
  journaltitle = {PNAS Proceedings of the National Academy of Sciences of the United States of America},
  shortjournal = {PNAS Proceedings of the National Academy of Sciences of the United States of America},
  date = {2007-07},
  pages = {12223-12227},
  keywords = {Attention,Auditory Perception,Auditory Discrimination,Auditory Stimulation,streaming,auditory scene analysis,Spatial Organization,auditory objects,harmonic vowel,perceptual competition,sound element,spatial configuration complex,spatial hearing,Vowels},
  author = {Shinn-Cunningham, Barbara G. and Lee, Adrian K. C. and Oxenham, Andrew J.}
}

@article{krumhanslPerceivingTonalStructure1985,
  title = {Perceiving Tonal Structure in Music},
  volume = {73},
  issn = {0003-0996},
  abstract = {Summarizes studies on the knowledge that listeners have about certain aspects of pitch structure in traditional Western music. The quantification of the tonal hierarchy, the derivation of a map of musical keys, the perceived relations between tones and between chords, and the perception of and memory for tonal music are described. The convergence between the distribution of tones in tonal compositions and probe-tone ratings suggests that listeners internalize the statistical properties of music. Findings also indicate that the psychological tonal hierarchy depends more on the ways tones are used in tonal music than on the single factor of consonance. Further studies suggest that listeners interpret chords in terms of their harmonic functions in the system of musical keys. (43 ref) (PsycINFO Database Record (c) 2012 APA, all rights reserved)},
  number = {4},
  journaltitle = {American Scientist},
  shortjournal = {American Scientist},
  date = {1985-07},
  pages = {371-378},
  keywords = {Auditory Perception,Music,Pitch (Frequency),perception & memory of tone in music},
  author = {Krumhansl, Carol L.}
}

@article{careyGeneralitySpecificityEffects2015,
  title = {Generality and Specificity in the Effects of Musical Expertise on Perception and Cognition},
  volume = {137},
  issn = {0010-0277},
  doi = {10.1016/j.cognition.2014.12.005},
  abstract = {Performing musicians invest thousands of hours becoming experts in a range of perceptual, attentional, and cognitive skills. The duration and intensity of musicians’ training—Far greater than that of most educational or rehabilitation programs—Provides a useful model to test the extent to which skills acquired in one particular context (music) generalize to different domains. Here, we asked whether the instrument-specific and more instrument-general skills acquired during professional violinists’ and pianists’ training would generalize to superior performance on a wide range of analogous (largely non-musical) skills, when compared to closely matched non-musicians. Violinists and pianists outperformed non-musicians on fine-grained auditory psychophysical measures, but surprisingly did not differ from each other, despite the different demands of their instruments. Musician groups did differ on a tuning system perception task: violinists showed clearest biases towards the tuning system specific to their instrument, suggesting that long-term experience leads to selective perceptual benefits given a training-relevant context. However, we found only weak evidence of group differences in non-musical skills, with musicians differing marginally in one measure of sustained auditory attention, but not significantly on auditory scene analysis or multi-modal sequencing measures. Further, regression analyses showed that this sustained auditory attention metric predicted more variance in one auditory psychophysical measure than did musical expertise. Our findings suggest that specific musical expertise may yield distinct perceptual outcomes within contexts close to the area of training. Generalization of expertise to relevant cognitive domains may be less clear, particularly where the task context is non-musical. (PsycINFO Database Record (c) 2015 APA, all rights reserved). (journal abstract)},
  journaltitle = {Cognition},
  shortjournal = {Cognition},
  date = {2015-04},
  pages = {81-105},
  keywords = {Musicians,cognition,Experience Level,Expertise,Generalization,Perception},
  author = {Carey, Daniel and Rosen, Stuart and Krishnan, Saloni and Pearce, Marcus T. and Shepherd, Alex and Aydelott, Jennifer and Dick, Frederic}
}

@article{pearceExpectationMelodyInfluence2006,
  title = {Expectation in Melody: {{The}} Influence of Context and Learning},
  volume = {23},
  issn = {0730-7829},
  doi = {10.1525/mp.2006.23.5.377},
  shorttitle = {Expectation in Melody},
  abstract = {The Implication-Realization (IR) theory (Narmour, 1990) posits two cognitive systems involved in the generation of melodic expectations: The first consists of a limited number of symbolic rules that are held to be innate and universal; the second reflects the top-down influences of acquired stylistic knowledge. Aspects of both systems have been implemented as quantitative models in research which has yielded empirical support for both components of the theory (Cuddy \& Lunny, 1995; Krumhansl, 1995a, 1995b; Schellenberg, 1996, 1997). However, there is also evidence that the implemented bottom-up rules constitute too inflexible a model to account for the influence of the musical experience of the listener and the melodic context in which expectations are elicited. A theory is presented, according to which both bottom-up and top-down descriptions of observed patterns of melodic expectation may be accounted for in terms of the induction of statistical regularities in existing musical repertoires. A computational model that embodies this theory is developed and used to reanalyze existing experimental data on melodic expectancy. The results of three experiments with increasingly complex melodic stimuli demonstrate that this model is capable of accounting for listeners' expectations as well as or better than the two-factor model of Schellenberg (1997). (PsycINFO Database Record (c) 2012 APA, all rights reserved). (journal abstract)},
  number = {5},
  journaltitle = {Music Perception},
  shortjournal = {Music Perception},
  date = {2006-06},
  pages = {377-405},
  keywords = {music perception,Expectations,computational model,Implication Realization theory,melodic expectation},
  author = {Pearce, Marcus T. and Wiggins, Geraint A.}
}

@article{pearceUnsupervisedStatisticalLearning2010,
  title = {Unsupervised Statistical Learning Underpins Computational, Behavioural, and Neural Manifestations of Musical Expectation},
  volume = {50},
  issn = {1053-8119},
  doi = {10.1016/j.neuroimage.2009.12.019},
  abstract = {The ability to anticipate forthcoming events has clear evolutionary advantages, and predictive successes or failures often entail significant psychological and physiological consequences. In music perception, the confirmation and violation of expectations are critical to the communication of emotion and aesthetic effects of a composition. Neuroscientific research on musical expectations has focused on harmony. Although harmony is important in Western tonal styles, other musical traditions, emphasizing pitch and melody, have been rather neglected. In this study, we investigated melodic pitch expectations elicited by ecologically valid musical stimuli by drawing together computational, behavioural, and electrophysiological evidence. Unlike rule-based models, our computational model acquires knowledge through unsupervised statistical learning of sequential structure in music and uses this knowledge to estimate the conditional probability (and information content) of musical notes. Unlike previous behavioural paradigms that interrupt a stimulus, we devised a new paradigm for studying auditory expectation without compromising ecological validity. A strong negative correlation was found between the probability of notes predicted by our model and the subjectively perceived degree of expectedness. Our electrophysiological results showed that low-probability notes, as compared to high-probability notes, elicited a larger (i) negative ERP component at a late time period (400–450 ms), (ii) beta band (14–30 Hz) oscillation over the parietal lobe, and (iii) long-range phase synchronization between multiple brain regions. Altogether, the study demonstrated that statistical learning produces information-theoretic descriptions of musical notes that are proportional to their perceived expectedness and are associated with characteristic patterns of neural activity. (PsycINFO Database Record (c) 2012 APA, all rights reserved). (journal abstract)},
  number = {1},
  journaltitle = {NeuroImage},
  shortjournal = {NeuroImage},
  date = {2010-03},
  pages = {302-313},
  keywords = {statistical learning,Auditory Stimulation,music perception,Auditory Evoked Potentials,Expectations,Learning,behavioral manifestations,computational manifestations,Computational Neuroscience,musical expectation,musical stimulation,neural manifestations,Statistics},
  author = {Pearce, Marcus T. and Ruiz, María Herrojo and Kapasi, Selina and Wiggins, Geraint A. and Bhattacharya, Joydeep}
}

@article{pearceAuditoryExpectationInformation2012,
  title = {Auditory Expectation: {{The}} Information Dynamics of Music Perception and Cognition},
  volume = {4},
  issn = {1756-8757},
  doi = {10.1111/j.1756-8765.2012.01214.x},
  shorttitle = {Auditory Expectation},
  abstract = {Following in a psychological and musicological tradition beginning with Leonard Meyer, and continuing through David Huron, we present a functional, cognitive account of the phenomenon of expectation in music, grounded in computational, probabilistic modeling. We summarize a range of evidence for this approach, from psychology, neuroscience, musicology, linguistics, and creativity studies, and argue that simulating expectation is an important part of understanding a broad range of human faculties, in music and beyond. (PsycINFO Database Record (c) 2012 APA, all rights reserved). (journal abstract)},
  number = {4},
  journaltitle = {Topics in Cognitive Science},
  shortjournal = {Topics in Cognitive Science},
  date = {2012-10},
  pages = {625-652},
  keywords = {cognition,Auditory Perception,Music,music perception,auditory expectation,information dynamics},
  author = {Pearce, Marcus T. and Wiggins, Geraint A.}
}

@incollection{aslinStatisticalLearningLinguistic1999,
  location = {{Mahwah, NJ, US}},
  title = {Statistical Learning in Linguistic and Nonlinguistic Domains},
  isbn = {0-8058-3010-3},
  abstract = {Discusses a series of studies of adults, children, and infants that show that sequential auditory patterns, composed of both speech and tonal elements presented in rapid succession, can be grouped solely on the basis of their distributional properties. The statistic that characterizes this grouping is the transitional probability between adjacent elements in the auditory stream. Such a statistic, or 1 essentially equivalent, is logically sufficient for at least certain parts of word segmentation and has been empirically verified as available even to 8-mo-olds. However, the segmentation of words from the speech stream is a rather rudimentary aspect of language structure. One challenge for the future is to explore other, more complex and less immediately sequential statistics that may characterize higher levels of linguistic structure. The authors also examine distributional, or statistical, learning at the level of phrase structure. Although it remains unclear how much of language acquisition can be accounted for by such sophisticated learning mechanisms, the authors believe that their work has drawn attention to the plausibility off considering statistical learning mechanisms as part of the battery of analytic abilities that infants bring to the problems of early development. (PsycINFO Database Record (c) 2012 APA, all rights reserved). (chapter)},
  booktitle = {The Emergence of Language.},
  publisher = {{Lawrence Erlbaum Associates Publishers}},
  date = {1999},
  pages = {359-380},
  keywords = {Language,Learning,Statistics,Cognitive Development,Psycholinguistics,statistical learning of sequential auditory patterns & phrase structures},
  author = {Aslin, Richard N. and Saffran, Jenny R. and Newport, Elissa L.},
  editor = {MacWhinney, Brian and MacWhinney, Brian (Ed)}
}

@article{saffranStatisticalLearningTone1999,
  title = {Statistical Learning of Tone Sequences by Human Infants and Adults},
  volume = {70},
  issn = {0010-0277},
  doi = {10.1016/S0010-0277(98)00075-4},
  abstract = {Previous research suggests that language learners can detect and use the statistical properties of syllable sequences to discover words in continuous speech . In the present research, the authors asked whether this statistical learning ability is uniquely tied to linguistic materials. In three experiments, subjects were exposed to continuous non-linguistic auditory sequences whose elements were organized into "tone words." As in the authors' previous studies, statistical information was the only word boundary cue available to learners. Both adults (n\hspace{0.6em}=\hspace{0.6em}48) and infants (aged 7.1–8.2 yrs; n\hspace{0.6em}=\hspace{0.6em}24) succeeded at segmenting the tone stream, with performance indistinguishable from that obtained with syllable streams. These results suggest that a learning mechanism previously shown to be involved in word segmentation can also be used to segment sequences of non-linguistic stimuli. (PsycINFO Database Record (c) 2012 APA, all rights reserved)},
  number = {1},
  journaltitle = {Cognition},
  shortjournal = {Cognition},
  date = {1999-02},
  pages = {27-52},
  keywords = {Pitch (Frequency),Stimulus Parameters,adults & 7.1–8.2 yr olds,Language Development,Learning Ability,learning of tone sequences,Learning Strategies,statistical learning ability involved in word segmentation,Words (Phonetic Units)},
  author = {Saffran, Jenny R. and Johnson, Elizabeth K. and Aslin, Richard N. and Newport, Elissa L.}
}

@article{saffranStatisticalLearning8monthold1996,
  title = {Statistical Learning by 8-Month-Old Infants},
  volume = {274},
  issn = {0036-8075},
  doi = {10.1126/science.274.5294.1926},
  abstract = {Learners rely on a combination of experience-independent and experience-dependent mechanisms to extract information from the environment. Language acquisition involves both types of mechanisms, but most theorists emphasize the relative importance of experience-independent mechanisms. The present study shows that a fundamental task of language acquisition, segmentation of words from fluent speech, can be accomplished by 8-mo-old infants based solely on the statistical relationships between neighboring speech sounds. Moreover, this word segmentation was based on statistical learning from only 2 min of exposure, suggesting that infants have access to a powerful mechanism for the computation of statistical properties of the language input. (PsycINFO Database Record (c) 2012 APA, all rights reserved)},
  number = {5294},
  journaltitle = {Science},
  shortjournal = {Science},
  date = {1996-12},
  pages = {1926-1928},
  keywords = {Auditory Stimulation,Infant Development,Language Development,Words (Phonetic Units),8 mo olds,segmentation of words from fluent speech based on statistical relationships between neighboring speech sounds,Speech Perception},
  author = {Saffran, Jenny R. and Aslin, Richard N. and Newport, Elissa L.}
}

@article{dowlingAimingAttentionPitch1987,
  title = {Aiming Attention in Pitch and Time in the Perception of Interleaved Melodies},
  volume = {41},
  issn = {0031-5117},
  doi = {10.3758/BF03210496},
  abstract = {Conducted 6 experiments in which hidden-melodies tasks were presented to groups of musically experienced or nonexperienced undergraduates. Results indicate that the Ss succeeded in following a melody interleaved at 6 or 8 notes/sec with distractor notes in the same pitch range and of the same timbre. Their ability to perform this auditory hidden-figures task depended on the rhythmic control of attention on the basis of culturally derived expectancies developed through perceptual learning with melodies. Ss appeared to have aimed expectancies in pitch and time at regions where events critical to the identification of melodies were likely to occur—regions defining expectancy windows through which target notes were perceived. Findings indicate that these windows were related to task demands and illustrate the active nature of auditory attention. (PsycINFO Database Record (c) 2012 APA, all rights reserved)},
  number = {6},
  journaltitle = {Perception \& Psychophysics},
  shortjournal = {Perception \& Psychophysics},
  series = {The Understanding of Melody and Rhythm},
  date = {1987-06},
  pages = {642-656},
  keywords = {Attention,Auditory Perception,Music,Pitch (Frequency),Experience Level,attention to & expectations of pitch & time,musically experienced vs nonexperienced college students,perception of interleaved melodies presented with distractor notes},
  author = {Dowling, W. Jay and Lung, Kitty M. and Herrbold, Susan}
}

@article{dowlingPerceptionInterleavedMelodies1973,
  title = {The Perception of Interleaved Melodies},
  volume = {5},
  issn = {0010-0285},
  doi = {10.1016/0010-0285(73)90040-6},
  abstract = {Investigated perceptual grouping of successively-presented tones from 2 melodies and the effect of overlapping pitch ranges in 4 experiments. 6 undergraduates served as Ss in both Exp I and II, 12 in Exp III, and 21 in Exp IV. Exp I showed that identification of interleaved pairs of familiar melodies was possible if pitch ranges did not overlap, but difficult otherwise. A short-term recognition memory paradigm (Exp II) showed that interleaving a background melody with an unfamiliar melody interfered with same-different judgments regardless of the separation of pitch ranges, but that range separation attenuated the interference effect. When pitch ranges overlapped, Ss overcame the interference effect and recognized a familiar melody if it was prespecified (Exp III). Familiarity or prespecification of the interleaved background melody did not reduce interfering effects on same-different judgments of unfamiliar target melodies (Exp IV). (19 ref) (PsycINFO Database Record (c) 2012 APA, all rights reserved)},
  number = {3},
  journaltitle = {Cognitive Psychology},
  shortjournal = {Cognitive Psychology},
  date = {1973-11},
  pages = {322-337},
  keywords = {Music,Pitch (Frequency),college students,pitch perception,overlapping pitch ranges,perceptual grouping of successively-presented tones from 2 melodies},
  author = {Dowling, W. J.}
}

@article{dowlingExpectancyAttentionMelody1990,
  title = {Expectancy and Attention in Melody Perception},
  volume = {9},
  issn = {0275-3987},
  url = {http://search.ebscohost.com/login.aspx?direct=true&db=pdh&AN=1991-32777-001&site=ehost-live},
  doi = {10.1037/h0094150},
  abstract = {Offers operational definitions to distinguish between attentional vs expectancy processes in melody identification. Attention is characterized as a process that selects stimulus elements for further processing, leading to the interpretation of whatever stimuli were picked up. That is, attended stimuli are heard as interpretable patterns or gestalts. In contrast, expectancy in the context of discerning melodies hidden among distractors leads to the isolation of a gestalt only when target elements match the expected pattern. Otherwise, the listener is not able to interpret the auditory pattern. These suggestions are applied to recent experiments (e.g., M. W. Andrews and W. J. Dowling; see record [rid]1991-30019-001[/rid]) that explored developmentally the consequences of violating expectancies at 2 levels: pitches within melodies, and pitches in the overall tonal scheme defined by a music key. (PsycINFO Database Record (c) 2014 APA, all rights reserved)},
  number = {2},
  journaltitle = {Psychomusicology: A Journal of Research in Music Cognition},
  shortjournal = {Psychomusicology: A Journal of Research in Music Cognition},
  series = {Music {{Expectancy}}},
  urldate = {2015-06-16},
  year = {Fal  1990},
  pages = {148-160},
  keywords = {Attention,Music,Auditory Discrimination,Cognitive Processes,Expectations,5–10 yr olds vs adults,attentional vs expectancy processes in melody identification},
  author = {Dowling, W. Jay},
  file = {D\:\\Sauve\\Zotero\\storage\\J9QWNE43\\Dowling - 1990 - Expectancy and attention in melody perception.pdf}
}

@article{andrewsDevelopmentPerceptionInterleaved1991,
  title = {The Development of Perception of Interleaved Melodies and Control of Auditory Attention},
  volume = {8},
  issn = {0730-7829},
  abstract = {158 children (aged 5–10 yrs) and 53 undergraduates were asked to discern familiar target melodies whose notes were temporally interleaved with distractor notes. Targets varied in perceptual salience: The most hidden targets were interleaved with distractors of the same pitch range, loudness, and timbre, whereas the most salient targets differed in those dimensions from their distractors. Targets either retained their familiar "straight" form or wandered in pitch. Performance improved with age and experience, and was better with salient and straight targets. All but the 5- and 6-yr-olds found salient targets easier with tonal distractors and hidden targets easier with atonal distractors. Only the youngest children found same-timbre distractors outside the pitch range of the target as disruptive as same-timbre distractors within that range. (PsycINFO Database Record (c) 2012 APA, all rights reserved)},
  number = {4},
  journaltitle = {Music Perception},
  shortjournal = {Music Perception},
  year = {Sum  1991},
  pages = {349-368},
  keywords = {Attention,Auditory Perception,Music,Pitch (Frequency),Auditory Stimulation,Age Differences,Experience Level,5–10 yr olds vs adults,age & music experience & type & perceptual salience of target melodies with tonal vs atonal distractors,identification of melody & auditory attention & expectancy,Perceptual Development},
  author = {Andrews, Melinda W. and Dowling, W. Jay}
}

@article{carlyonEffectsAttentionUnilateral2001,
  title = {Effects of Attention and Unilateral Neglect on Auditory Stream Segregation},
  volume = {27},
  issn = {0096-1523},
  url = {http://search.ebscohost.com/login.aspx?direct=true&db=pdh&AN=2001-16068-008&site=ehost-live},
  doi = {10.1037/0096-1523.27.1.115},
  abstract = {Two pairs of experiments studied the effects of attention and of unilateral neglect on auditory streaming. The first pair showed that the build up of auditory streaming in normal participants is greatly reduced or absent when they attend to a competing task in the contralateral ear. It was concluded that the effective build up of streaming depends on attention. The second pair showed that patients with an attentional deficit toward the left side of space (unilateral neglect) show less stream segregation of tone sequences presented to their left than to their right ears. Streaming in their right ears was similar to that for stimuli presented to either ear of healthy and of brain-damaged controls, who showed no across-ear asymmetry. This result is consistent with an effect of attention on streaming, constrains the neural sites involved, and reveals a qualitative difference between the perception of left- and right-sided sounds by neglect patients. (PsycINFO Database Record (c) 2013 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 = {2015-06-16},
  date = {2001-02},
  pages = {115-127},
  keywords = {Attention,auditory stream segregation,Auditory Discrimination,humans,attention & unilateral neglect,Sensory Neglect},
  author = {Carlyon, Robert P. and Cusack, Rhodri and Foxton, Jessica M. and Robertson, Ian H.},
  file = {D\:\\Sauve\\Zotero\\storage\\I7RFXCN7\\Carlyon et al. - 2001 - Effects of attention and unilateral neglect on aud.pdf}
}

@article{cusackEffectsLocationFrequency2004,
  title = {Effects of {{Location}}, {{Frequency Region}}, and {{Time Course}} of {{Selective Attention}} on {{Auditory Scene Analysis}}},
  volume = {30},
  issn = {0096-1523},
  url = {http://search.ebscohost.com/login.aspx?direct=true&db=pdh&AN=2004-16645-001&site=ehost-live},
  doi = {10.1037/0096-1523.30.4.643},
  abstract = {Often, the sound arriving at the ears is a mixture from many different sources, but only 1 is of interest. To assist with selection, the auditory system structures the incoming input into streams, each of which ideally corresponds to a single source. Some authors have argued that this process of streaming is automatic and invariant, but recent evidence suggests it is affected by attention. In Experiments 1 and 2, it is shown that the effect of attention is not a general suppression of streaming on an unattended side of the ascending auditory pathway or in unattended frequency regions. Experiments 3 and 4 investigate the effect on streaming of physical gaps in the sequence and of brief switches in attention away from a sequence. The results demonstrate that after even short gaps or brief switches in attention, streaming is reset. The implications are discussed, and a hierarchical decomposition model is proposed. (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 = {2015-06-16},
  date = {2004-08},
  pages = {643-656},
  keywords = {Auditory Perception,Pitch (Frequency),Auditory Stimulation,streaming,auditory scene analysis,selective attention,auditory system,Time,frequency region,location,time course},
  author = {Cusack, Rhodri and Decks, John and Aikman, Genevieve and Carlyon, Robert P.},
  file = {D\:\\Sauve\\Zotero\\storage\\MZRQ922S\\Cusack et al. - 2004 - Effects of Location, Frequency Region, and Time Co.pdf}
}

@article{cusackPerceptualAsymmetriesAudition2003,
  title = {Perceptual {{Asymmetries}} in {{Audition}}},
  volume = {29},
  issn = {00961523},
  url = {http://search.ebscohost.com/login.aspx?direct=true&db=bth&AN=10110558&site=ehost-live},
  abstract = {Visual feature extraction has been investigated using search experiments. Targets that contain a feature not present in the distractors are easier to detect than if they do not, leading to search asymmetries. If sounds are decomposed into features in the auditory system, there might be asymmetries in analogous tasks. Six experiments investigating this are described. Strong asymmetries were identified, with frequency-modulated targets easier to detect among pure-tone distractors than vice versa and longer sounds easier to select from short distractors than the reverse. It is demonstrated that this asymmetry is not a result of peripheral limitations. In contrast, no asymmetries were observed between high- and low-frequency tones or between short 3-tone sequences differing only in their temporal structure. The results are discussed with reference to models of perceptual grouping and attention, the applicability of analogies between vision and audition, and possible physiological correlates. The paradigm provides a new way in which to investigate auditory feature extraction.},
  number = {3},
  journaltitle = {Journal of Experimental Psychology. Human Perception \& Performance},
  shortjournal = {Journal of Experimental Psychology. Human Perception \& Performance},
  urldate = {2015-06-16},
  date = {2003-06},
  pages = {713},
  keywords = {Auditory Perception,VISUAL perception},
  author = {Cusack, Rhodri and Carlyon, Robert P.},
  file = {D\:\\Sauve\\Zotero\\storage\\UZ6Q7769\\Cusack and Carlyon - 2003 - Perceptual Asymmetries in Audition.pdf}
}

@article{cusackNeglectNotAuditory2000,
  title = {Neglect between but Not within Auditory Objects},
  volume = {12},
  issn = {0898-929X},
  doi = {10.1162/089892900563867},
  abstract = {Examined how well listeners can discriminate the spatial location of sounds. 12 Ss (aged 45–75 yrs old) participated in 3 experiments. In Exp 1a, Ss heard a sound and indicated its lateralization (left or right). In Exp 1b, identical sounds were used as in Exp 1a, but 3 were presented. Two sounds were presented at 1 location and 1 (the 2nd or the 3rd) on the opposite side. The S had to identify whether the 2nd or 3rd sound was the "odd man out". In Exp 2a, 1 sound was presented that was either a pure tone or changed in frequency in a sinusoidal manner. Ss were asked for a response of either "steady" or "warble". In Exp 2b, on each trial, Ss were presented with 2 pure tones. The tones had a fixed frequency difference, with either the 1st or 2nd randomly chosen to be the higher tone. Ss were asked which tone was higher. Exp 3 comprised 2 conditions involving the detection of changes in frequency within a sound. Results indicate that unilateral neglect, exclusively thought of as a disorder of visuospatial processing, involves a specific deficit in allocating attention between auditory objects separated only in time but not space. This deficit is restricted to comparisons between sounds: the patients' ability to make within-sound comparisons was similar to that of controls. (PsycINFO Database Record (c) 2012 APA, all rights reserved)},
  number = {6},
  journaltitle = {Journal of Cognitive Neuroscience},
  shortjournal = {Journal of Cognitive Neuroscience},
  date = {2000-11},
  pages = {1056-1065},
  keywords = {Attention,Auditory Perception,Auditory Localization,Time,Sensory Neglect,45–75 yr olds with unilateral neglect,Brain Damage,Brain Disorders,deficits in allocating attention between auditory objects in time or space},
  author = {Cusack, Rhodri and Carlyon, Robert P. and Robertson, Ian H.}
}

@article{thompsonObjectiveMeasurementBuildup2011,
  title = {An Objective Measurement of the Build-up of Auditory Streaming and of Its Modulation by Attention},
  volume = {37},
  issn = {0096-1523},
  url = {http://search.ebscohost.com/login.aspx?direct=true&db=pdh&AN=2011-07485-001&site=ehost-live},
  doi = {10.1037/a0021925},
  abstract = {Three experiments studied auditory streaming using sequences of alternating “ABA” triplets, where “A” and “B” were 50-ms tones differing in frequency by Δf semitones and separated by 75-ms gaps. Experiment 1 showed that detection of a short increase in the gap between a B tone and the preceding A tone, imposed on one ABA triplet, was better when the delay occurred early versus late in the sequence, and for Δf = 4 vs. Δf = 8. The results of this experiment were consistent with those of a subjective streaming judgment task. Experiment 2 showed that the detection of a delay 12.5 s into a 13.5-s sequence could be improved by requiring participants to perform a task on competing stimuli presented to the other ear for the first 10 s of that sequence. Hence, adding an additional task demand could improve performance via its effect on the perceptual organization of a sound sequence. The results demonstrate that attention affects streaming in an objective task and that the effects of build-up are not completely under voluntary control. In particular, even though build-up can impair performance in an objective task, participants are unable to prevent this from happening. (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 = {2015-06-16},
  date = {2011-08},
  pages = {1253-1262},
  keywords = {Attention,Auditory Perception,auditory streaming,auditory scene analysis,build-up},
  author = {Thompson, Sarah K. and Carlyon, Robert P. and Cusack, Rhodri},
  file = {D\:\\Sauve\\Zotero\\storage\\DDBVG2UF\\Thompson et al. - 2011 - An objective measurement of the build-up of audito.pdf}
}

@article{carlyonCrossmodalNonsensoryInfluences2003,
  title = {Cross-Modal and Non-Sensory Influences on Auditory Streaming},
  volume = {32},
  issn = {0301-0066},
  doi = {10.1068/p5035},
  abstract = {Carlyon et al (2001 Journal of Experimental Psychology: Human Perception and Performance 27 115-127) have reported that the buildup of auditory streaming is reduced when attention is diverted to a competing auditory stimulus. Here, we demonstrate that a reduction in streaming can also be obtained by attention to a visual task or by the requirement to count backwards in threes. In all conditions participants heard a 13 s sequence of tones, and, during the first 10 s saw a sequence of visual stimuli containing three, four, or five targets. The tone sequence consisted of twenty repeating triplets in an ABA-ABA ... order, where A and B represent tones of two different frequencies. In each sequence, three, four, or five tones were amplitude modulated. During the first 10 s of the sequence, participants either counted the number of visual targets, counted the number of (modulated) auditory targets, or counted backwards in threes from a specified number. They then made an auditory-streaming judgment about the last 3 s of the tone sequence: whether one or two streams were heard. The results showed more streaming when participants counted the auditory targets (and hence were attending to the tones throughout) than in either the 'visual' or 'counting-backwards' conditions. (PsycINFO Database Record (c) 2012 APA, all rights reserved). (journal abstract)},
  number = {11},
  journaltitle = {Perception},
  shortjournal = {Perception},
  date = {2003},
  pages = {1393-1402},
  keywords = {Attention,Auditory Perception,Auditory Stimulation,auditory streaming,Cognitive Processes,Visual Attention,competing stimuli,counting,diverted attention,Divided Attention,streaming reduction,visual task attention},
  author = {Carlyon, Robert P. and Plack, Christopher J. and Fantini, Deborah A. and Cusack, Rhodri}
}

@article{cusackAuditoryMidlineSpatial2001,
  title = {Auditory Midline and Spatial Discrimination in Patients with Unilateral Neglect},
  volume = {37},
  issn = {0010-9452},
  doi = {10.1016/S0010-9452(08)70620-8},
  abstract = {Investigated auditory midline shift, hearing thresholds of each ear, and spatial discrimination performance in 10 right-brain-damaged patients (mean age 66 yrs) exhibiting unilateral neglect. The results of the auditory midline tracking task did not show a systematic shift of midline. Five of the patients showed midlines within the normal range. Patient discrimination thresholds were also found to be in the normal range. Furthermore, no evidence was found of worse discrimination performance on the left, which could otherwise have masked an underlying shift to the right. Results are consistent with previous research concluding that a shift in reference frame does not always accompany neglect. (PsycINFO Database Record (c) 2012 APA, all rights reserved)},
  number = {5},
  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 = {2001-12},
  pages = {706-709},
  keywords = {Auditory Discrimination,Spatial Perception,Sensory Neglect,Brain Damage,auditory midline shift,Auditory Thresholds,hearing thresholds,right brain damage,spatial discrimination performance,unilateral neglect},
  author = {Cusack, Rhodri and Carlyon, Robert P. and Robertson, Ian H.}
}

@thesis{vannoordenTemporalCoherencePerception1975,
  location = {{Eindhoven}},
  title = {Temporal {{Coherence}} in the {{Perception}} of {{Tone Sequences}}},
  institution = {{Technical University Eindhoven}},
  date = {1975},
  keywords = {fission boundary,temporal coherence boundary},
  author = {van Noorden, Leon},
  options = {useprefix=true}
}

@article{vliegenRoleSpectralPeriodicity1999,
  title = {The Role of Spectral and Periodicity Cues in Auditory Stream Segregation, Measured Using a Temporal Discrimination Task},
  volume = {106},
  issn = {0001-4966},
  doi = {10.1121/1.427140},
  abstract = {Investigated if temporal discrimination for sequences of complex tones is adversely affected by a large f0 difference between the tones, when no detectable spectral differences are present. It was hypothesized that if f0 differences produce an obligatory or involuntary segregation of successive tones when the differences are sufficiently large, then temporal discrimination should be impaired by a large f0 difference in the tones whose timing is to be compared: pure tones; complex tones filtered into a single frequency region, differing only in f0; and complex tones with a fixed f0 but with spectral differences between successive tones. Listeners (aged 18–30 yrs) were divided into whether they were musical (had at least 4 yrs of formal musical training) or not. The results showed a clear effect of the frequency interval between the tones of a sequence on temporal-shift discrimination. The effect was larger for the conditions where spectral information was available, but it was statistically significant for all 3 conditions. Overall, the results suggest that spectral information is dominant in inducing (involuntary) segregation, but periodicity information can play a role. (PsycINFO Database Record (c) 2012 APA, all rights reserved)},
  number = {2},
  journaltitle = {Journal of the Acoustical Society of America},
  shortjournal = {Journal of the Acoustical Society of America},
  date = {1999-08},
  pages = {938-945},
  keywords = {Music,Pitch (Frequency),Auditory Discrimination,fundamental frequency differences between tones,temporal discrimination for complex tone sequences,Temporal Frequency},
  author = {Vliegen, Joyce and Moore, Brian C. J. and Oxenham, Andrew J.}
}

@article{mcdermottRecoveringSoundSources2011,
  title = {Recovering Sound Sources from Embedded Repetition},
  volume = {108},
  issn = {0027-8424},
  doi = {10.1073/pnas.1004765108},
  abstract = {Cocktail parties and other natural auditory environments present organisms with mixtures of sounds. Segregating individual sound sources is thought to require prior knowledge of source properties, yet these presumably cannot be learned unless the sources are segregated first. Here we show that the auditory system can bootstrap its way around this problem by identifying sound sources as repeating patterns embedded in the acoustic input. Due to the presence of competing sounds, source repetition is not explicit in the input to the ear, but it produces temporal regularities that listeners detect and use for segregation. We used a simple generative model to synthesize novel sounds with naturalistic properties. We found that such sounds could be segregated and identified if they occurred more than once across different mixtures, even when the same sounds were impossible to segregate in single mixtures. Sensitivity to the repetition of sound sources can permit their recovery in the absence of other segregation cues or prior knowledge of sounds, and could help solve the cocktail party problem. (PsycINFO Database Record (c) 2012 APA, all rights reserved). (journal abstract)},
  number = {3},
  journaltitle = {PNAS Proceedings of the National Academy of Sciences of the United States of America},
  shortjournal = {PNAS Proceedings of the National Academy of Sciences of the United States of America},
  date = {2011-01-18},
  pages = {1188-1193},
  keywords = {Auditory Stimulation,acoustics,auditory system,ear,Ear (Anatomy),Sensitization,sound segregation,sound sensitivity,sound sources,Source Monitoring},
  author = {McDermott, Josh H. and Wrobleski, David and Oxenham, Andrew J.}
}

@article{mcdermottMusicPerceptionPitch2008,
  title = {Music Perception, Pitch, and the Auditory System},
  volume = {18},
  issn = {0959-4388},
  doi = {10.1016/j.conb.2008.09.005},
  abstract = {The perception of music depends on many culture-specific factors, but is also constrained by properties of the auditory system. This has been best characterized for those aspects of music that involve pitch. Pitch sequences are heard in terms of relative as well as absolute pitch. Pitch combinations give rise to emergent properties not present in the component notes. In this review we discuss the basic auditory mechanisms contributing to these and other perceptual effects in music. (PsycINFO Database Record (c) 2012 APA, all rights reserved). (journal abstract)},
  number = {4},
  journaltitle = {Current Opinion in Neurobiology},
  shortjournal = {Current Opinion in Neurobiology},
  date = {2008-08},
  pages = {452-463},
  keywords = {Pitch (Frequency),music perception,Auditory Cortex,auditory system,perceptual effects,pitch},
  author = {McDermott, Josh H. and Oxenham, Andrew J.}
}

@article{oxenhamMechanismsMechanicsAuditory2013,
  title = {Mechanisms and Mechanics of Auditory Masking},
  volume = {591},
  issn = {0022-3751},
  abstract = {This article provides an overview on mechanisms and mechanics of auditory masking. The articles traces the origins of masking down to the first stages of electro mechanical processing in the cochlea. The auditory system must then decompose the patterns of vibrations at the eardrums to provide us with information about the individual sound sources, such as their identity and location. Masking tends to occur when the tonotopic representation of one sound interferes with that of another. In this issue, Recio-Spinosa and Cooper (see record [rid]2013-17167-025[/rid]) show that many of the non-linear neural phenomena produced by the interaction of tones and noise, such as frequency-specific suppression of tones by noise and vice versa, have their origins in the mechanical response of the basilar membrane. Important remaining questions include the extent to which cochlear responses to complex sounds are altered by efferent control activated by prior sounds, or 'top-down' effects such as attention in awake, behaving animals, and the still controversial issue of how similar human cochlear tuning is to that of typical laboratory animals. (PsycINFO Database Record (c) 2013 APA, all rights reserved)},
  number = {10},
  journaltitle = {The Journal of Physiology},
  shortjournal = {The Journal of Physiology},
  date = {2013-05-15},
  pages = {2375-2375},
  keywords = {Cochlea,animals,Neurons,auditory masking,cochlear responses,neural phenomena,Responses},
  author = {Oxenham, Andrew J.}
}

@article{micheylPitchHarmonicityConcurrent2010,
  title = {Pitch, Harmonicity and Concurrent Sound Segregation: {{Psychoacoustical}} and Neurophysiological Findings},
  volume = {266},
  issn = {0378-5955},
  doi = {10.1016/j.heares.2009.09.012},
  shorttitle = {Pitch, Harmonicity and Concurrent Sound Segregation},
  abstract = {Harmonic complex tones are a particularly important class of sounds found in both speech and music. Although these sounds contain multiple frequency components, they are usually perceived as a coherent whole, with a pitch corresponding to the fundamental frequency (F0). However, when two or more harmonic sounds occur concurrently, e.g., at a cocktail party or in a symphony, the auditory system must separate harmonics and assign them to their respective F0s so that a coherent and veridical representation of the different sounds sources is formed. Here we review both psychophysical and neurophysiological (single-unit and evoked-potential) findings, which provide some insight into how, and how well, the auditory system accomplishes this task. A survey of computational models designed to estimate multiple F0s and segregate concurrent sources is followed by a review of the empirical literature on the perception and neural coding of concurrent harmonic sounds, including vowels, as well as findings obtained using single complex tones with mistuned harmonics. (PsycINFO Database Record (c) 2012 APA, all rights reserved). (journal abstract)},
  number = {1-2},
  journaltitle = {Hearing Research},
  shortjournal = {Hearing Research},
  date = {2010-07},
  pages = {36-51},
  keywords = {Auditory Localization,acoustics,pitch perception,sound segregation,harmonicity,psychophysiology},
  author = {Micheyl, Christophe and Oxenham, Andrew J.}
}

@article{parncuttToneProfilesFollowing2000,
  title = {Tone Profiles Following Short Chord Progessions: {{Top}}-down or Bottom-Up?},
  volume = {18},
  issn = {0730-7829},
  shorttitle = {Tone Profiles Following Short Chord Progessions},
  abstract = {Examined the relationship between chroma-salience profiles of individual musical chords and tone profiles obtained after short chord progressions. In Exp 1, 15 musicians and 15 nonmusicians (mean ages 22 and 28 yrs) listened to pairs of chords and rated degree of similarity. In Exps 2 and 3, Ss rated the similarity of a probe tone to 2 or 3 chords. Responses were compared with predictions of the 3 models of: (1) a bottom-up stimulus model comprising the number of times each chroma occurred within the progression; (2) a top-down key model comprising a best-fitting key profile; and (3) an intermediate pitch model including both top-down and bottom-up components. Results show that for single chords, all predictors significantly matched tone profiles, except that the top-down model applied to the diminished triad. For pairs of chords, the pitch and key models consistently outperformed the stimulus model. The pitch and key models were successful for all progressions. The prediction ability of the pitch and key models were greater than for the stimulus model. Both primacy and recency effects were observed. Findings suggest that the pitch model was the most consistently successful model overall. (PsycINFO Database Record (c) 2012 APA, all rights reserved)},
  number = {1},
  journaltitle = {Music Perception},
  shortjournal = {Music Perception},
  year = {Fal  2000},
  pages = {25-57},
  keywords = {Musicians,Pitch Discrimination,implications of applicability of bottom-up stimulus vs top-down key vs intermediate pitch models,Models,musical chords chroma-salience vs tone profiles,musicians vs nonmusicians (mean ages 22 & 28 yrs)},
  author = {Parncutt, Richard and Bregman, Albert S.}
}

@article{dannenbringStreamSegregationIllusion1976,
  title = {Stream Segregation and the Illusion of Overlap},
  volume = {2},
  issn = {0096-1523},
  url = {http://search.ebscohost.com/login.aspx?direct=true&db=pdh&AN=1977-02337-001&site=ehost-live},
  doi = {10.1037/0096-1523.2.4.544},
  abstract = {When 2 different sounds continuously alternate at high speed, they segregate into 2 perceptual streams. Six experiments are reported which show that this segregation produced a loss of information regarding the sequential relations of the sounds so that they seemed perceptually to be overlapped in time. The segregation (and its contribution to perceived overlap) is shown to increase with the perceptual difference between the sounds; Ss were 63 graduate and undergraduate students. The mapping from perceptual difference to perceived overlap is not simple, however, since perceived overlap can also be affected by "perceived auditory continuity," another perceptual effect that responds differently to the perceptual difference between the 2 sounds. (15 ref) (PsycINFO Database Record (c) 2013 APA, all rights reserved)},
  number = {4},
  journaltitle = {Journal of Experimental Psychology: Human Perception and Performance},
  shortjournal = {Journal of Experimental Psychology: Human Perception and Performance},
  urldate = {2015-06-16},
  date = {1976-11},
  pages = {544-555},
  keywords = {Auditory Perception,Auditory Stimulation,college students,Illusions (Perception),perceived overlap & perceived auditory continuity,segregation of alternating sounds at high speed into perceptual streams & sound differences},
  author = {Dannenbring, Gary L. and Bregman, Albert S.},
  file = {D\:\\Sauve\\Zotero\\storage\\633HPXJJ\\Dannenbring and Bregman - 1976 - Stream segregation and the illusion of overlap.pdf}
}

@article{french-st.georgeRolePredictabilitySequence1989,
  title = {Role of Predictability of Sequence in Auditory Stream Segregation},
  volume = {46},
  issn = {0031-5117},
  doi = {10.3758/BF03204992},
  abstract = {Evaluated the role of item predictability in auditory temporal coherence. 13 normal-hearing Ss were required to hold together long tonal sequences as single strings of notes. Temporal and spectral predictability of successive notes in a sequence varied as a function of experimental condition. As the frequency separation of the notes in the sequence increased, Ss found it more difficult to hold the sequence together as a single stream. Results indicate that the predictability of successive notes did not have a role in temporal coherence. (PsycINFO Database Record (c) 2012 APA, all rights reserved)},
  number = {4},
  journaltitle = {Perception \& Psychophysics},
  shortjournal = {Perception \& Psychophysics},
  date = {1989-10},
  pages = {384-386},
  keywords = {Prediction,Pitch (Frequency),adults,Memory,Temporal Frequency,auditory temporal coherence,temporal & spectral predictability & frequency separation of successive notes},
  author = {French-St. George, Marilyn and Bregman, Albert S.}
}

@article{bregmanAuditoryStreamingBuilding1978,
  title = {Auditory Streaming and the Building of Timbre},
  volume = {32},
  issn = {0008-4255},
  url = {http://search.ebscohost.com/login.aspx?direct=true&db=pdh&AN=1979-22752-001&site=ehost-live},
  doi = {10.1037/h0081664},
  abstract = {In a natural environment, the auditory system must analyze an incoming wave train to determine 2 things: (a) which series of frequency components arose over time from the same source and should be integrated into a sequential stream, and (b) which set of simultaneous components arose from one source and should be fused into a timbre structure. In 4 experiments with a total of 90 undergraduates and graduate students and researchers, each S judged the stream organization and the timbre of a repeating cycle formed by a pair of more or less synchronous pure tones, B and C, and a preceding pure tone, A, whose frequency was varied in its proximity to that of the upper tone of the BC pair. These experiments demonstrated that fusion and sequential organization of streams are carried out using 2 sorts of information that compete to determine the best perceptual description of the input. Proximal frequencies between sequential components promote a sequential organization, and the simultaneity of onset of frequency components promotes perceptual fusion. (French summary) (17 ref) (PsycINFO Database Record (c) 2013 APA, all rights reserved)},
  number = {1},
  journaltitle = {Canadian Journal of Psychology/Revue canadienne de psychologie},
  shortjournal = {Canadian Journal of Psychology/Revue canadienne de psychologie},
  urldate = {2015-06-16},
  date = {1978-03},
  pages = {19-31},
  keywords = {Pitch Discrimination,college & graduate students & researchers,Pattern Discrimination,perception of wave stream organization & timbre,preceding vs synchronous pure tone stimuli},
  author = {Bregman, Albert S. and Pinker, Steven},
  file = {D\:\\Sauve\\Zotero\\storage\\I58C3P9Z\\Bregman and Pinker - 1978 - Auditory streaming and the building of timbre.pdf}
}

@article{parncuttToneProfilesFollowing2000a,
  eprinttype = {jstor},
  eprint = {40285900},
  title = {Tone {{Profiles}} Following {{Short Chord Progressions}}: {{Top}}-down or {{Bottom}}-Up?},
  volume = {18},
  issn = {0730-7829},
  doi = {10.2307/40285900},
  shorttitle = {Tone {{Profiles}} Following {{Short Chord Progressions}}},
  abstract = {Three experiments explored the relationship between chroma-salience profiles of individual chords and tone profiles obtained after short chord progressions. Musicians' tone profiles for diatonic progressions of one, two, and three chords were compared with predictions of three models: a bottom- up stimulus model (number of times each chroma occurs in the progression), a top-down or schema-driven key model (best-fitting key profile of C. L. Krumhansl \& E. J. Kessler, 1982), and an intermediate pitch model that includes both top-down and bottom-up components (cumulative pitch salience; R. Parncutt, 1989, 1993). For single chords, all predictors significantly matched tone profiles, except the key model applied to the diminished triad. For pairs of chords, the pitch and key models consistently outperformed the stimulus model, consistent with the assumption that a (top- down) key had been established; in the pitch model, the second chord influenced the tone profile more than the first (recency effect). Progressions of three chords comprised forward (e. g., FG-C) and backward (C-G-F) cadences in major and minor keys. The pitch and key models were successful for all progressions, but the key model predicted the tonic of backward cadences in C major and minor to be F. Predictions of the stimulus model were clearly worse than those of the other models, especially for backward cadences. Both primacy and recency effects were observed. In summary, the pitch model was the most consistently successful model over all experiments. To successfully predict tone profiles following chord progressions, it was necessary to account not only for recency (and primacy) but also for variations in pitch salience within chords. Results are consistent with a model of tonality induction in which bottom-up processes interact in real time with top-down processes of two kinds: recognition of harmonic pitch patterns and recognition of key profiles.},
  number = {1},
  journaltitle = {Music Perception: An Interdisciplinary Journal},
  shortjournal = {Music Perception: An Interdisciplinary Journal},
  date = {2000-10-01},
  pages = {25-57},
  author = {Parncutt, Richard and Bregman, Albert S.},
  file = {D\:\\Sauve\\Zotero\\storage\\G8XR3IWH\\Parncutt and Bregman - 2000 - Tone Profiles following Short Chord Progressions .pdf}
}

@article{eerolaStatisticalFeaturesPerceived2001,
  eprinttype = {jstor},
  eprint = {10.1525/mp.2001.18.3.275},
  title = {Statistical {{Features}} and {{Perceived Similarity}} of {{Folk Melodies}}},
  volume = {18},
  issn = {0730-7829},
  doi = {10.1525/mp.2001.18.3.275},
  abstract = {Listeners are sensitive to pitch distributional information in music (N. Oram \& L. L. Cuddy, 1995; C. L. Krumhansl, J. Louhivuori, P.Toiviainen, T. Järvinen, \& T. Eerola, 1999). However, it is uncertain whether frequency-based musical features are sufficient to explain the similarity judgments that underlie listeners' classification processes. A similarity rating experiment was designed to determine the effectiveness of these features in predicting listeners' similarity ratings. The material consisted of 15 melodies representing five folk music styles. A multiple regression analysis showed that the similarity of frequency-based musical properties could account for a moderate amount (40\%) of listeners' similarity ratings. A slightly better predictive rate (55\%) was achieved by using descriptive variables such as number of tones, rhythmic variability, and melodic predictability. The results suggest that both measures were able to capture some aspects of the structures that portray common salient dimensions to which listeners pay attention while categorizing melodies. Aikaisemmissa tutkimuksissa on osoitettu, että musiikin tilastollisilla tapahtumilla, kuten sävelten määrillä ja tyypillisillä intervalleilla, on merkitystä, kun kuulijat muodostavat käsityksiään musiikin rakenteesta (N. Oram \& L. L. Cuddy, 1995; C. L. Krumhansl, J. Louhivuori, P. Toiviainen, T. Järvinen, \& T. Eerola, 1999). Näiden piirteiden voidaan olettaa olevan tärkeitä myös musiikin luokittelussa. Toistaiseksi ei kuitenkaan tiedetä, miten hyvin tilastollisilla piirteillä voitaisiin musiikin luokittelua selittää. Tätä testattiin kuulijoille järjestetyn samanlaisuusarviointitehtävän avulla. Tutkimuksen materiaali koostui 15 melodiasta, jotka edustivat viittä eri kansanmusiikkityyliä. Regressioanalyysi paljasti, että musiikin tilastollisten piirteiden samanlaisuus pystyi selittämään kohtuullisen määrän (40\%) kuulijoiden antamista samanlaisuusarvioista. Hieman parempi selitysaste (55\%) saavutettiin kuvaavilla muuttujilla, joita olivat melodian laajuus ja ennakoitavuus sekä rytmin vaihtelevuus. Näin ollen tulokset antavat aiheen olettaa, että musiikin tilastolliset piirteet ja kuvailevat muuttujat vaikuttavat kuulijoiden luokittelupäätöksiin.},
  number = {3},
  journaltitle = {Music Perception: An Interdisciplinary Journal},
  shortjournal = {Music Perception: An Interdisciplinary Journal},
  date = {2001-03-01},
  pages = {275-296},
  author = {Eerola, Tuomas and Järvinen, Topi and Louhivuori, Jukka and Toiviainen, Petri},
  file = {D\:\\Sauve\\Zotero\\storage\\G86KG86S\\Eerola et al. - 2001 - Statistical Features and Perceived Similarity of F.pdf}
}

@article{povelPerceptualMechanismsMusic2001,
  eprinttype = {jstor},
  eprint = {10.1525/mp.2001.19.2.169},
  title = {Perceptual {{Mechanisms}} in {{Music Processing}}},
  volume = {19},
  issn = {0730-7829},
  doi = {10.1525/mp.2001.19.2.169},
  abstract = {To gain a better understanding of the processes by which human listeners construct musical percepts within the Western tonal system, we conducted two experiments in which the perception of brief tone series was studied. The tone series consisted of (fragments from) different orderings of the collection C4 E4 F\#4 G4 Bþ4 and were preceded by two chords to induce a key. Two different tasks were used: (1) rating the melodic "goodness" of the tone series and (2) playing a few tones that complete the tone series. In Experiment 1, tone series of different lengths were presented in blocks. In Experiments 2a and 2b, increasing fragments of tone series were presented to examine the development of musical percepts. The majority of the data can be explained by two perceptual mechanisms: chord recognition and anchoring. Chord recognition is the mechanism that describes a series of tones in terms of a chord, a mental unit stored in long-term memory. Anchoring is the mechanism by which a tone is linked to a tone occurring later in the series. The paradigm appears to be a powerful tool for tracing perceptual mechanisms at work in the on-line processing of music.},
  number = {2},
  journaltitle = {Music Perception: An Interdisciplinary Journal},
  shortjournal = {Music Perception: An Interdisciplinary Journal},
  date = {2001-12-01},
  pages = {169-197},
  author = {Povel, Dirk-Jan and Jansen, Erik},
  file = {D\:\\Sauve\\Zotero\\storage\\NU3JA5MA\\Povel and Jansen - 2001 - Perceptual Mechanisms in Music Processing.pdf}
}

@article{londonCognitiveConstraintsMetric2002,
  eprinttype = {jstor},
  eprint = {10.1525/mp.2002.19.4.529},
  title = {Cognitive {{Constraints}} on {{Metric Systems}}: {{Some Observations}} and {{Hypotheses}}},
  volume = {19},
  issn = {0730-7829},
  doi = {10.1525/mp.2002.19.4.529},
  shorttitle = {Cognitive {{Constraints}} on {{Metric Systems}}},
  abstract = {This paper is a music-theoretic discussion of various studies on rhythmic perception and performance and their ramifications for discussions of musical meter. Meter is defined as a stable and recurring pattern of hierarchically structured temporal expectations. Metrical patterns, although related to the pattern of interonset intervals present in the musical surface, are distinct from that pattern. Studies of subjective rhythmization, spontaneous tempo, pulse perception, durational discrimination, and so forth are discussed with respect to their implications for meter. Not only do there seem to be upper and lower bounds for musical meter (from ≅100 ms to ≅6 s, depending on context), but there also appear to be important thresholds within this range (around 200–250 ms, 500–700 ms, and 1.5–2.0 s). Interactions between beats (i.e., interonset intervals between expectancies occurring at the rate perceived as the tactus), beat subdivision, and changes in tempo are discussed, and it is hypothesized that beat perception may require (at least potentially) the perception of a concomitant level of subdivision. The interactions between beat interonset interval, subdivision interonset interval, and various thresholds may also explain (in part) some of the differences in the expressive and/or motional character of rhythmic figures (duplets versus triplets) at different tempos. Last, a broader discussion of systematic relationships in larger metrical systems with respect to tempo is given. It is shown that the choice of tempo systematically constrains the number and kind of metric patterns that are available to the listener.},
  number = {4},
  journaltitle = {Music Perception: An Interdisciplinary Journal},
  shortjournal = {Music Perception: An Interdisciplinary Journal},
  date = {2002-06-01},
  pages = {529-550},
  author = {London, Justin},
  file = {D\:\\Sauve\\Zotero\\storage\\W6M32J5Z\\London - 2002 - Cognitive Constraints on Metric Systems Some Obse.pdf}
}

@article{granotReMiFa2002,
  eprinttype = {jstor},
  eprint = {10.1525/mp.2002.19.4.487},
  title = {Do {{Re Mi Fa Sol La Ti}}—{{Constraints}}, {{Congruity}}, and {{Musical Training}}: {{An Event}}-{{Related Brain Potentials Study}} of {{Musical Expectancies}}},
  volume = {19},
  issn = {0730-7829},
  doi = {10.1525/mp.2002.19.4.487},
  shorttitle = {Do {{Re Mi Fa Sol La Ti}}—{{Constraints}}, {{Congruity}}, and {{Musical Training}}},
  abstract = {In this study, event-related brain potentials (ERPs) are used to measure subjects' responses to violations of musical expectancies elicited in seventone sequences. We manipulated the structure of the sequence (strongly vs. weakly constraining), the congruity of the terminal tone (congruent vs. incongruent), the form of sequence presentation (both types intermixed vs. blocked), and subjects' musical training. The degree of expectancy violation was measured by the P300 component of the ERP known to be sensitive to subject's expectations. As predicted, musically trained subjects generate specific expectancies in strongly constraining sequences. Expectancies may also be generated in weakly constraining sequences, however, only when these are intermixed among strongly constraining sequences. Otherwise, musically trained subjects refrain from expectancy generation and rely on their knowledge of the structure of musical scales. Musically naive subjects respond, overall, slower and less accurately than trained subjects but show similar overt behavioral effects, suggesting that these differences reflect only varying degrees of processing efficacy. ERP data, on the other hand, suggest that processing differs significantly between musically trained and untrained subjects. One such difference is that musically naive subjects generate expectancies regardless of the level of constraints in the sequence.},
  number = {4},
  journaltitle = {Music Perception: An Interdisciplinary Journal},
  shortjournal = {Music Perception: An Interdisciplinary Journal},
  date = {2002-06-01},
  pages = {487-528},
  author = {Granot, Roni and Donchin, Emanuel},
  file = {D\:\\Sauve\\Zotero\\storage\\JCT8J2Q7\\Granot and Donchin - 2002 - Do Re Mi Fa Sol La Ti—Constraints, Congruity, and .pdf}
}

@article{povelHarmonicFactorsPerception2002,
  eprinttype = {jstor},
  eprint = {10.1525/mp.2002.20.1.51},
  title = {Harmonic {{Factors}} in the {{Perception}} of {{Tonal Melodies}}},
  volume = {20},
  issn = {0730-7829},
  doi = {10.1525/mp.2002.20.1.51},
  abstract = {By common assumption, the first step in processing a tonal melody consists in setting up the appropriate metrical and harmonic frames required for the mental representation of the sequence of tones. Focusing on the generation of a harmonic frame, this study aims (a) to discover the factors that facilitate or interfere with the development of a harmonic interpretation, and (b) to test the hypothesis that goodness ratings of tone sequences largely depend on whether the listener succeeds in creating a suitable harmonic interpretation. In two experiments, listeners rated the melodic goodness of selected sequences of 10 and 13 tones and indicated which individual tones seemed not to fit. Results indicate that goodness ratings (a) are higher the more common the induced harmonic progression, (b) are strongly affected by the occurrence and position of nonchord tones: sequences without nonchord tones were rated highest, sequences with anchoring nonchord tones intermediately, and nonanchoring nonchord tones lowest. The explanation offered is compared with predictions derived from other theories, which leads to the conclusion that when a tone sequence is perceived as a melody, it is represented in terms of its underlying harmony, in which exact pitch-height characteristics play a minor role.},
  number = {1},
  journaltitle = {Music Perception: An Interdisciplinary Journal},
  shortjournal = {Music Perception: An Interdisciplinary Journal},
  date = {2002-09-01},
  pages = {51-85},
  author = {Povel, Dirk-Jan and Jansen, Erik},
  file = {D\:\\Sauve\\Zotero\\storage\\9VVJDB9M\\Povel and Jansen - 2002 - Harmonic Factors in the Perception of Tonal Melodi.pdf}
}

@article{temperleyParallelismFactorMetrical2002,
  eprinttype = {jstor},
  eprint = {10.1525/mp.2002.20.2.117},
  title = {Parallelism as a {{Factor}} in {{Metrical Analysis}}},
  volume = {20},
  issn = {0730-7829},
  doi = {10.1525/mp.2002.20.2.117},
  abstract = {A model is proposed of the effect of parallelism on meter. It is wellknown that repeated patterns of pitch and rhythm can affect the perception of metrical structure. However, few attempts have been made either to define parallelism precisely or to characterize its effect on metrical analysis. The basic idea of the current model is that a repeated melodic pattern favors a metrical structure in which beats are placed at parallel points in each occurrence of the pattern. By this view, parallelism affects the period of the metrical structure (the distance between beats) rather than the phase (exactly where the beats occur). This model is implemented and incorporated into the metrical program of D. Temperley and D. Sleator (1999). Several examples of the model's output are presented; we examine problems with the model and discuss possible solutions.},
  number = {2},
  journaltitle = {Music Perception: An Interdisciplinary Journal},
  shortjournal = {Music Perception: An Interdisciplinary Journal},
  date = {2002-12-01},
  pages = {117-149},
  author = {Temperley, David and Bartlette, Christopher},
  file = {D\:\\Sauve\\Zotero\\storage\\A8PSNPPP\\Temperley and Bartlette - 2002 - Parallelism as a Factor in Metrical Analysis.pdf}
}

@article{pfordresherRoleMelodicRhythmic2003,
  eprinttype = {jstor},
  eprint = {10.1525/mp.2003.20.4.431},
  title = {The {{Role}} of {{Melodic}} and {{Rhythmic Accents}} in {{Musical Structure}}},
  volume = {20},
  issn = {0730-7829},
  doi = {10.1525/mp.2003.20.4.431},
  abstract = {Two experiments investigated the perception of melodic and rhythmic accents in musical patterns. Musiclike patterns were created in which recurring melodic and/or rhythmic accents marked higher order periods that, when both accents were present, could differ in terms of period and/or phase according to the construct of joint accent structure (M. R. Jones, 1987). Listeners were asked to indicate the location of accents in these patterns by tapping to tone onsets. Each experiment pursued two main questions. First, are accents, as manipulated, salient to listeners? Second, do listeners track higher order time spans formed by melodic and rhythmic accents in a way that shows a sensitivity to interrelationships between melody and rhythm? Results supported affirmative answers to these questions in analyses of tapping locations and time spans between taps, respectively. Furthermore, results suggested that accents function as temporal landmarks that listeners can use when tracking the time structure of musical patterns, and that the complexity of this time structure arises from higher order time spans marked by different types of accents.},
  number = {4},
  journaltitle = {Music Perception: An Interdisciplinary Journal},
  shortjournal = {Music Perception: An Interdisciplinary Journal},
  date = {2003-06-01},
  pages = {431-464},
  author = {Pfordresher, Peter Q.},
  file = {D\:\\Sauve\\Zotero\\storage\\EB6HJP7D\\Pfordresher - 2003 - The Role of Melodic and Rhythmic Accents in Musica.pdf}
}

@article{cambouropoulosConceptualizingMusicCognitive2003,
  eprinttype = {jstor},
  eprint = {10.1525/mp.2003.21.1.135},
  title = {Conceptualizing {{Music}}: {{Cognitive Structure}}, {{Theory}}, and {{Analysis}}},
  volume = {21},
  issn = {0730-7829},
  doi = {10.1525/mp.2003.21.1.135},
  shorttitle = {Conceptualizing {{Music}}},
  number = {1},
  journaltitle = {Music Perception: An Interdisciplinary Journal},
  shortjournal = {Music Perception: An Interdisciplinary Journal},
  date = {2003-09-01},
  pages = {135-153},
  author = {Cambouropoulos, Emilios},
  file = {D\:\\Sauve\\Zotero\\storage\\9NSF8CQP\\Cambouropoulos - 2003 - Conceptualizing Music Cognitive Structure, Theory.pdf}
}

@article{davisonSelectiveAttentionTwoPart2003,
  eprinttype = {jstor},
  eprint = {10.1525/mp.2003.21.1.3},
  title = {Selective {{Attention In Two}}-{{Part Counterpoint}}},
  volume = {21},
  issn = {0730-7829},
  doi = {10.1525/mp.2003.21.1.3},
  abstract = {In two experiments, the influence of unattended musical content on the processing of attended content was investigated by using melodic interval pairs. In Experiment 1, 2 two-note melodic fragments were played concurrently in separate pitch registers and with different timbres. Participants with music training were timed as they decided whether one melody was rising or falling while ignoring the other. Pitch direction (up or down) and interval type (major second and perfect fifth) of attended and unattended intervals were orthogonally combined. The measure of interference was the degree to which the unattended pattern influenced the processing time and the accuracy of judging the attended melody. Unattended voice influence from both types of intervals was observed on the attended voice for seconds, but not fifths, in Experiment 1. The second study replicated the first with interval pairs in overlapping pitch registers. Influence from the unattended voice was found for both seconds and fifths. Participants found the selection task more difficult when parts crossed and voices were moving in contrary motion rather than in the same direction. Implications for the emergence of global stimulus properties in the context of musical counterpoint are discussed. Both experiments showed that unattended musical content can affect processing of attended intervals and that pitch distance may serve to moderate selective attention. Received February 12, 1999, accepted June 24, 2003},
  number = {1},
  journaltitle = {Music Perception: An Interdisciplinary Journal},
  shortjournal = {Music Perception: An Interdisciplinary Journal},
  date = {2003-09-01},
  pages = {3-20},
  author = {DAVISON, LYNN L. and BANKS, WILLIAM P.},
  file = {D\:\\Sauve\\Zotero\\storage\\2HRQGC7I\\DAVISON and BANKS - 2003 - Selective Attention In Two-Part Counterpoint.pdf}
}

@article{schulkindMusicalFeaturesThat2003,
  eprinttype = {jstor},
  eprint = {10.1525/mp.2003.21.2.217},
  title = {Musical {{Features That Facilitate Melody Identification}}: {{How Do You Know It}}'s “{{Your}}” {{Song When They Finally Play It}}?},
  volume = {21},
  issn = {0730-7829},
  doi = {10.1525/mp.2003.21.2.217},
  shorttitle = {Musical {{Features That Facilitate Melody Identification}}},
  abstract = {What information do listeners use to “Name that Tune”? This question was investigated in a two-phase experiment. In Phase 1, the participants heard familiar melodies that were played on a note-by-note basis until they were identified. In Phase 2, each note of the melody was analyzed along a variety of musical dimensions. Multiple regression analyses determined which musical characteristics predicted identification performance. Identification was most strongly associated with notes located at phrase boundaries, notes that completed alternating sequences of rising and falling pitches, and metrically accented notes. As well, identification peaked after listeners heard moderate amounts of information (i.e., 5–7 notes). The data suggest that melody identification is a holistic, all-or-none process and that parallels can be drawn between melody and spoken word identification. Implications for current theories, future research, and the relationship between music perception and melody identification are discussed.},
  number = {2},
  journaltitle = {Music Perception: An Interdisciplinary Journal},
  shortjournal = {Music Perception: An Interdisciplinary Journal},
  date = {2003-12-01},
  pages = {217-249},
  author = {SCHULKIND, MATTHEW D. and POSNER, RACHEL J. and RUBIN, DAVID C.},
  file = {D\:\\Sauve\\Zotero\\storage\\7Z7FH8EH\\SCHULKIND et al. - 2003 - Musical Features That Facilitate Melody Identifica.pdf}
}

@article{mcadamsProblemSolvingStrategiesMusic2004,
  eprinttype = {jstor},
  eprint = {10.1525/mp.2004.21.3.391},
  title = {Problem-{{Solving Strategies}} in {{Music Composition}}: {{A Case Study}}},
  volume = {21},
  issn = {0730-7829},
  doi = {10.1525/mp.2004.21.3.391},
  shorttitle = {Problem-{{Solving Strategies}} in {{Music Composition}}},
  abstract = {The composition of a piece of contemporary music for solo piano, 16-piece chamber orchestra, and 6-channel, computer-processed sound was tracked and documented from its initial conception to its concert premier. Notebooks, sketches, diagrams, recorded interviews, and the final score were used to address the solving of three compositional problems raised within the context of the piece. The first problem concerned the need to compose the five themes for the piece (23–100 s in duration) for both solo piano and chamber orchestra. Issues of performance constraints associated with the two media and on translation from a restricted to a more open timbral palette played an important role. The second problem involved composing the two major parts of the piece with similar temporal structures but vastly different ways of traversing the same thematic musical materials. Spatial, graphical representations and self-imposed graphic organization of the score were important factors in resolving this issue. The third problem involved conceiving of the computer component to accompany either of the two major parts, because the piece could be played with them in either order. The solution involved organizing the computer component into discrete parts that had fairly continuous textures and finalizing this component before the final composing of the instrumental components. Issues concerning the aspects of compositional problem-solving that are available for study, the types of representations used in problem solving,and the generalizability of such results to other pieces by the same composer or other composers are discussed.},
  number = {3},
  journaltitle = {Music Perception: An Interdisciplinary Journal},
  shortjournal = {Music Perception: An Interdisciplinary Journal},
  date = {2004-03-01},
  pages = {391-429},
  author = {McADAMS, STEPHEN},
  file = {D\:\\Sauve\\Zotero\\storage\\DNTIMGJE\\McADAMS - 2004 - Problem-Solving Strategies in Music Composition A.pdf}
}

@article{handelSoundSourceIdentification2004,
  eprinttype = {jstor},
  eprint = {10.1525/mp.2004.21.4.587},
  title = {Sound {{Source Identification}}: {{The Possible Role}} of {{Timbre Transformations}}},
  volume = {21},
  issn = {0730-7829},
  doi = {10.1525/mp.2004.21.4.587},
  shorttitle = {Sound {{Source Identification}}},
  abstract = {Timbre is typically investigated as a perceptual attribute that differentiates instruments at one pitch. Yet the perceptual usefulness of timbre is that it allows listeners to recognize one instrument at different pitches. Using stimuli produced across the playing range by three wind instruments from two categories, woodwind and brass, we measured listeners' judgments of instrumental timbre across pitch in a dissimilarity task and measured listeners' ability to identify stimuli as being produced by the same or different instrument in a three-note oddball task. The resulting multidimensional scaling representation showed that Dimension 1 correlated with pitch, whereas Dimension 2 correlated with spectral centroid and separated the instrumental stimuli into the categories woodwind and brass. For three-note sequences, the task was extremely difficult for the woodwind pair, with listeners typically choosing the most dissimilarly pitched stimulus as coming from the oddball source. In contrast, the three-note sequences were easy for the woodwind-brass pairs. The results from these experiments illustrate the difficulty of extrapolating the timbre of a sound source across large differences in pitch.},
  number = {4},
  journaltitle = {Music Perception: An Interdisciplinary Journal},
  shortjournal = {Music Perception: An Interdisciplinary Journal},
  date = {2004-06-01},
  pages = {587-610},
  author = {Handel, Stephen and Erickson, Molly L.},
  file = {D\:\\Sauve\\Zotero\\storage\\7MI7CWDZ\\Handel and Erickson - 2004 - Sound Source Identification The Possible Role of .pdf}
}

@article{franklandParsingMelodyQuantification2004,
  eprinttype = {jstor},
  eprint = {10.1525/mp.2004.21.4.499},
  title = {Parsing of {{Melody}}: {{Quantification}} and {{Testing}} of the {{Local Grouping Rules}} of {{Lerdahl}} and {{Jackendoff}}'s {{A Generative Theory}} of {{Tonal Music}}},
  volume = {21},
  issn = {0730-7829},
  doi = {10.1525/mp.2004.21.4.499},
  shorttitle = {Parsing of {{Melody}}},
  abstract = {In two experiments, the empirical parsing of melodies was compared with predictions derived from four grouping preference rules of A Generative Theory of Tonal Music (F. Lerdahl \& R. Jackendoff, 1983). In Experiment 1 (n = 123), listeners representing a wide range of musical training heard two familiar nursery-rhyme melodies and one unfamiliar tonal melody, each presented three times. During each repetition, listeners indicated the location of boundaries between units by pressing a key. Experiment 2 (n = 33) repeated Experiment 1 with different stimuli: one familiar and one unfamiliar nursery-rhyme melody, and one unfamiliar, tonal melody from the classical repertoire. In all melodies of both experiments, there was good within-subject consistency of boundary placement across the three repetitions (mean r = .54). Consistencies between Repetitions 2 and 3 were even higher (mean r = .63). Hence, Repetitions 2 and 3 were collapsed. After collapsing, there was high between-subjects similarity in boundary placement for each melody (mean r = .62), implying that all participants parsed the melodies in essentially the same (though not identical) manner. A role for musical training in parsing appeared only for the unfamiliar, classical melody of Experiment 2. The empirical parsing profiles were compared with the quantified predictions of Grouping Preference Rules 2a (the Rest aspect of Slur/Rest), 2b (Attack-point), 3a (Register change), and 3d (Length change). Based on correlational analyses, only Attack-point (mean r = .80) and Rest (mean r = .54) were necessary to explain the parsings of participants. Little role was seen for Register change (mean r = .14) or Length change (mean r = –.09). Solutions based on multiple regression further reduced the role for Register and Length change. Generally, results provided some support for aspects of A Generative Theory of Tonal Music, while implying that some alterations might be useful.},
  number = {4},
  journaltitle = {Music Perception: An Interdisciplinary Journal},
  shortjournal = {Music Perception: An Interdisciplinary Journal},
  date = {2004-06-01},
  pages = {499-543},
  author = {Frankland, Bradley W. and McAdams, Stephen and Cohen, Annabel J. and McAdams, Stephen},
  file = {D\:\\Sauve\\Zotero\\storage\\4Q2ZQRX7\\Frankland et al. - 2004 - Parsing of Melody Quantification and Testing of t.pdf}
}

@book{schoenbergStructuralFunctionsHarmony1969,
  title = {Structural Functions of Harmony},
  number = {478},
  publisher = {{WW Norton \& Company}},
  date = {1969},
  author = {Schoenberg, Arnold and Stein, Leonard}
}

@article{collinsModelingPatternImportance2011,
  title = {Modeling Pattern Importance in {{Chopin}}’s {{Mazurkas}}},
  volume = {28},
  issn = {0730-7829},
  doi = {10.1525/mp.2011.28.4.387},
  abstract = {This study relates various quantifiable characteristics of a musical pattern to subjective assessments of a pattern’s salience. Via score analysis and listening, twelve music undergraduates examined excerpts taken from Chopin’s mazurkas. They were instructed to rate already discovered patterns, giving high ratings to patterns that they thought were noticeable and/or important. Each undergraduate rated thirty specified patterns and ninety patterns were examined in total. Twenty-nine quantifiable attributes (some novel but most proposed previously) were determined for each pattern, such as the number of notes a pattern contained. A model useful for relating participants’ ratings to the attributes was determined using variable selection and cross-validation. Individual participants were much poorer than the model at predicting the consensus ratings of other participants. While the favored model contains only three variables, many variables were identified as having some predictive value if considered in isolation. Implications for music psychology, analysis, and information retrieval are discussed. (PsycINFO Database Record (c) 2012 APA, all rights reserved). (journal abstract)},
  number = {4},
  journaltitle = {Music Perception},
  shortjournal = {Music Perception},
  date = {2011-04},
  pages = {387-414},
  keywords = {Music,Mathematical Modeling,Chopin's Mazurkas,modeling pattern,pattern's salience,Simulation},
  author = {Collins, Tom and Laney, Robin and Willis, Alistair and Garthwaite, Paul H.}
}

@article{lerdahlAtonalProlongationalStructure1989,
  title = {Atonal Prolongational Structure},
  volume = {4},
  issn = {0749-4467},
  url = {http://dx.doi.org/10.1080/07494468900640211},
  doi = {10.1080/07494468900640211},
  abstract = {The early atonal music of Schoenberg and his school is emblematic of the difficulties in comprehending twentieth-century music. Music theorists have tried to analyze this music either through a modified Schenkerian approach or through pitch-set theory. After discussing limitations in these approaches, this paper develops at length a different theory for atonal music, one that adapts Jackendoff's and my A Generative Theory of Tonal Music in appropriate ways. Analyses of three Schoenberg pieces (from op. 11 and op. 19) illustrate the theory. The paper closes with an informal discussion of atonal pitch space.},
  number = {1},
  journaltitle = {Contemporary Music Review},
  urldate = {2015-06-18},
  date = {1989-01-01},
  pages = {65-87},
  author = {Lerdahl, Fred},
  file = {D\:\\Sauve\\Zotero\\storage\\PDGTRA3F\\07494468900640211.html}
}

@article{deikeBuildupAuditoryStream2012,
  langid = {english},
  title = {The {{Build}}-up of {{Auditory Stream Segregation}}: {{A Different Perspective}}},
  volume = {3},
  issn = {1664-1078},
  doi = {10.3389/fpsyg.2012.00461},
  shorttitle = {The {{Build}}-up of {{Auditory Stream Segregation}}},
  abstract = {The build-up of auditory stream segregation refers to the notion that sequences of alternating A and B sounds initially tend to be heard as a single stream, but with time appear to split into separate streams. The central assumption in the analysis of this phenomenon is that streaming sequences are perceived as one stream at the beginning by default. In the present study, we test the validity of this assumption and document its impact on the apparent build-up phenomenon. Human listeners were presented with ABAB sequences, where A and B were harmonic tone complexes of seven different fundamental frequency separations (Δf) ranging from 2 to 14 semitones. Subjects had to indicate, as promptly as possible, their initial percept of the sequences, as either "one stream" or "two streams," and any changes thereof during the sequences. We found that subjects did not generally indicate a one-stream percept at the beginning of streaming sequences. Instead, the first perceptual decision depended on Δf, with the probability of a one-stream percept decreasing, and that of a two-stream percept increasing, with increasing Δf. Furthermore, subjects required some time to make and report a decision on their perceptual organization. Taking this time into account, the resulting time courses of two-stream probabilities differ markedly from those suggested by the conventional analysis. A build-up-like increase in two-stream probability was found only for the Δf of six semitones. At the other Δf conditions no or only minor increases in two-stream probability occurred. These results shed new light on the build-up of stream segregation and its possible neural correlates.},
  journaltitle = {Frontiers in Psychology},
  shortjournal = {Front Psychol},
  date = {2012},
  pages = {461},
  author = {Deike, Susann and Heil, Peter and Böckmann-Barthel, Martin and Brechmann, André},
  eprinttype = {pmid},
  eprint = {23118731},
  pmcid = {PMC3484653}
}

@audio{opolkoMcGillUniversityMaster2006,
  langid = {No Linguistic Content},
  location = {{[Montreal, Quebec, Canada]}},
  title = {McGill University master samples collection on DVD},
  publisher = {{McGill [University]}},
  date = {2006},
  editora = {Opolko, Frank and Wapnick, Joel and {McGill University}},
  editoratype = {collaborator}
}

@article{iversonAuditoryStreamSegregation1995,
  langid = {english},
  title = {Auditory Stream Segregation by Musical Timbre: Effects of Static and Dynamic Acoustic Attributes},
  volume = {21},
  issn = {0096-1523},
  shorttitle = {Auditory Stream Segregation by Musical Timbre},
  abstract = {Two experiments examined the influence of timbre on auditory stream segregation. In experiment 1, listeners heard sequences of orchestral tones equated for pitch and loudness, and they rated how strongly the instruments segregated. Multidimensional scaling analyses of these ratings revealed that segregation was based on the static and dynamic acoustic attributes that influenced similarity judgements in a previous experiment (P Iverson \& CL Krumhansl, 1993). In Experiment 2, listeners heard interleaved melodies and tried to recognize the melodies played by a target timbre. The results extended the findings of Experiment 1 to tones varying pitch. Auditory stream segregation appears to be influenced by gross differences in static spectra and by dynamic attributes, including attack duration and spectral flux. These findings support a gestalt explanation of stream segregation and provide evidence against peripheral channel model.},
  number = {4},
  journaltitle = {Journal of Experimental Psychology. Human Perception and Performance},
  shortjournal = {J Exp Psychol Hum Percept Perform},
  date = {1995-08},
  pages = {751-763},
  keywords = {Music,acoustics,pitch perception,humans,Time Factors},
  author = {Iverson, P.},
  eprinttype = {pmid},
  eprint = {7643047}
}

@article{mackenFunctionalCharacteristicsInner1995,
  langid = {english},
  title = {Functional Characteristics of the Inner Voice and the Inner Ear: Single or Double Agency?},
  volume = {21},
  issn = {0278-7393},
  shorttitle = {Functional Characteristics of the Inner Voice and the Inner Ear},
  abstract = {Double agency theories of short-term memory posit the functional independence of a phonological store (inner ear) and articulatory process (inner voice). A series of 5 experiments challenges this view. Articulatory suppression during retention of 9-item lists gives rise to a changing-state effect similar to that shown for irrelevant speech. Also, vocalized suppression is more disruptive than silently mouthed suppression, but this difference arises from vocalization itself rather than from any auditory feedback to which it gives rise. Class similarity between the to-be-remembered items and the articulatory material is not a critical determinant, but the effect occurs only with tests of serial order. For mouthed suppression, the irrelevant speech effect is only attenuated with changing-state suppression. Also, the presence of changing-state irrelevant speech abolishes the changing-state effect of articulatory

repository: sarahsauve/Entropy-Learning-Atonal

license_type: permissive

repo_name: sarahsauve/Entropy-Learning-Atonal

branch_name: refs/heads/master

extension: bib