text:
suppression. Functional equivalence of codes from auditory, visual, and articulatory sources is claimed.},
  number = {2},
  journaltitle = {Journal of Experimental Psychology. Learning, Memory, and Cognition},
  shortjournal = {J Exp Psychol Learn Mem Cogn},
  date = {1995-03},
  pages = {436-448},
  keywords = {Attention,humans,Adult,Female,Male,Feedback,Memory; Short-Term,Practice (Psychology),Retention (Psychology),Serial Learning,Verbal Behavior,Verbal Learning},
  author = {Macken, W. J. and Jones, D. M.},
  eprinttype = {pmid},
  eprint = {7738509}
}

@article{schulteDifferentModesPitch2002,
  title = {Different Modes of Pitch Perception and Learning-Induced Neuronal Plasticity of the Human Auditory Cortex},
  volume = {9},
  issn = {0792-8483},
  doi = {10.1155/NP.2002.161},
  abstract = {We designed a melody perception experiment involving eight harmonic complex tones of missing fundamental frequencies (hidden auditory object) to study the short-term neuronal plasticity of the auditory cortex. In this experiment, the fundamental frequencies of the complex tones followed the beginning of the virtual melody of the tune "Frère Jacques". The harmonics of the complex tones were chosen so that the spectral melody had an inverse contour when compared with the virtual one. Evoked magnetic fields were recorded contralaterally to the ear of stimulation from both hemispheres. After a base line measurement, the subjects were exposed repeatedly to the experimental stimuli for 1 hour a day. All subjects reported a sudden change in the perceived melody, indicating possible reorganization of the cortical processes involved in the virtual pitch formation. After this switch in perception, a second measurement was performed. Cortical sources of the evoked gamma-band activity were significantly stronger and located more medially after a switch in perception. Independent Component Analysis revealed enhanced synchronization in the gamma-band frequency range. Comparing the gamma-band activation of both hemispheres, no laterality effects were observed. The results indicate that the primary auditory cortices are involved in the process of virtual pitch perception and that their function is modifiable by laboratory manipulation. (PsycINFO Database Record (c) 2012 APA, all rights reserved). (journal abstract)},
  number = {3},
  journaltitle = {Neural Plasticity},
  shortjournal = {Neural Plasticity},
  date = {2002},
  pages = {161-175},
  keywords = {pitch perception,Auditory Cortex,Neural Plasticity,Learning,human auditory cortex,learning-induced neuronal plasticity},
  author = {Schulte, Michael and Knief, Arne and Seither-Preisler, Annemarie and Pantev, Christo}
}

@article{menningPlasticChangesAuditory2000,
  title = {Plastic Changes in the Auditory Cortex Induced by Intensive Frequency Discrimination Training},
  volume = {11},
  issn = {0959-4965},
  doi = {10.1097/00001756-200003200-00032},
  abstract = {Examined the slow auditory evoked (N1m) and mismatch field (MMF) as indicators of cortical plasticity through training of an auditory discrimination task. 10 healthy adults (aged 20–32 yrs) participated in daily pitch discrimination training, the goal of which was to detect deviants differing by progressively smaller frequency shifts from the standard stimulus. The standard stimulus of a 1000 Hz tone and the 3 deviant stimuli of 1050, 1010, and 1005 Hz were used in discrimination tests as magnetoencephalography data were recorded. Over 3 wks of training, frequency discrimination improved rapidly in the 1st wk, followed by small but constant improvements thereafter. Results show that N1m and MMF responses to the deviant stimuli increased in amplitude during training. This enhancement persisted until training was finished, but decreased 3 wks subsequently. Results suggest a plastic reorganization of the cortical representation for the trained frequencies. While the MMF seems to be a good measure of automatic deviation detection, the N1m may reflect even more basic changes of the frequency representation in the auditory cortex or possible modulatory influences. (PsycINFO Database Record (c) 2012 APA, all rights reserved)},
  number = {4},
  journaltitle = {NeuroReport: For Rapid Communication of Neuroscience Research},
  shortjournal = {NeuroReport: For Rapid Communication of Neuroscience Research},
  date = {2000-03},
  pages = {817-822},
  keywords = {Pitch Discrimination,Auditory Evoked Potentials,Auditory Cortex,Neural Plasticity,Neurophysiology,20–32 yr olds,pitch discrimination training,slow auditory evoked potentials & mismatch field plastic changes in auditory cortex},
  author = {Menning, Hans and Roberts, Larry E. and Pantev, Christo}
}

@article{pantevTimbrespecificEnhancementAuditory2001,
  title = {Timbre-Specific Enhancement of Auditory Cortical Representations in Musicians},
  volume = {12},
  issn = {0959-4965},
  doi = {10.1097/00001756-200101220-00041},
  abstract = {Neural imaging studies have shown that the brains of skilled musicians respond differently to musical stimuli than do the brains of non-musicians, particularly for musicians who commenced practice at an early age. Whether brain attributes related to musical skill are attributable to musical practice or are hereditary traits that influence the decision to train musically is a question. The authors here report that auditory cortical representations measured neuromagnetically for tones of different timbre (violin and trumpet) are enhanced compared to sine tones in adult violinists and trumpeters, preferentially for timbres of the instrument of training. Timbre specificity is predicted by a principle of use-dependent plasticity and imposes new requirements on nativistic accounts of brain attributes associated with musical skill. (PsycINFO Database Record (c) 2012 APA, all rights reserved)},
  number = {1},
  journaltitle = {NeuroReport: For Rapid Communication of Neuroscience Research},
  shortjournal = {NeuroReport: For Rapid Communication of Neuroscience Research},
  date = {2001-01},
  pages = {169-174},
  keywords = {Musicians,Music,Auditory Discrimination,Auditory Cortex,Ability Level,auditory cortical representations,timbre in violin vs trumpet tones,trained violinists vs trumpeters},
  author = {Pantev, Christo and Roberts, Larry E. and Schulz, Matthias and Engelien, Almut and Ross, Bernhard}
}

@article{garridoDynamicCausalModeling2009,
  title = {Dynamic Causal Modeling of the Response to Frequency Deviants},
  volume = {101},
  issn = {0022-3077},
  doi = {10.1152/jn.90291.2008},
  abstract = {This article describes the use of dynamic causal modeling to test hypotheses about the genesis of evoked responses. Specifically, we consider the mismatch negativity (MMN), a well-characterized response to deviant sounds and one of the most widely studied evoked responses. There have been several mechanistic accounts of how the MMN might arise. It has been suggested that the MMN results from a comparison between sensory input and a memory trace of previous input, although others have argued that local adaptation, due to stimulus repetition, is sufficient to explain the MMN. Thus the precise mechanisms underlying the generation of the MMN remain unclear. This study tests some biologically plausible spatiotemporal dipole models that rest on changes in extrinsic top-down connections (that enable comparison) and intrinsic changes (that model adaptation). Dynamic causal modeling suggested that responses to deviants are best explained by changes in effective connectivity both within and between cortical sources in a hierarchical network of distributed sources. Our model comparison suggests that both adaptation and memory comparison operate in concert to produce the early (N1 enhancement) and late (MMN) parts of the response to frequency deviants. We consider these mechanisms in the light of predictive coding and hierarchical inference in the brain. (PsycINFO Database Record (c) 2012 APA, all rights reserved). (journal abstract)},
  number = {5},
  journaltitle = {Journal of Neurophysiology},
  shortjournal = {Journal of Neurophysiology},
  date = {2009-05},
  pages = {2620-2631},
  keywords = {brain,Evoked Potentials,Stimulus Frequency,Causal Analysis,Dynamic causal modeling,evoked response genesis,frequency deviants},
  author = {Garrido, Marta I. and Kilner, James M. and Kiebel, Stefan J. and Friston, Karl J.}
}

@article{fogelsonFunctionalAnatomySchizophrenia2014,
  title = {The Functional Anatomy of Schizophrenia: {{A}} Dynamic Causal Modeling Study of Predictive Coding},
  volume = {158},
  issn = {0920-9964},
  doi = {10.1016/j.schres.2014.06.011},
  shorttitle = {The Functional Anatomy of Schizophrenia},
  abstract = {This paper tests the hypothesis that patients with schizophrenia have a deficit in selectively attending to predictable events. We used dynamic causal modeling (DCM) of electrophysiological responses–to predictable and unpredictable visual targets – to quantify the effective connectivity within and between cortical sources in the visual hierarchy in 25 schizophrenia patients and 25 age-matched controls. We found evidence for marked differences between normal subjects and schizophrenia patients in the strength of extrinsic backward connections from higher hierarchical levels to lower levels within the visual system. In addition, we show that not only do schizophrenia subjects have abnormal connectivity but also that they fail to adjust or optimize this connectivity when events can be predicted. Thus, the differential intrinsic recurrent connectivity observed during processing of predictable versus unpredictable targets was markedly attenuated in schizophrenia patients compared with controls, suggesting a failure to modulate the sensitivity of neurons responsible for passing sensory information of prediction errors up the visual cortical hierarchy. The findings support the proposed role of abnormal connectivity in the neuropathology and pathophysiology of schizophrenia. (PsycINFO Database Record (c) 2014 APA, all rights reserved). (journal abstract)},
  number = {1-3},
  journaltitle = {Schizophrenia Research},
  shortjournal = {Schizophrenia Research},
  date = {2014-09},
  pages = {204-212},
  keywords = {Prediction,electroencephalography,EEG,Simulation,Dynamic causal modeling,Connectivity,Neuroanatomy,Pathophysiology,Schizophrenia},
  author = {Fogelson, Noa and Litvak, Vladimir and Peled, Avi and Fernandez-del-Olmo, Miguel and Friston, Karl}
}

@article{fristonFreeenergyPrincipleUnified2010,
  title = {The Free-Energy Principle: {{A}} Unified Brain Theory?},
  volume = {11},
  issn = {1471-003X},
  doi = {10.1038/nrn2787},
  shorttitle = {The Free-Energy Principle},
  abstract = {A free-energy principle has been proposed recently that accounts for action, perception and learning. This Review looks at some key brain theories in the biological (for example, neural Darwinism) and physical (for example, information theory and optimal control theory) sciences from the free-energy perspective. Crucially, one key theme runs through each of these theories—optimization. Furthermore, if we look closely at what is optimized, the same quantity keeps emerging, namely value (expected reward, expected utility) or its complement, surprise (prediction error, expected cost). This is the quantity that is optimized under the free-energy principle, which suggests that several global brain theories might be unified within a free-energy framework. (PsycINFO Database Record (c) 2012 APA, all rights reserved). (journal abstract)},
  number = {2},
  journaltitle = {Nature Reviews Neuroscience},
  shortjournal = {Nature Reviews Neuroscience},
  date = {2010-02},
  pages = {127-138},
  keywords = {brain,Theories,entropy,free energy principle,homeostasis,neuroscience,optimization,physics,Systems Neuroscience},
  author = {Friston, Karl}
}

@article{feldmanAttentionUncertaintyFreeenergy2010,
  title = {Attention, Uncertainty, and Free-Energy},
  volume = {4},
  issn = {1662-5161},
  doi = {10.3389/fnhum.2010.00215},
  abstract = {We suggested recently that attention can be understood as inferring the level of uncertainty or precision during hierarchical perception. In this paper, we try to substantiate this claim using neuronal simulations of directed spatial attention and biased competition. These simulations assume that neuronal activity encodes a probabilistic representation of the world that optimizes free-energy in a Bayesian fashion. Because free-energy bounds surprise or the (negative) log-evidence for internal models of the world, this optimization can be regarded as evidence accumulation or (generalized) predictive coding. Crucially, both predictions about the state of the world generating sensory data and the precision of those data have to be optimized. Here, we show that if the precision depends on the states, one can explain many aspects of attention. We illustrate this in the context of the Posner paradigm, using the simulations to generate both psychophysical and electrophysiological responses. These simulated responses are consistent with attentional bias or gating, competition for attentional resources, attentional capture and associated speed-accuracy trade-offs. Furthermore, if we present both attended and nonattended stimuli simultaneously, biased competition for neuronal representation emerges as a principled and straightforward property of Bayes-optimal perception. (PsycINFO Database Record (c) 2012 APA, all rights reserved). (journal abstract)},
  journaltitle = {Frontiers in Human Neuroscience},
  shortjournal = {Frontiers in Human Neuroscience},
  date = {2010-12-02},
  keywords = {selective attention,Neurons,biased competition,Competition,directed spatial attention,free energy,neuronal simulation,uncertainty},
  author = {Feldman, Harriet and Friston, Karl J.}
}

@incollection{fristonPredictiveCodingFreeenergy2011,
  location = {{New York, NY, US}},
  title = {Predictive Coding: {{A}} Free-Energy Formulation},
  isbn = {978-0-19-539551-8},
  shorttitle = {Predictive Coding},
  abstract = {This chapter looks at prediction from the point of view of perception; namely, the fitting or inversion of internal models of sensory data by the brain. Critically, the nature of this inversion lends itself to a relatively simple neural network implementation that shares many formal similarities with real cortical hierarchies in the brain. The basic idea that the brain uses hierarchical inference has been described in a series of papers, which entertain the notion that the brain uses empirical Bayes for inference about its sensory input, given the hierarchical organization of cortical systems. Here, we focus on how neural networks could be configured to invert these models and deconvolve sensory causes from sensory input. This chapter comprises four sections. In the first, we introduce hierarchical dynamic models. Hierarchies induce empirical priors that provide constraints, which are exploited during inversion. In the second section, we consider model inversion in statistical terms. This summarizes the material in Friston et al. (2008). In the third section, we show how this inversion can be formulated as a simple gradient ascent using neuronal networks and, in the final section, we consider how evoked brain responses might be understood in terms of inference under hierarchical dynamic models of sensory input. (PsycINFO Database Record (c) 2012 APA, all rights reserved). (chapter)},
  booktitle = {Predictions in the Brain: {{Using}} Our Past to Generate a Future.},
  publisher = {{Oxford University Press}},
  date = {2011},
  pages = {231-246},
  keywords = {predictive coding,brain,Prediction,Human Information Storage,Perception,cortical systems,inference,Neural Networks,Perceptual Stimulation,sensory data},
  author = {Friston, Karl J. and Kiebel, Stefan},
  editor = {Bar, Moshe and Bar, Moshe (Ed)}
}

@article{temperleyModelingMeterHarmony1999,
  title = {Modeling {{Meter}} and {{Harmony}}: {{A Preference}}-{{Rule Approach}}},
  volume = {23},
  issn = {0148-9267},
  url = {http://dx.doi.org/10.1162/014892699559616},
  doi = {10.1162/014892699559616},
  shorttitle = {Modeling {{Meter}} and {{Harmony}}},
  number = {1},
  journaltitle = {Comput. Music J.},
  urldate = {2015-06-18},
  date = {1999-01},
  pages = {10--27},
  author = {Temperley, David and Sleator, Daniel}
}

@article{cambouropoulosHowSimilarSimilar2009,
  title = {How Similar Is Similar?},
  volume = {Discussion Forum 4B},
  issn = {1029-8649},
  doi = {10.1177/102986490901300102},
  abstract = {In the first part of the paper a theoretical discussion is presented regarding the fundamental concept of similarity and its relation to cue abstraction and categorization. It is maintained that similarity is by definition context-dependent and strongly interrelated to cue abstraction and categorization. Emphasis is given to determining the "musical surface" that can act as a musically pertinent lowest level of abstraction on which similarity between musical entities can be measured. Then, each of these concepts is examined in more detail with respect to a number of research studies presented in the recent special issue of Musicæ Scientiæ on musical similarity (Discussion Forum 4A, 2007). Views claiming that a geometric piano-roll-like representation is the most appropriate choice for polyphonic pattern matching, or that musical repetition is structurally significant if at least fifty percent of a pattern is equivalent (i.e. if it is more similar than dissimilar), or that "dramatic disparities" between musical similarities and corresponding categories can be found in empirical studies, are critically re-examined with a view to clarifying the fundamental concept of similarity. (PsycINFO Database Record (c) 2012 APA, all rights reserved). (journal abstract)},
  journaltitle = {Musicae Scientiae},
  shortjournal = {Musicae Scientiae},
  date = {2009},
  pages = {7-24},
  keywords = {music perception,Cues,cue abstraction,musical similarity},
  author = {Cambouropoulos, Emilios}
}

@article{cambouropoulosPitchSpellingComputational2003,
  title = {Pitch Spelling: {{A}} Computational Model},
  volume = {20},
  issn = {0730-7829},
  doi = {10.1525/mp.2003.20.4.411},
  shorttitle = {Pitch Spelling},
  abstract = {In this article, cognitive and musicological aspects of pitch and pitch interval representations are explored via computational modeling. The specific task under investigation is pitch spelling, that is, how traditional score notation can be derived from a simple unstructured 12-tone representation (e.g., pitch-class set or MIDI pitch representation). This study provides useful insights both into the domain of pitch perception and into musicological aspects of score notation strategies. A computational model is described that transcribes polyphonic MIDI pitch files into the Western traditional music notation. Input to the proposed algorithm is merely a sequence of MIDI pitch numbers in the order they appear in a MIDI file. No a priori knowledge such as key signature, tonal centers, time signature, chords, or voice separation is required. Output of the algorithm is a sequence of "correctly" spelled pitches. The algorithm is based on an interval optimization approach that takes into account the frequency of occurrence of pitch intervals within the major-minor tonal scale framework. The algorithm was evaluated on 10 complete piano sonatas by Mozart and had a success rate of 98.8\% (634 pitches were spelled incorrectly out of a total of 54,418 notes)... (PsycINFO Database Record (c) 2012 APA, all rights reserved). (journal abstract)},
  number = {4},
  journaltitle = {Music Perception},
  shortjournal = {Music Perception},
  year = {Sum  2003},
  pages = {411-429},
  keywords = {Music,Pitch (Frequency),music perception,computational model,Models,Simulation,algorithm,Algorithms,music notation,pitch interval representations,pitch spelling,transcription,Written Communication},
  author = {Cambouropoulos, Emilios}
}

@article{cambouropoulosMusicalSurfaceChallenging2010,
  title = {The Musical Surface: {{Challenging}} Basic Assumptions},
  volume = {Special Issue 2010},
  issn = {1029-8649},
  shorttitle = {The Musical Surface},
  abstract = {This paper addresses problems and misconceptions pertaining to the notion of the musical surface, a notion that is commonly thought to be relatively straight-forward and is often taken as a given in computational and cognitive research. It is suggested that the musical surface is comprised of (complex) musical events perceived as wholes within coherent musical streams—the musical surface is not merely an unstructured sequence of atomic note events, such as score notes or a piano-roll representation. Additionally, it is maintained that the emergence of the musical surface involves rather complex mechanisms that require, not only multi-pitch extraction from the acoustic signal, but, the employment of cognitive processes such as beat-tracking, metre induction, chord identification and stream/voice separation. Such processes do not come into play after the surface has been formed, but are, rather, an integral part of the formation of the musical surface per se. (PsycINFO Database Record (c) 2012 APA, all rights reserved). (journal abstract)},
  journaltitle = {Musicae Scientiae},
  shortjournal = {Musicae Scientiae},
  series = {Understanding Musical Structure and Form: {{Papers}} in Honour of {{Irene Deliége}}},
  date = {2010},
  pages = {131-147},
  keywords = {Music,Musical Instruments,challenging basic assumptions,cognitive psychology,musical surface,piano roll representation},
  author = {Cambouropoulos, Emilios}
}

@article{cambouropoulosVoiceStreamPerceptual2008,
  title = {Voice and Stream: {{Perceptual}} and Computational Modeling of Voice Separation},
  volume = {26},
  issn = {0730-7829},
  doi = {10.1525/mp.2008.26.1.75},
  shorttitle = {Voice and Stream},
  abstract = {[Correction Notice: An erratum for this article was reported in Vol 26(3) of Music Perception (see record [rid]2009-01977-018[/rid]). In Figure 1 of the original article, the harmonic reduction is incorrect. The corrected version of the figure is provided in the current erratum.] Listeners are thought to be capable of perceiving multiple voices in music. This paper presents different views of what 'voice' means and how the problem of voice separation can be systematically described, with a view to understanding the problem better and developing a systematic description of the cognitive task of segregating voices in music. Well-established perceptual principles of auditory streaming are examined and then tailored to the more specific problem of voice separation in timbrally undifferentiated music. Adopting a perceptual view of musical voice, a computational prototype is developed that splits a musical score (symbolic musical data) into different voices. A single 'voice' may consist of one or more synchronous notes that are perceived as belonging to the same auditory stream. The proposed model is tested against a small dataset that acts as ground truth. The results support the theoretical viewpoint adopted in the paper. (PsycINFO Database Record (c) 2012 APA, all rights reserved). (journal abstract)},
  number = {1},
  journaltitle = {Music Perception},
  shortjournal = {Music Perception},
  date = {2008-09},
  pages = {75-94},
  keywords = {Music,Voice,Perception,cognitive ability,cognitive task,musical voice,synchronous notes,voice perception,voice separation},
  author = {Cambouropoulos, Emilios}
}

@article{cambouropoulosMelodicCueAbstraction2001,
  title = {Melodic Cue Abstraction, Similarity and Category Formation: {{A}} Formal Model},
  volume = {18},
  issn = {0730-7829},
  doi = {10.1525/mp.2001.18.3.347},
  shorttitle = {Melodic Cue Abstraction, Similarity and Category Formation},
  abstract = {In the first part of this article, the notions of identity, similarity, categorization, and feature salience are explored; musical examples are provided at various stages of the discussion. Then, formal working definitions are proposed that bind these concepts together. These definitions readily lend themselves to the development of a formal model for clustering—the Unscramble algorithm—which, given a set of objects and an initial set of properties, generates a range of plausible categorizations for a given context. Finally, as a test case, the clustering algorithm is used to organize a number of melodic segments, taken from a monophonic piece by J. S. Bach, into motivic categories; the algorithm also determines a prototype for each cluster and uses these prototypical descriptions for membership prediction tasks. The results of the computational system are compared with the empirical results obtained for the same data in two earlier studies (I. Deliège, 1996, 1997). (PsycINFO Database Record (c) 2012 APA, all rights reserved)},
  number = {3},
  journaltitle = {Music Perception},
  shortjournal = {Music Perception},
  series = {Similarity {{Perception}} ←→ {{Categorization}} ←→ {{Cue Abstraction}}},
  year = {Spr  2001},
  pages = {347-370},
  keywords = {Music,Models,Algorithms,categorization,Classification (Cognitive Process),clustering model,melodic cue abstraction,similarity,Stimulus Similarity,Unscramble algorithm},
  author = {Cambouropoulos, Emilios}
}

@article{bigandDividedAttentionMusic2000,
  title = {Divided Attention in Music},
  volume = {35},
  issn = {00207594},
  url = {http://search.ebscohost.com/login.aspx?direct=true&db=bth&AN=4424138&site=ehost-live},
  doi = {10.1080/002075900750047987},
  abstract = {Two models have been advanced to account for the apparent ease with which attention can be divided in music: a "divided attention" model postulates that listeners effectively manage to follow two or more melodic lines played simultaneously. According to a "figure-ground model," the harmonic coherence of Western polyphonies allows a listener to focus on one melody while staying aware of the other melody, which acts as a background. This figure-ground processing compensates for the inability to divide attention. The present study was designed to further investigate these two models. Participants were required to detect melodic errors in two familiar nursery tunes played simultaneously an octave apart. The divided-attention model predicted that this task would be easily performed by participants, irrespective of the key of the nursery tune. The figureground model predicted better performance when the keys of the tunes were identical or closely related. None of these predictions was fully supported by the data, leading us to propose a new "integrative model" of listening to polyphonic music. Deux modèles ont été proposés pour rendre compte de l'apparente facilité à partager son attention lors de l'écoute musicale: selon un modèle "d'attention partagée", l'auditeur parviendrait à suivre deux ou plusieurs lignes mélodiques jouées simultanément. Selon un modèle "figure-fond", la cohérence harmonique des polyphonies occidentales permettrait à l'auditeur de focaliser son attention sur une mélodie tout en restant attentif à l'autre mélodie qui agirait comme un fond harmonieux. Ce processus d'organisation de la polyphonie en figure-fond compenserait l'incapacité à diviser l'attention. L'étude présente fut conçue pour approfondir ces deux modèles. Les sujets devaient détecter des erreurs mélodiques dans deux mélodies populaires jouées simultanément à deux octaves différentes. Selon le modèle "d'attention partagée", cette tâche devait être facilement réalisée, quelque soit la tonalité respective des mélodies. Le modèle "figure-fond" prédisait de meilleures performances lorsque les tonalités des mélodies étaient identiques ou proches. Aucune de ces prédictions n'a été pleinement confirmée par les données ce qui conduit à développer un nouveau modèle "d'écoute intégrative" de la polyphonie.},
  number = {6},
  journaltitle = {International Journal of Psychology},
  shortjournal = {International Journal of Psychology},
  urldate = {2015-06-18},
  date = {2000-12},
  pages = {270-278},
  keywords = {Attention,FIGURE-ground perception,MUSIC psychology},
  author = {Bigand, E. and McAdams, S. and Forêt, S.},
  file = {D\:\\Sauve\\Zotero\\storage\\G9M7H7EN\\Bigand et al. - 2000 - Divided attention in music.pdf}
}

@article{fitchPerceptionProductionSyncopated2007,
  eprinttype = {jstor},
  eprint = {10.1525/mp.2007.25.1.43},
  title = {Perception and Production of Syncopated Rhythms},
  date = {2007},
  author = {Fitch, W. Tecumseh and Rosenfeld, Andrew J.},
  file = {D\:\\Sauve\\Zotero\\storage\\VHZGRICN\\Fitch and Rosenfeld - 2007 - Perception and production of syncopated rhythms.pdf;D\:\\Sauve\\Zotero\\storage\\XGTBABS8\\cookieAbsent.html}
}

@inproceedings{toussaintComparisonRhythmicSimilarity2004,
  title = {A {{Comparison}} of {{Rhythmic Similarity Measures}}.},
  url = {http://jeff.cs.mcgill.ca/~godfried/teaching/mir-reading-assignments/Comparison-of-Rhythmic-Similarity-Measures.pdf},
  booktitle = {{{ISMIR}}},
  urldate = {2015-06-18},
  date = {2004},
  author = {Toussaint, Godfried T.},
  file = {D\:\\Sauve\\Zotero\\storage\\PAR8792E\\Toussaint - 2004 - A Comparison of Rhythmic Similarity Measures..pdf}
}

@incollection{shmulevichComplexityMeasuresMusical2000,
  location = {{Lisse, NL}},
  title = {Complexity Measures of Musical Rhythms},
  url = {http://www.nici.ru.nl/mmm/papers/mmm-16/mmm-16.html},
  booktitle = {Rhythm Perception and Production},
  publisher = {{Swets \& Zeitlinger}},
  urldate = {2015-06-18},
  date = {2000},
  pages = {239--244},
  author = {Shmulevich, Ilya and Povel, Dirk-Jan},
  editor = {Desain, P. and Windsor, L.},
  file = {D\:\\Sauve\\Zotero\\storage\\2RDQ77EM\\mmm-16.html}
}

@article{shmulevichPerceptualIssuesMusic2001,
  title = {Perceptual Issues in Music Pattern Recognition: {{Complexity}} of Rhythm and Key Finding},
  volume = {35},
  url = {http://link.springer.com/article/10.1023/A:1002629217152},
  shorttitle = {Perceptual Issues in Music Pattern Recognition},
  number = {1},
  journaltitle = {Computers and the Humanities},
  urldate = {2015-06-18},
  date = {2001},
  pages = {23--35},
  author = {Shmulevich, Ilya and Yli-Harja, Olli and Coyle, Edward and Povel, Dirk-Jan and Lemström, Kjell},
  file = {D\:\\Sauve\\Zotero\\storage\\D2H8QSPG\\Shmulevich et al. - 2001 - Perceptual issues in music pattern recognition Co.pdf;D\:\\Sauve\\Zotero\\storage\\S2M5SNU4\\A1002629217152.html}
}

@article{povelTheoreticalFrameworkRhythm1984,
  title = {A Theoretical Framework for Rhythm Perception},
  volume = {45},
  issn = {0340-0727},
  doi = {10.1007/BF00309709},
  abstract = {Presents a theoretical framework for predicting the perceived organization, the judged complexity, and the experienced rhythmical value of temporal sequences. Two simple assumptions form the basis of the framework. The notion of the "temporal grid" is proposed to specify the temporal structure of a sequence. Such a grid is a time scale consisting of isochronic intervals. Since a rhythmical pattern generally allows for several different possible grids, an "economy principle" is used for selecting the most efficient grid. Economy of description is determined by the number of tones covered by the grid and the ease of specifying the noncovered tones. Since this basic model cannot explain all relevant phenomena, it is extended to incorporate 3 additional factors: the starting point of a sequence, subjective accents, and tempo. (61 ref) (PsycINFO Database Record (c) 2013 APA, all rights reserved)},
  number = {4},
  journaltitle = {Psychological Research},
  shortjournal = {Psychological Research},
  date = {1984-03},
  pages = {315-337},
  keywords = {Auditory Perception,time perception,Models,Pattern Discrimination,theoretical model for perception of rhythm & temporal sequences},
  author = {Povel, Dirk-Jan}
}

@article{spadaAuditorySceneFMRI2014,
  title = {The Auditory Scene: {{An fMRI}} Study on Melody and Accompaniment in Professional Pianists},
  volume = {102},
  issn = {1053-8119},
  doi = {10.1016/j.neuroimage.2014.08.036},
  shorttitle = {The Auditory Scene},
  abstract = {The auditory scene is a mental representation of individual sounds extracted from the summed sound waveform reaching the ears of the listeners. Musical contexts represent particularly complex cases of auditory scenes. In such a scenario, melody may be seen as the main object moving on a background represented by the accompaniment. Both melody and accompaniment vary in time according to harmonic rules, forming a typical texture with melody in the most prominent, salient voice. In the present sparse acquisition functional magnetic resonance imaging study, we investigated the interplay between melody and accompaniment in trained pianists, by observing the activation responses elicited by processing: (1) melody placed in the upper and lower texture voices, leading to, respectively, a higher and lower auditory salience; (2) harmonic violations occurring in either the melody, the accompaniment, or both. The results indicated that the neural activation elicited by the processing of polyphonic compositions in expert musicians depends upon the upper versus lower position of the melodic line in the texture, and showed an overall greater activation for the harmonic processing of melody over accompaniment. Both these two predominant effects were characterized by the involvement of the posterior cingulate cortex and precuneus, among other associative brain regions. We discuss the prominent role of the posterior medial cortex in the processing of melodic and harmonic information in the auditory stream, and propose to frame this processing in relation to the cognitive construction of complex multimodal sensory imagery scenes. (PsycINFO Database Record (c) 2015 APA, all rights reserved). (journal abstract)},
  issue = {Part 2},
  journaltitle = {NeuroImage},
  shortjournal = {NeuroImage},
  date = {2014-11-15},
  pages = {764-775},
  keywords = {Salience,brain,Music,auditory stream segregation,Auditory Stimulation,melody,Functional Magnetic Resonance Imaging,Accompaniment,Cingulate Cortex,Harmony},
  author = {Spada, Danilo and Verga, Laura and Iadanza, Antonella and Tettamanti, Marco and Perani, Daniela}
}

@article{uhligImportanceIntegrationTopdown2013,
  title = {The Importance of Integration and Top-down Salience When Listening to Complex Multi-Part Musical Stimuli},
  volume = {77},
  issn = {1053-8119},
  doi = {10.1016/j.neuroimage.2013.03.051},
  abstract = {In listening to multi-part music, auditory streams can be attended to either selectively or globally. More specifically, musicians rely on prioritized integrative attention which incorporates both stream segregation and integration to assess the relationship between concurrent parts. In this fMRI study, we used a piano duet to investigate which factors of a leader–follower relationship between parts grab the listener's attention and influence the perception of multi-part music. The factors considered included the structural relationship between melody and accompaniment as well as the temporal relationship (asynchronies) between parts. The structural relationship was manipulated by cueing subjects to the part of the duet that had to be prioritized. The temporal relationship was investigated by synthetically shifting the onset times of melody and accompaniment to either a consistent melody or accompaniment lead. The relative importance of these relationship factors for segregation and integration as attentional mechanisms was of interest. Participants were required to listen to the cued part and then globally assess if the prioritized stream was leading or following compared to the second stream. Results show that the melody is judged as more leading when it is globally temporally ahead whereas the accompaniment is not judged as leading when it is ahead. This bias may be a result of the interaction of salience of both leader–follower relationship factors. Interestingly, the corresponding interaction effect in the fMRI-data yields an inverse bias for melody in a fronto-parietal attention network. Corresponding parameter estimates within the dlPFC and right IPS show higher neural activity for attending to melody when listening to a performance without a temporal leader, pointing to an interaction of salience of both factors in listening to music. Both frontal and parietal activation implicate segregation and integration mechanisms and a top-down influence of salience on attention and the perception of leader–follower relations in music. (PsycINFO Database Record (c) 2013 APA, all rights reserved). (journal abstract)},
  journaltitle = {NeuroImage},
  shortjournal = {NeuroImage},
  date = {2013-08-15},
  pages = {52-61},
  keywords = {Attention,Music,Neural Networks,musical stimuli,neural activities,Stimulation},
  author = {Uhlig, Marie and Fairhurst, Merle T. and Keller, Peter E.}
}

@article{doraisamyPolyphonicMusicRetrieval2005,
  title = {Polyphonic {{Music Retrieval}}: {{The N}}-{{Gram Approach}}},
  volume = {39},
  issn = {01635840},
  shorttitle = {Polyphonic {{Music Retrieval}}},
  abstract = {This article presents an abstract of the paper Polyphonic Music Retrieval: The N-Gram Approach, by Shyamala Doraisamy. This Music Information Retrieval (MIR) study investigates the use of n-grams and textual Information Retrieval (IR) approaches for the retrieval and access of polyphonic music data. IR, synonymous with text IR, implies the task of retrieving documents or texts with information content that is relevant to user's information need. Techniques for full-music indexing of polyphonic music data with n-grams are investigated. A method to obtain n-grams from polyphonic music data is introduced. The information content of musical n-grams is extended to include rhythmic information in addition to intervallic information. The evaluation results of the indexing approaches proposed are presented, performed on a test collection developed using approximately 10,000 polyphonic MIDI files. Experiments show that different n-gramming strategies and encoding precision differ widely in their effectiveness. The retrieval performances of monophonic and polyphonic queries made to a polyphonic music collection were investigated using text retrieval performance measures.},
  number = {1},
  journaltitle = {SIGIR Forum},
  shortjournal = {SIGIR Forum},
  date = {2005-06},
  pages = {58-58},
  keywords = {Music,ABSTRACTS,INDEXING,INFORMATION retrieval,INFORMATION science,INFORMATION storage & retrieval systems},
  author = {Doraisamy, Shyamala}
}

@article{unykInfluenceExpectancyMelodic1987,
  title = {The Influence of Expectancy on Melodic Perception},
  volume = {7},
  issn = {0275-3987},
  url = {http://search.ebscohost.com/login.aspx?direct=true&db=pdh&AN=1989-10770-001&site=ehost-live},
  doi = {10.1037/h0094189},
  abstract = {Investigated the influence of fulfillment and violation of melodic expectancies on 27 college-trained musicians' ability to perceive, identify, and recall melodic patterns. Ss registered their expectations of melodic continuations by singing. These expectancies were used to generate 6 types of brief melodies that varied in their relationships to Ss' expectancies (e.g., fulfillment of strong expectancies). Test melodies were presented aurally for transcription. An analysis of variance (ANOVA) revealed that violations of strong expectancies led to more errors than expectancy fulfillment. Contour violations did not lead to more errors than interval-size violations. Error patterns suggest that the salience of contour in melody resisted the influence of expectancy on perception, but did not overcome it. (PsycINFO Database Record (c) 2014 APA, all rights reserved)},
  number = {1},
  journaltitle = {Psychomusicology: A Journal of Research in Music Cognition},
  shortjournal = {Psychomusicology: A Journal of Research in Music Cognition},
  urldate = {2015-06-18},
  year = {Spr  1987},
  pages = {3-23},
  keywords = {Auditory Perception,Music,Expectations,aurally presented violation vs fulfillment of melodic expectancy,college trained musicians,melodic perception},
  author = {Unyk, Anna M. and Carlsen, James C.},
  file = {D\:\\Sauve\\Zotero\\storage\\55SSSJXM\\Unyk and Carlsen - 1987 - The influence of expectancy on melodic perception.pdf}
}

@article{carlsenFactorsWhichInfluence1981,
  title = {Some Factors Which Influence Melodic Expectancy},
  volume = {1},
  issn = {0275-3987},
  url = {http://search.ebscohost.com/login.aspx?direct=true&db=pdh&AN=1982-09503-001&site=ehost-live},
  doi = {10.1037/h0094276},
  abstract = {Using a sung continuation of 25 interrupted 2-tone melodic beginnings, melodic expectancies were obtained from 91 students (15–23 yrs) in professional music training schools in Hungary, Germany, and the US. Expectancy patterns included both conjunct and disjunct melodic motion ranging up to a minor 7th, but the majority of responses were only half and whole steps. Expectancy generating strength varied considerably between melodic beginnings. Differences in expectancy patterns were found as a function of melodic beginning and cultural milieu, but not of voice register nor of training level. (14 ref) (PsycINFO Database Record (c) 2014 APA, all rights reserved)},
  number = {1},
  journaltitle = {Psychomusicology: A Journal of Research in Music Cognition},
  shortjournal = {Psychomusicology: A Journal of Research in Music Cognition},
  urldate = {2015-06-18},
  year = {Spr  1981},
  pages = {12-29},
  keywords = {Music,Expectations,Stimulus Variability,15–23 yr old music students,interrupted 2-tone melodic beginnings,melodic expectancies},
  author = {Carlsen, James C.},
  file = {D\:\\Sauve\\Zotero\\storage\\AMR6HJ4G\\Carlsen - 1981 - Some factors which influence melodic expectancy.pdf}
}

@article{carlsenMusicalExpectancyPerspectives1982,
  title = {Musical Expectancy: {{Some}} Perspectives},
  volume = {71},
  issn = {0010-9894},
  shorttitle = {Musical Expectancy},
  abstract = {Identifies 2 forms of musical expectancy—one that is logical, knowledge-based, and indirectly experienced and another that is immediate and involves direct experience with the sensations of the moment. The author focuses on the immediate form of expectancy, which depends on previous experience and the schemata of the event itself. An expectancy time line is outlined that includes an antecedent stimulus, an anticipatory state, a consequent stimulus, and a postevent state. Also discussed is the occurrence of an expectancy violation. Implications for musical cognition are addressed in terms of categorical perception and concept formation. (34 ref) (PsycINFO Database Record (c) 2012 APA, all rights reserved)},
  journaltitle = {Bulletin of the Council for Research in Music Education},
  shortjournal = {Bulletin of the Council for Research in Music Education},
  year = {Sum  1982},
  pages = {4-14},
  keywords = {Music,Expectations,Perception,indirect vs immediate expectancy in music perception},
  author = {Carlsen, James C.}
}

@article{caclinAcousticCorrelatesTimbre2005,
  langid = {english},
  title = {Acoustic Correlates of Timbre Space Dimensions: A Confirmatory Study Using Synthetic Tones},
  volume = {118},
  issn = {0001-4966},
  shorttitle = {Acoustic Correlates of Timbre Space Dimensions},
  abstract = {Timbre spaces represent the organization of perceptual distances, as measured with dissimilarity ratings, among tones equated for pitch, loudness, and perceived duration. A number of potential acoustic correlates of timbre-space dimensions have been proposed in the psychoacoustic literature, including attack time, spectral centroid, spectral flux, and spectrum fine structure. The experiments reported here were designed as direct tests of the perceptual relevance of these acoustical parameters for timbre dissimilarity judgments. Listeners presented with carefully controlled synthetic tones use attack time, spectral centroid, and spectrum fine structure in dissimilarity rating experiments. These parameters thus appear as major determinants of timbre. However, spectral flux appears as a less salient timbre parameter, its salience depending on the number of other dimensions varying concurrently in the stimulus set. Dissimilarity ratings were analyzed with two different multidimensional scaling models (CLASCAL and CONSCAL), the latter providing psychophysical functions constrained by the physical parameters. Their complementarity is discussed.},
  number = {1},
  journaltitle = {The Journal of the Acoustical Society of America},
  shortjournal = {J. Acoust. Soc. Am.},
  date = {2005-07},
  pages = {471-482},
  keywords = {Auditory Perception,Music,Acoustic Stimulation,humans,Adult,Middle Aged,Female,Male,Psychoacoustics,Recognition (Psychology)},
  author = {Caclin, Anne and McAdams, Stephen and Smith, Bennett K. and Winsberg, Suzanne},
  eprinttype = {pmid},
  eprint = {16119366}
}

@article{caclinInteractiveProcessingTimbre2008,
  title = {Interactive Processing of Timbre Dimensions: {{An}} Exploration with Event-Related Potentials},
  volume = {20},
  issn = {0898-929X},
  doi = {10.1162/jocn.2008.20001},
  shorttitle = {Interactive Processing of Timbre Dimensions},
  abstract = {Timbre characterizes the identity of a sound source. On psychoacoustic grounds, it has been described as a multidimensional perceptual attribute of complex sounds. Using Garner's interference paradigm, we found in a previous behavioral study that three timbral dimensions exhibited interactive processing. These timbral dimensions acoustically corresponded to attack time, spectral centroid, and spectrum fine structure. Here, using event-related potentials (ERPs), we sought neurophysiological correlates of the interactive processing of these dimensions of timbre. ERPs allowed us to dissociate several levels of interaction, at both early perceptual and late stimulus identification stages of processing. The cost of filtering out an irrelevant timbral dimension was accompanied by a late negative-going activity, whereas congruency effects between timbre dimensions were associated with interactions in both early sensory and late processing stages. ERPs also helped to determine the similarities and differences in the interactions displayed by the different pairs of timbre dimensions, revealing in particular variations in the latencies at which temporal and spectral timbre dimensions can interfere with the processing of another spectral timbre dimension. (PsycINFO Database Record (c) 2012 APA, all rights reserved). (journal abstract)},
  number = {1},
  journaltitle = {Journal of Cognitive Neuroscience},
  shortjournal = {Journal of Cognitive Neuroscience},
  date = {2008-01},
  pages = {49-64},
  keywords = {Evoked Potentials,Auditory Perception,Auditory Stimulation,timbre,acoustics,Cognitive Processes,Neurophysiology,event related potentials,interactive processing,neurophysiological correlates,psychoacoustic grounds},
  author = {Caclin, Anne and McAdams, Stephen and Smith, Bennett K. and Giard, Marie-Hélène}
}

@article{barnesExpectancyAttentionTime2000,
  title = {Expectancy, Attention, and Time},
  volume = {41},
  issn = {0010-0285},
  doi = {10.1006/cogp.2000.0738},
  abstract = {Seven experiments examined the influence of contextual timing manipulations on prospective time judgments. Ss judged durations of standard vs comparison time intervals in the context of a preceding induction (context) sequence. In some experiments, the rate of the induction sequence was systematically manipulated relative to the range of to-be-judged standard time intervals; in others, the induction sequence was omitted. Time judgments were strongly influenced by the rate of an induction sequence with best performance occurring when the standard time interval ended as expected, given context rate. An expectancy profile, in the form of an inverted U, indicated that time estimation accuracy declined systematically as a standard interval differed from a context rate. A similar expectancy profile emerged when the context rate was based on a harmonic subdivision (one-half) of an expected standard interval. Results are discussed in terms of various stimulus-based models of prospective time judgments, including those which appeal to attentional periodicities and entrainment. (PsycINFO Database Record (c) 2012 APA, all rights reserved). (journal abstract)},
  number = {3},
  journaltitle = {Cognitive Psychology},
  shortjournal = {Cognitive Psychology},
  date = {2000-11},
  pages = {254-311},
  keywords = {Attention,adults,time perception,Cognitive Processes,Expectations,Hypothesis Testing,induction of low-level involuntary temporal expectancies in sequence time structure attentional controls,Time Estimation},
  author = {Barnes, Ralph and Jones, Mari Riess}
}

@article{reppEffectsTempoTiming2002,
  title = {Effects of Tempo on the Timing of Simple Musical Rhythms},
  volume = {19},
  issn = {0730-7829},
  doi = {10.1525/mp.2002.19.4.565},
  abstract = {Investigated whether and how the timing of musical rhythms changes with tempo. 12 skilled pianists played a monophonic 8-bar melody in 21 different rhythmic versions at 4 different tempi. Within bars, the rhythms represented 2 isochronous patterns and all possible ordered pairs and triplets of different note values with ratios from the set \{3, 2, 11.\} The 3-note rhythms also occurred in each of 2 meters (3/4 and 6/8). Significant deviations from the notated interval ratios were observed in performances of most rhythms, even at the slowest tempo. The observed ratios of the 2-note rhythms changed little with tempo. By contrast, those of the 3-note rhythms showed increasing assimilation of the 2 longer intervals as tempo increased, while the relative duration of the short interval was barely affected by tempo. The results indicate that at fast tempi, the distinction between 3 different interval durations seems difficult to maintain. (PsycINFO Database Record (c) 2012 APA, all rights reserved)},
  number = {4},
  journaltitle = {Music Perception},
  shortjournal = {Music Perception},
  year = {Sum  2002},
  pages = {565-593},
  keywords = {Musicians,Music,music perception,pianists,Rhythm,time perception,interval durations,simple musical rhythms,Stimulus Intervals,Tempo,timing},
  author = {Repp, Bruno H. and Windsor, W. Luke and Desain, Peter}
}

@article{margulisSelectiveNeurophysiologicResponses2009,
  title = {Selective Neurophysiologic Responses to Music in Instrumentalists with Different Listening Biographies},
  volume = {30},
  issn = {1065-9471},
  doi = {10.1002/hbm.20503},
  abstract = {To appropriately adapt to constant sensory stimulation, neurons in the auditory system are tuned to various acoustic characteristics, such as center frequencies, frequency modulations, and their combinations, particularly those combinations that carry species-specific communicative functions. The present study asks whether such tunings extend beyond acoustic and communicative functions to auditory self-relevance and expertise. More specifically, we examined the role of the listening biography—an individual's long term experience with a particular type of auditory input—on perceptual-neural plasticity. Two groups of expert instrumentalists (violinists and flutists) listened to matched musical excerpts played on the two instruments (J.S. Bach Partitas for solo violin and flute) while their cerebral homodynamic responses were measured using fMRI. Our experimental design allowed for a comprehensive investigation of the neurophysiology (cerebral homodynamic responses as measured by fMRI) of auditory expertise (i.e., when violinists listened to violin music and when flutists listened to flute music) and non expertise (i.e., when subjects listened to music played on the other instrument). We found an extensive cerebral network of expertise, which implicates increased sensitivity to musical syntax (BA 44), timbre (auditory association cortex), and sound-motor interactions (pre central gyrus) when listening to music played on the instrument of expertise (the instrument for which subjects had a unique listening biography). These findings highlight auditory self-relevance and expertise as a mechanism of perceptual-neural plasticity, and implicate neural tuning that includes and extends beyond acoustic and communication-relevant structures. (PsycINFO Database Record (c) 2013 APA, all rights reserved). (journal abstract)},
  number = {1},
  journaltitle = {Human Brain Mapping},
  shortjournal = {Human Brain Mapping},
  date = {2009-01},
  pages = {267-275},
  keywords = {Musicians,plasticity,Music,music perception,Auditory Cortex,Neural Plasticity,Magnetic Resonance Imaging,Neurophysiology,auditory expertise,auditory neuroscience,fMRI,sensory neuroscience},
  author = {Margulis, Elizabeth Hellmuth and Mlsna, Lauren M. and Uppunda, Ajith K. and Parrish, Todd B. and Wong, Patrick C. M.}
}

@article{straitMusicalExperienceShapes2010,
  title = {Musical Experience Shapes Top-down Auditory Mechanisms: {{Evidence}} from Masking and Auditory Attention Performance},
  volume = {261},
  issn = {0378-5955},
  doi = {10.1016/j.heares.2009.12.021},
  shorttitle = {Musical Experience Shapes Top-down Auditory Mechanisms},
  abstract = {A growing body of research suggests that cognitive functions, such as attention and memory, drive perception by tuning sensory mechanisms to relevant acoustic features. Long-term musical experience also modulates lower-level auditory function, although the mechanisms by which this occurs remain uncertain. In order to tease apart the mechanisms that drive perceptual enhancements in musicians, we posed the question: do well-developed cognitive abilities fine-tune auditory perception in a top-down fashion? We administered a standardized battery of perceptual and cognitive tests to adult musicians and non-musicians, including tasks either more or less susceptible to cognitive control (e.g., backward versus simultaneous masking) and more or less dependent on auditory or visual processing (e.g., auditory versus visual attention). Outcomes indicate lower perceptual thresholds in musicians specifically for auditory tasks that relate with cognitive abilities, such as backward masking and auditory attention. These enhancements were observed in the absence of group differences for the simultaneous masking and visual attention tasks. Our results suggest that long-term musical practice strengthens cognitive functions and that these functions benefit auditory skills. Musical training bolsters higher-level mechanisms that, when impaired, relate to language and literacy deficits. Thus, musical training may serve to lessen the impact of these deficits by strengthening the corticofugal system for hearing. (PsycINFO Database Record (c) 2012 APA, all rights reserved). (journal abstract)},
  number = {1-2},
  journaltitle = {Hearing Research},
  shortjournal = {Hearing Research},
  date = {2010-03},
  pages = {22-29},
  keywords = {acoustics,Musical Ability,auditory masking,cognitive ability,Attentional Capture,auditory attention performance,auditory mechanisms,musical experience,Perceptual Orientation,perceptual process},
  author = {Strait, Dana L. and Kraus, Nina and Parbery-Clark, Alexandra and Ashley, Richard},
  file = {D\:\\Sauve\\Zotero\\storage\\ZJG7BNG8\\Strait et al. - 2010 - Musical experience shapes top-down auditory mechan.pdf;D\:\\Sauve\\Zotero\\storage\\DUCF6PID\\S0378595509003116.html}
}

@article{sandellRolesSpectralCentroid1995,
  title = {Roles for Spectral Centroid and Other Factors in Determining 'blended' Instrument Pairings in Orchestration},
  volume = {13},
  issn = {0730-7829},
  abstract = {Explored principles and generalized rules for selecting instruments that attain a blend (fusion of multiple timbres into a single timbral image) in 3 perceptual experiments with a total of 28 musicians using natural-sounding instrument tones arranged in concurrently sounding pairs. The principal finding concerns the spectral centroid (CN) of the instruments (the midpoint of the spectral energy distribution). Blend worsened as a function of the overall CN height of the combination or as the amount of difference between the CNs of the 2 instruments increased. Slightly different results were found depending on whether the instruments were on the same pitch or separated by a minor third. For unisons, composite CN, attack similarity, and loudness envelope correlation accounted for 51\% of the variance of blend. For minor thirds, CN difference, composite CN, attack similarity, and synchrony of offset accounted for 63\% of the variance of blend. Data show that changes in CN affect blend even when that is the only aspect of the sound that is changing. (PsycINFO Database Record (c) 2012 APA, all rights reserved)},
  number = {2},
  journaltitle = {Music Perception},
  shortjournal = {Music Perception},
  year = {Win  1995},
  pages = {209-246},
  keywords = {Musicians,Auditory Perception,Musical Instruments,perception of blend of instruments,spectral centroid combinations or differences between instruments & pitch & attack similarity & synchrony},
  author = {Sandell, Gregory J.}
}

@article{thompsonModelingPerceivedRelationships1993,
  title = {Modeling Perceived Relationships between Melody, Harmony, and Key},
  volume = {53},
  issn = {0031-5117},
  doi = {10.3758/BF03211711},
  abstract = {Examined perceptual relationships between 4-voice harmonic sequences and single voices in 3 experiments (N\hspace{0.6em}=\hspace{0.6em}55). In Exp 1, Ss rated the extent to which single voices were musically consistent with harmonic sequences. When harmonic sequences did not change key, judgments were influenced by 3 sources of congruency: melody, chord progression, and key structure. When key changes occurred, sensitivity to sources of congruency was reduced. In Exp 2, Ss provided well-formedness ratings of the single voices and harmonic sequences. Consistency ratings were based not merely on well-formedness but on congruency in melody, chord progression, and key structure. In Exp 3, Ss rated the extent of modulation in harmonic sequences and in each voice of the sequences. Discrimination between modulation conditions was greater for single voices than for harmonic sequences. (PsycINFO Database Record (c) 2012 APA, all rights reserved)},
  number = {1},
  journaltitle = {Perception \& Psychophysics},
  shortjournal = {Perception \& Psychophysics},
  date = {1993-01},
  pages = {13-24},
  keywords = {Music,Auditory Discrimination,adults,perceptual relationships between melody & harmony & key in single voice vs 4 voice musical sequence},
  author = {Thompson, William F.}
}

@article{desainFormationRhythmicCategories2003,
  title = {The Formation of Rhythmic Categories and Metric Priming},
  volume = {32},
  issn = {0301-0066},
  doi = {10.1068/p3370},
  abstract = {Two experiments on categorical rhythm perception are reported, the object of which was to investigate how listeners perceive discrete rhythmic categories while listening to rhythms performed on a continuous time scale. This is studied by considering the space of all temporal patterns and how they, in perception, are partitioned into categories. This process of categorisation is formalised as the mapping from the continuous space of a series of time intervals to a discrete, symbolic domain of integer-ratio sequences. The methodological framework uses concepts from mathematics and psychology that allow precise characterisation of the results. In Exp 1, 29 Ss performed an identification task with 66 rhythmic stimuli. The results show that listeners do not just perceive the time intervals between onsets of sounds as placed in a homogeneous continuum. Instead, they can reliably identify rhythmic categories, as a chronotopic time clumping map reveals. In Exp 2, the effect of metric priming was studied by presenting the same stimuli but preceded with a duple or triple metre subdivision. It is shown that presenting patterns in the context of a metre has a large effect on rhythmic categorisation: the presence of a specific musical metre primes the perception of specific rhythmic patterns. (PsycINFO Database Record (c) 2012 APA, all rights reserved)},
  number = {3},
  journaltitle = {Perception},
  shortjournal = {Perception},
  date = {2003},
  pages = {341-365},
  keywords = {Musicians,Auditory Perception,Music,Rhythm,Pattern Discrimination,categorization,Classification (Cognitive Process),Tempo,auditory rhythm perception,metric priming,Priming,rhythmic meter},
  author = {Desain, Peter and Honing, Henkjan}
}

@article{sadakataBayesianWayRelate2006,
  title = {The {{Bayesian Way}} to {{Relate Rhythm Perception}} and {{Production}}},
  volume = {23},
  issn = {0730-7829},
  doi = {10.1525/mp.2006.23.3.269},
  abstract = {Measurements of the perception and production of simple rhythmic patterns have been shown not to be in line in some cases. In this study it is demonstrated that a Bayesian approach provides a new way of understanding this difference, by formalizing the perceptual competition between mental representations and assuming possible nonuniform a priori probabilities of the rhythmic categories. Thus we can relate the two kinds of information and predict perception data from production data. In this approach, the contrast between rhythm perception and production data, taken from different studies in the literature, was shown almost to disappear, assembling independent prior probabilities from counts of patterns in corpora of musical scores, or from a theoretical measure of rhythmic complexity. The success of this Bayesian formalization may be interpreted as an optimal adaptation of our perceptual system to the environment in which the produced rhythms occur. (PsycINFO Database Record (c) 2012 APA, all rights reserved). (journal abstract)},
  number = {3},
  journaltitle = {Music Perception},
  shortjournal = {Music Perception},
  date = {2006-02},
  pages = {269-286},
  keywords = {Auditory Perception,Music,music perception,Rhythm,Bayesian approach,musical scores,rhythm perception,rhythm production,rhythmic categories,rhythmic complexity,Statistical Probability},
  author = {Sadakata, Makiko and Desain, Peter and Honing, Henkjan}
}

@article{jongsmaExpectancyEffectsOmission2005,
  title = {Expectancy Effects on Omission Evoked Potentials in Musicians and Non-Musicians},
  volume = {42},
  issn = {0048-5772},
  doi = {10.1111/j.1469-8986.2005.00269.x},
  abstract = {An expanded omitted stimulus paradigm was investigated to determine whether expectancy would modulate the amplitude of the omission evoked potentials (OEPs). In addition, we examined the effects of musical expertise on OEPs. Trials started with 3-7 beats randomly and contained 5 omitted beats. Three types of trials (n - 90) were presented with 1, 2, or 3 beats occurring between omissions. A tap response at the end of each trial was used to determine timing accuracy. Clear OEPs were observed over midline sites. We found main omission effects with respect to an Nl50 and a P400 OEPs component, such that peak amplitudes diminished whenever the occurrence of an omitted stimulus could be expected. In addition, an N600 OEPs component emerged in response to expectedly omitted stimuli toward the end of each trial within the group of musicians. Thus, musical training seems to lead to more efficient and more refined processing of auditory temporal patterns. (PsycINFO Database Record (c) 2012 APA, all rights reserved). (journal abstract)},
  number = {2},
  journaltitle = {Psychophysiology},
  shortjournal = {Psychophysiology},
  date = {2005-03},
  pages = {191-201},
  keywords = {Musicians,Auditory Evoked Potentials,musical expertise,Experience Level,Time Estimation,auditory expectancy,emplitude,Experimenter Expectations,omission evoked potentials,Omission Training,omitted stimulus,Response Amplitude},
  author = {Jongsma, Marijtje L. A. and Eichele, Tom and Quiroga, Rodrigo Quian and Jenks, Kathleen M. and Desain, Peter and Honing, Henkjan and Van Rijn, Clementina M.}
}

@article{desainComputationalModelingMusic1998,
  title = {Computational Modeling of Music Cognition: {{Problem}} or Solution?},
  volume = {16},
  issn = {0730-7829},
  shorttitle = {Computational Modeling of Music Cognition},
  abstract = {The central purpose of this paper is to elaborate on the methods for computational modeling of music cognition and to show how, although computational modeling should in principle be instrumental in the understanding of the structure of musical knowledge and the processes involved in music cognition, in practice it too often degenerates into a loose "if you want to understand the theory, here, look in my program" approach. The authors show how many issues cannot be decided by inspecting computer programs as they are written nowadays, and indicate a possible solution, giving examples from the field of music cognition research. (PsycINFO Database Record (c) 2012 APA, all rights reserved)},
  number = {1},
  journaltitle = {Music Perception},
  shortjournal = {Music Perception},
  year = {Fal  1998},
  pages = {151-166},
  keywords = {cognition,Music,Computational Modeling,Computer Simulation,computational modeling of music cognition,Computer Programming},
  author = {Desain, Peter and Honing, Henkjan and {vanThienen}, Huub and Windsor, Luke}
}

@article{jongsmaRhythmicContextInfluences2004,
  title = {Rhythmic Context Influences the Auditory Evoked Potentials of Musicians and Nonmusicians},
  volume = {66},
  issn = {0301-0511},
  doi = {10.1016/j.biopsycho.2003.10.002},
  abstract = {In this study, we investigated how rhythms are processed in the brain by measuring both behaviourally obtained ratings and auditory evoked potentials (AEPs) from the EEG. We presented probe beats on seven positions within a test bar. Two bars of either a duple- or triple meter rhythm preceded probe beats. We hypothesised that sequential processing would lead to meter effects at the 1/3 and 1/2 bar positions, whereas hierarchical processing would lead to context effects on the 1/3, 1/2 and 2/3 bar positions. We found that metric contexts affected behavioural ratings. This effect was more pronounced for rhythmic experts. In addition, both the AEP P3a and P3b component could be identified. Though metric context affected the P3a amplitudes, group effects were less clear. We found that the AEP P3a component is sensitive to violation of temporal expectancies. In addition, behavioural data and P3a correlation coefficients (CCs) suggest that temporal patterns are processed sequentially in nonmusicians but are processed in a hierarchical way in rhythmic experts. (PsycINFO Database Record (c) 2012 APA, all rights reserved). (journal abstract)},
  number = {2},
  journaltitle = {Biological Psychology},
  shortjournal = {Biological Psychology},
  date = {2004-04},
  pages = {129-152},
  keywords = {brain,Musicians,Auditory Evoked Potentials,nonmusicians,Rhythm,rhythmic context influences},
  author = {Jongsma, Marijtje L. A. and Desain, Peter and Honing, Henkjan}
}

@article{yoshinoCognitiveModelingKey2004,
  title = {Cognitive Modeling of Key Interpretation in Melody Perception},
  volume = {46},
  issn = {0021-5368},
  doi = {10.1111/j.1468-5584.2004.00261.x},
  abstract = {We constructed a computational model that predicted a plausible key and the degree of tonality for any given melody sequence (pitch sequence), through a step-wise or incremental series of computations. In an experiment, 13 musically trained participants listened to 30 Bach fugue subjects and random tone sequences and were asked to identify plausible keys and rate the tonality of the keys. The incremental predictions of our computational model were compared to the behavior of the human participants, as well as to predictions derived from models developed by Krumhansl (1990) and Longuet-Higgins and Steedman (1971). Our computational model provided the best-fitting cognitive model of the process of participants' tonal organization in melody perception. (PsycINFO Database Record (c) 2012 APA, all rights reserved). (journal abstract)},
  number = {4},
  journaltitle = {Japanese Psychological Research},
  shortjournal = {Japanese Psychological Research},
  date = {2004-11},
  pages = {283-297},
  keywords = {Pitch (Frequency),music perception,Models,cognitive modeling,melody perception,tonality,tone sequences},
  author = {Yoshino, Iwao and Abe, Jun-Ichi}
}

@article{songSyncopationScore2013,
  title = {Syncopation and the {{Score}}},
  volume = {8},
  url = {http://dx.doi.org/10.1371/journal.pone.0074692},
  doi = {10.1371/journal.pone.0074692},
  abstract = {The score is a symbolic encoding that describes a piece of music, written according to the conventions of music theory, which must be rendered as sound (e.g., by a performer) before it may be perceived as music by the listener. In this paper we provide a step towards unifying music theory with music perception in terms of the relationship between notated rhythm (i.e., the score) and perceived syncopation. In our experiments we evaluated this relationship by manipulating the score, rendering it as sound and eliciting subjective judgments of syncopation. We used a metronome to provide explicit cues to the prevailing rhythmic structure (as defined in the time signature). Three-bar scores with time signatures of 4/4 and 6/8 were constructed using repeated one-bar rhythm-patterns, with each pattern built from basic half-bar rhythm-components. Our manipulations gave rise to various rhythmic structures, including polyrhythms and rhythms with missing strong- and/or down-beats. Listeners (N{$\mkern1mu$}={$\mkern1mu$}10) were asked to rate the degree of syncopation they perceived in response to a rendering of each score. We observed higher degrees of syncopation in time signatures of 6/8, for polyrhythms, and for rhythms featuring a missing down-beat. We also found that the location of a rhythm-component within the bar has a significant effect on perceived syncopation. Our findings provide new insight into models of syncopation and point the way towards areas in which the models may be improved.},
  number = {9},
  journaltitle = {PLoS ONE},
  shortjournal = {PLoS ONE},
  urldate = {2015-06-17},
  date = {2013-09-10},
  pages = {e74692},
  author = {Song, Chunyang and Simpson, Andrew J. R. and Harte, Christopher A. and Pearce, Marcus T. and Sandler, Mark B.},
  file = {D\:\\Sauve\\Zotero\\storage\\CSJ526I3\\Song et al. - 2013 - Syncopation and the Score.pdf}
}

@article{temperleyUnifiedProbabilisticModel2009,
  title = {A {{Unified Probabilistic Model}} for {{Polyphonic Music Analysis}}},
  volume = {38},
  issn = {0929-8215},
  url = {http://dx.doi.org/10.1080/09298210902928495},
  doi = {10.1080/09298210902928495},
  abstract = {This article presents a probabilistic model of polyphonic music analysis. Taking a note pattern as input, the model combines three aspects of symbolic music analysis—metrical analysis, harmonic analysis, and stream segregation—into a single process, allowing it to capture the complex interactions between these structures. The model also yields an estimate of the probability of the note pattern itself; this has implications for the modelling of music transcription. I begin by describing the generative process that is assumed and the analytical process that is used to infer metrical, harmonic, and stream structures from a note pattern. I then present some tests of the model on metrical analysis and harmonic analysis, and discuss ongoing work to integrate the model into a transcription system.},
  number = {1},
  journaltitle = {Journal of New Music Research},
  urldate = {2015-06-17},
  date = {2009-03-01},
  pages = {3-18},
  author = {Temperley, David},
  file = {D\:\\Sauve\\Zotero\\storage\\WEQHK3ZP\\09298210902928495.html}
}

@article{dibbenPerceptionStructuralStability1999,
  eprinttype = {jstor},
  eprint = {40285794},
  title = {The {{Perception}} of {{Structural Stability}} in {{Atonal Music}}: {{The Influence}} of {{Salience}}, {{Stability}}, {{Horizontal Motion}}, {{Pitch Commonality}}, and {{Dissonance}}},
  volume = {16},
  issn = {0730-7829},
  doi = {10.2307/40285794},
  shorttitle = {The {{Perception}} of {{Structural Stability}} in {{Atonal Music}}},
  abstract = {Two experiments that investigate the perception of structural stability in atonal music are reported. The first experiment suggests that listeners may hear atonal music in terms of the relative structural importance of events and that listeners' hearing is greatly influenced by metrical and durational structure. A second experiment reveals that, even in the absence of clear rhythmic, timbral, dynamic, and motivic information, listeners infer relationships of relative structural stability between events at the musical surface. The effects of three main variables (pitch commonality, horizontal movement, and dissonance) and two salience criteria (register and parallelism) are considered. The results indicate that in the absence of a clearly differentiated surface structure, listeners' judgments of stability are influenced by the dissonance of chords and the horizontal movement of voices. It is concluded that salience (phenomenal accents), voice-leading, and dissonance are potentially important factors in the abstraction of relationships of relative structural importance, and hence to any inference of prolongational structure in atonal music.},
  number = {3},
  journaltitle = {Music Perception: An Interdisciplinary Journal},
  shortjournal = {Music Perception: An Interdisciplinary Journal},
  date = {1999-04-01},
  pages = {265-294},
  author = {Dibben, Nicola}
}

@article{princePitchTimeTonality2009,
  langid = {english},
  title = {Pitch and Time, Tonality and Meter: How Do Musical Dimensions Combine?},
  volume = {35},
  issn = {1939-1277},
  doi = {10.1037/a0016456},
  shorttitle = {Pitch and Time, Tonality and Meter},
  abstract = {The authors examined how the structural attributes of tonality and meter influence musical pitch-time relations. Listeners heard a musical context followed by probe events that varied in pitch class and temporal position. Tonal and metric hierarchies contributed additively to the goodness-of-fit of probes, with pitch class exerting a stronger influence than temporal position (Experiment 1), even when listeners attempted to ignore pitch (Experiment 2). Speeded classification tasks confirmed this asymmetry. Temporal classification was biased by tonal stability (Experiment 3), but pitch classification was unaffected by temporal position (Experiment 4). Experiments 5 and 6 ruled out explanations based on the presence of pitch classes and temporal positions in the context, unequal stimulus quantity, and discriminability. The authors discuss how typical Western music biases attention toward pitch and distinguish between dimensional discriminability and salience.},
  number = {5},
  journaltitle = {Journal of Experimental Psychology. Human Perception and Performance},
  shortjournal = {J Exp Psychol Hum Percept Perform},
  date = {2009-10},
  pages = {1598-1617},
  keywords = {Attention,Music,pitch perception,time perception,humans,Adult,Female,Male,Analysis of Variance,Comprehension,Concept Formation,Discrimination (Psychology),Observer Variation,Reference Values,Young Adult},
  author = {Prince, Jon B. and Thompson, William F. and Schmuckler, Mark A.},
  eprinttype = {pmid},
  eprint = {19803659}
}

@article{raphaelFunctionalHarmonicAnalysis2004,
  title = {Functional {{Harmonic Analysis Using Probabilistic Models}}},
  volume = {28},
  issn = {01489267},
  doi = {10.1162/0148926041790676},
  abstract = {This article focuses on the study of algorithms for functional harmonic analysis. The harmonic analysis presented in this article is based on pitch and rhythm. The harmonic analysis is performed on a fixed musical period, or half measure. One significant difference of the approach from other models is the simultaneous recognition of chord and key. The hope here is that the more structured sequence of chord functions will help guide the analysis when the choice of key is ambiguous. For instance, repeated alternation of C-major and F-major triads argues strongly for the key of F when the chords are labeled as dominant and tonic, respectively. In contrast, a random rearrangement of the same pitches is more harmonically ambiguous. In this case, and many others, the identification of the intermediate functional labeling is important for understanding the harmonic structure. our analysis ends with the segmentation of the music into regions, labeled with key and functional chord. Although the authors do not attempt any deeper harmonic analysis, they acknowledge that a full harmonic understanding would require further study. Finally, they acknowledge that the notion of functional harmony is by no means universal. When music does not follow the assumptions of the model, the analysis will of course not be especially meaningful.},
  number = {3},
  journaltitle = {Computer Music Journal},
  shortjournal = {Computer Music Journal},
  date = {2004-23},
  pages = {45-52},
  keywords = {Rhythm,Algorithms,HARMONIC analysis (Mathematics),MATHEMATICAL analysis,PITCH (Rotational geometry)},
  author = {Raphael, Christopher and Stoddard, Joshua}
}

@book{huronToneVoiceDerivation2001,
  title = {Tone and {{Voice}}: {{A Derivation}} of the {{Rules}} of {{Voice}}-{{Leading}} from {{Perceptual Principles}}},
  shorttitle = {Tone and {{Voice}}},
  abstract = {The traditional rules of voice-leading in Western music are explicated using experimentally established perceptual principles. Six core principles are shown to account for the majority of voice-leading rules given in historical and contemporary music theory tracts. These principles are treated in a manner akin to axioms in a formal system from which the traditional rules of voice-leading are derived. Nontraditional rules arising from the derivation are shown to predict formerly unnoticed aspects of voice-leading practice. In addition to the core perceptual principles, several auxiliary principles are described. These auxiliary principles are occasionally linked to voice-leading practice and may be regarded as compositional “options ” that shape the music-making in perceptually unique ways. It is suggested that these auxiliary principles distinguish different types of part writing, such as polyphony, homophony, and close harmony. A theory is proposed to account for the aesthetic origin of voiceleading practices.},
  date = {2001},
  author = {Huron, David},
  file = {D\:\\Sauve\\Zotero\\storage\\9VS46AU2\\Huron - 2001 - Tone and Voice A Derivation of the Rules of Voice.pdf;D\:\\Sauve\\Zotero\\storage\\H4NQRADC\\summary.html}
}

@article{huronWhatMusicalFeature2001,
  title = {What Is a Musical Feature?},
  volume = {7},
  number = {4},
  journaltitle = {Music Theory Online},
  date = {2001},
  author = {Huron, David}
}

@article{huronAvoidancePartcrossingPolyphonic1991,
  title = {The Avoidance of Part-Crossing in Polyphonic Music: {{Perceptual}} Evidence and Musical Practice},
  volume = {9},
  issn = {0730-7829},
  shorttitle = {The Avoidance of Part-Crossing in Polyphonic Music},
  abstract = {A study of part-crossing in 105 polyphonic works by J. S. Bach showed a marked reluctance to have parts cross, even when the effects of pitch distribution (tessitura) were controlled. When the textural density increased beyond 2 concurrent voices, Bach became more vigilant to avoid part-crossing even though an increase in part-crossing was preordained. In light of evidence that perceptual confusion increases with the number of concurrent voices, these results are consistent with the hypothesis that Bach endeavored to minimize perceptual confusion as the density of auditory images increased. (PsycINFO Database Record (c) 2012 APA, all rights reserved)},
  number = {1},
  journaltitle = {Music Perception},
  shortjournal = {Music Perception},
  year = {Fal  1991},
  pages = {93-103},
  keywords = {Music,part crossing in polyphonic works of J. S. Bach},
  author = {Huron, David}
}

@article{huronEmpiricalMusicologyAims2006,
  title = {Empirical {{Musicology}}: {{Aims}}, {{Methods}}, {{Prospects}}/{{Statistics}} in {{Musicology}}},
  volume = {63},
  issn = {00274380},
  shorttitle = {Empirical {{Musicology}}},
  abstract = {The article reviews two books on musicology including "Empirical Musicology: Aims, Methods, Prospects," edited by Eric Clarke and Nicholas Cook and "Statistics in Musicology," by Jan Beran.},
  number = {1},
  journaltitle = {Notes},
  shortjournal = {Notes},
  date = {2006-09},
  pages = {93-95},
  keywords = {BERAN; Jan,BOOKS -- Reviews,CLARKE; Eric,EMPIRICAL Musicology: Aims; Methods; Prospects (Book),NONFICTION,STATISTICS in Musicology (Book)},
  author = {Huron, David and Vandermeer, Philip}
}

@article{huronMusicInformationProcessing2002,
  title = {Music {{Information Processing Using}} the {{Humdrum Toolkit}}: {{Concepts}}, {{Examples}}, and {{Lessons}}},
  volume = {26},
  issn = {01489267},
  doi = {10.1162/014892602760137158},
  shorttitle = {Music {{Information Processing Using}} the {{Humdrum Toolkit}}},
  abstract = {Provides information on the use of Humdrum toolkit in music information processing.  Function and capabilities of Humdrum; Forms of music-related information that are in predefined Humdrum representations; Function of the computer software tools in the Humdrum toolkit.},
  number = {2},
  journaltitle = {Computer Music Journal},
  shortjournal = {Computer Music Journal},
  date = {2002-22},
  pages = {11-26},
  keywords = {Music,INFORMATION storage & retrieval systems,COMPUTER software},
  author = {Huron, David}
}

@book{huronSweetAnticipationMusic2006,
  location = {{Cambridge, MA, US}},
  title = {Sweet Anticipation: {{Music}} and the Psychology of Expectation},
  isbn = {0-262-08345-0},
  shorttitle = {Sweet Anticipation},
  abstract = {The psychological theory of expectation that David Huron proposes in Sweet Anticipation grew out of the author's experimental efforts to understand how music evokes emotions. These efforts evolved into a general theory of expectation that will prove informative to readers interested in cognitive science and evolutionary psychology as well as those interested in music. The book describes a set of psychological mechanisms and illustrates how these mechanisms work in the case of music. All examples of notated music can be heard on the Web. Huron proposes that emotions evoked by expectation involve five functionally distinct response systems: reaction responses (which engage defensive reflexes); tension responses (where uncertainty leads to stress); prediction responses (which reward accurate prediction); imagination responses (which facilitate deferred gratification); and appraisal responses (which occur after conscious thought is engaged). For real-world events, these five response systems typically produce a complex mixture of feelings. The book identifies some of the aesthetic possibilities afforded by expectation and shows how common musical devices (such as syncopation, cadence, meter, tonality, and climax) exploit the psychological opportunities. The theory also provides new insights into the physiological psychology of awe, laughter, and spine-tingling chills. Huron traces the psychology of expectations from patterns of the physical and cultural world through our imperfectly learned heuristics used to predict that world to the phenomenal qualia we experience as we apprehend the world. (PsycINFO Database Record (c) 2012 APA, all rights reserved). (jacket)},
  publisher = {{The MIT Press}},
  date = {2006},
  keywords = {Prediction,Music,Expectations,appraisal responses,Cognitive Appraisal,Emotional Responses,emotions,Imagination,imagination responses,Physiological Correlates,physiology,prediction responses,psychological mechanisms,Psychological Theories,psychological theory of expectation,Psychology,reaction responses,Stress Reactions,tension responses},
  author = {Huron, David}
}

@thesis{kimOnlineProcessingTonal2014,
  location = {{US}},
  title = {Online Processing of Tonal Melodies: {{Effects}} of Harmonic Expectations},
  shorttitle = {Online Processing of Tonal Melodies},
  abstract = {This dissertation explores how listeners perceive implied harmony in real-time while hearing tonal melodies. Previous studies have shown that the processing of chord sequences (explicit harmony) is based on the schematic knowledge of harmonic progression. In particular, the knowledge of harmony generates an expectation of what chord will follow, which facilitates the processing of the subsequent expected harmony. Such processes of harmonic perception is likely to happen in the processing of tonal melodies because they are constructed on the basis of harmonic structure. However, underlying processes of implied harmonic perception remains unexplored. This dissertation, therefore, addresses a set of questions regarding this issue: How is each tone of a tonal melody interpreted and integrated in terms of harmony?; how do harmonic expectations of 'what' chord will follow and 'when' it will occur act in the processing of tonal melodies? In three behavioral experiments, musically-trained participants listened to tonal melodies and responded to target tones by singing their pitches as quickly as possible. The first experiment focused on effects of 'what' and 'when' harmonic expectation. The target tones implied an expected or an unexpected chord; they occurred at expected or unexpected times. In the second experiment, the melodies were accompanied with chords for the purpose of comparing implied and explicit harmonic perception. The third experiment investigated the processing of non-chord tones. The results showed that sing-back reaction times (RTs) were shorter (1) for tones implying an expected chord and (2) for chord changes occurred at expected times, suggesting that harmonic expectations facilitate the processing of tonal melodies. Also, RTs became shorter over the presentation of successive target tones implying the same chord, suggesting that implied harmony becomes clearer as more tones belonging to a single chord are presented. In the fourth experiment, electric brain responses to each tone of a melody were measured. The amplitudes of two ERP components, the ERAN and the N5, reflected the processes of implied harmonic perception, validating the RT results. Both the ERAN and the N5 were larger for tones implying an unexpected chord than for tones implying an expected chord. The N5 was larger for the unexpected early change than for the expected on-time change. (PsycINFO Database Record (c) 2014 APA, all rights reserved)},
  institution = {{ProQuest Information \& Learning}},
  date = {2014},
  keywords = {Music,Auditory Evoked Potentials,Expectations,behavioral experiments,chord sequences,electric brain responses,expected harmony,expected on-time change,explicit harmonic perception,explicit harmony,harmonic expectations,harmonic perception,harmonic progression,harmonic structure,hearing tonal melodies,Online processing},
  author = {Kim, Jung Nyo}
}

@article{kimMelodyEffectsERANm2014,
  title = {Melody Effects on {{ERANm}} Elicited by Harmonic Irregularity in Musical Syntax},
  volume = {1560},
  issn = {0006-8993},
  doi = {10.1016/j.brainres.2014.02.045},
  abstract = {Recent studies have reported that early right anterior negativity (ERAN) and its magnetic counterpart (ERANm) are evoked by harmonic irregularity in Western tonal music; however, those studies did not control for differences of melody. Because melody and harmony have an interdependent relationship and because melody (in this study melody is represented by the highest voice part) in a chord sequence may dominate, there is controversy over whether ERAN (or ERANm) changes arise from melody or harmony differences. To separate the effects of melody differences and harmonic irregularity on ERANm responses, we designed two magnetoencephalography experiments and behavioral test. Participants were presented with three types of chord progression sequences (Expected, Intermediate, and Unexpected) with different harmonic regularities in which melody differences were or were not controlled. In the uncontrolled melody difference experiment, the unexpected chord elicited a significantly largest ERANm, but in the controlled melody difference experiment, the amplitude of the ERANm peak did not differ among the three conditions. However, ERANm peak latency was delayed more than that in the uncontrolled melody difference experiment. The behavioral results show the difference between the two experiments even if harmonic irregularity was discriminated in the uncontrolled melody difference experiment. In conclusion, our analysis reveals that there is a relationship between the effects of harmony and melody on ERANm. Hence, we suggest that a melody difference in a chord progression is largely responsible for the observed changes in ERANm, reaffirming that melody plays an important role in the processing of musical syntax. (PsycINFO Database Record (c) 2014 APA, all rights reserved). (journal abstract)},
  journaltitle = {Brain Research},
  shortjournal = {Brain Research},
  date = {2014-04-29},
  pages = {36-45},
  keywords = {Music,melody,mismatch negativity,magnetoencephalography,chord progression,early right anterior negativity,musical syntax,Syntax},
  author = {Kim, Chan Hee and Lee, Sojin and Kim, June Sic and Seol, Jaeho and Yi, Suk Won and Chung, Chun Kee}
}

@article{vuustRhythmicComplexityPredictive2014,
  langid = {english},
  title = {Rhythmic Complexity and Predictive Coding: A Novel Approach to Modeling Rhythm and Meter Perception in Music},
  volume = {5},
  issn = {1664-1078},
  doi = {10.3389/fpsyg.2014.01111},
  shorttitle = {Rhythmic Complexity and Predictive Coding},
  abstract = {Musical rhythm, consisting of apparently abstract intervals of accented temporal events, has a remarkable capacity to move our minds and bodies. How does the cognitive system enable our experiences of rhythmically complex music? In this paper, we describe some common forms of rhythmic complexity in music and propose the theory of predictive coding (PC) as a framework for understanding how rhythm and rhythmic complexity are processed in the brain. We also consider why we feel so compelled by rhythmic tension in music. First, we consider theories of rhythm and meter perception, which provide hierarchical and computational approaches to modeling. Second, we present the theory of PC, which posits a hierarchical organization of brain responses reflecting fundamental, survival-related mechanisms associated with predicting future events. According to this theory, perception and learning is manifested through the brain's Bayesian minimization of the error between the input to the brain and the brain's prior expectations. Third, we develop a PC model of musical rhythm, in which rhythm perception is conceptualized as an interaction between what is heard ("rhythm") and the brain's anticipatory structuring of music ("meter"). Finally, we review empirical studies of the neural and behavioral effects of syncopation, polyrhythm and groove, and propose how these studies can be seen as special cases of the PC theory. We argue that musical rhythm exploits the brain's general principles of prediction and propose that pleasure and desire for sensorimotor synchronization from musical rhythm may be a result of such mechanisms.},
  journaltitle = {Frontiers in Psychology},
  shortjournal = {Front Psychol},
  date = {2014},
  pages = {1111},
  author = {Vuust, Peter and Witek, Maria A. G.},
  eprinttype = {pmid},
  eprint = {25324813},
  pmcid = {PMC4181238}
}

@article{temperleyAlgorithmHarmonicAnalysis1997,
  title = {An Algorithm for Harmonic Analysis},
  volume = {15},
  issn = {0730-7829},
  abstract = {An algorithm is proposed for performing harmonic analysis of tonal music. The algorithm begins with a representation of a piece as pitches and durations; it generates a representation in which the piece is divided into segments labeled with roots. This is a project of psychological interest, because much evidence exists that harmonic analysis is performed by trained and untrained listeners during listening; however, the perspective of the current project is computational rather than psychological, simply examining what has to be done computationally to produce "correct" analyses for pieces. One of the major innovations of the project is that pitches and chords are both represented on a spatial representation known as the "line of fifths", this is similar to the circle of fifths except that distinctions are made between different spellings of the same pitch class. The algorithm uses preference rules to evaluate different possible interpretations, selecting the interpretation that most satisfies the preference rules. The algorithm has been computationally implemented; examples of the program's output are given and discussed. (PsycINFO Database Record (c) 2012 APA, all rights reserved). (journal abstract)},
  number = {1},
  journaltitle = {Music Perception},
  shortjournal = {Music Perception},
  year = {Fal  1997},
  pages = {31-68},
  keywords = {music perception,pitch perception,Algorithms,algorithm for harmonic analysis of tonal music},
  author = {Temperley, David}
}

@article{temperleyEvaluationSystemMetrical2004,
  title = {An {{Evaluation System}} for {{Metrical Models}}},
  volume = {28},
  issn = {01489267},
  doi = {10.1162/0148926041790621},
  abstract = {This article proposes an alternative approach to metrical evaluation. This builds on the score-time idea, but allows multiple metrical levels and also permits a more flexible comparison of metrical analyses. It should be stated at the outset that the system is intended primarily for symbolic-input models. It is hoped that the system presented here will facilitate the testing and comparison of metrical models. Although the system does have certain limitations, as discussed above, it offers a rational way of comparing metrical structures whose results accord reasonably well with intuition. The Kosta-Payne Corpus presented here also has limitations, especially the fact that it represents only common-practice music, which may not be fair to the aims of some metrical models. Of course, the note-address system could also be used with a different corpus, providing that the corpus is annotated with note-address information. Notice that the system does not in any way require note addresses with five levels; it could function perfectly well with, say, three levels. Perhaps the greatest limitation of the note-address system is that it is limited to symbolic input. This is unfortunate, given the considerable number of models proposed in recent years that take audio data as input. The note-address system could, in principle, be used with audio models.},
  number = {3},
  journaltitle = {Computer Music Journal},
  shortjournal = {Computer Music Journal},
  date = {2004-23},
  pages = {28-44},
  keywords = {Music,Rhythm,COMPUTER music,ELECTRONIC music,MUSICAL meter & rhythm},
  author = {Temperley, David}
}

@article{temperleyProbabilisticModelMelody2008,
  title = {A Probabilistic Model of Melody Perception},
  volume = {32},
  issn = {0364-0213},
  doi = {10.1080/03640210701864089},
  abstract = {This study presents a probabilistic model of melody perception, which infers the key of a melody and also judges the probability of the melody itself. The model uses Bayesian reasoning: For any “surface” pattern and underlying “structure,” we can infer the structure maximizing P(structure|surface) based on knowledge of P(surface, structure). The probability of the surface can then be calculated as ∑ P(surface, structure), summed over all structures. In this case, the surface is a pattern of notes; the structure is a key. A generative model is proposed, based on three principles: (a) melodies tend to remain within a narrow pitch range; (b) note-to-note intervals within a melody tend to be small; and (c) notes tend to conform to a distribution (or key profile) that depends on the key. The model is tested in three ways. First, it is tested on its ability to identify the keys of a set of folk song melodies. Second, it is tested on a melodic expectation task in which it must judge the probability of different notes occurring given a prior context; these judgments are compared with perception data from a melodic expectation experiment. Finally, the model is tested on its ability to detect incorrect notes in melodies by assigning them lower probabilities than the original versions. (PsycINFO Database Record (c) 2012 APA, all rights reserved). (journal abstract)},
  number = {2},
  journaltitle = {Cognitive Science},
  shortjournal = {Cognitive Science},
  date = {2008-03},
  pages = {418-444},
  keywords = {music perception,Cognitive Processes,Perception,pitch,Models,Statistical Probability,melody perception,Bayesian reasoning,probabilistic models,Reasoning,Speech Pitch},
  author = {Temperley, David}
}

@book{temperleyMusicProbability2007,
  location = {{Cambridge, MA, US}},
  title = {Music and Probability},
  isbn = {0-262-20166-6},
  abstract = {In Music and probability, David Temperley explores issues in music perception and cognition from a probabilistic perspective. The application of probabilistic ideas to music has been pursued only sporadically over the past four decades, but the time is ripe, Temperley argues, for a reconsideration of how probabilities shape music perception and even music itself. Recent advances in the application of probability theory to other domains of cognitive modeling, coupled with new evidence and theoretical insights about the working of the musical mind, have laid the groundwork for more fruitful investigations. Temperley proposes computational models for two basic cognitive processes, the perception of key and the perception of meter, using techniques of Bayesian probabilistic modeling. Drawing on his own research and surveying recent work by others, Temperley explores a range of further issues in music and probability, including transcription, phrase perception, pattern perception, harmony, improvisation, and musical styles. Music and probability--the first full-length book to explore the application of probabilistic techniques to musical issues--includes a concise survey of probability theory, with simple examples and a discussion of its application in other domains. Temperley relies most heavily on a Bayesian approach, which not only allows him to model the perception of meter and tonality but also sheds light on such perceptual processes detection, expectation, and pitch identification. Bayesian techniques also provide insights into such subtle and advanced issues as musical ambiguity, tension, and "grammaticality," and lead to interesting and novel predictions about compositional practice and differences between musical styles. (PsycINFO Database Record (c) 2015 APA, all rights reserved). (jacket)},
  publisher = {{MIT Press}},
  date = {2007},
  keywords = {cognition,Music,Pitch (Frequency),melody,expectation,music perception,Rhythm,Cognitive Processes,Expectations,Mathematical Modeling,Perception,pitch,Statistical Probability,Bayesian probabilistic modeling,communicative pressure,composition,computational models,error detection,Errors,key,meter,style},
  author = {Temperley, David}
}

@article{temperleyModelingCommonpracticeRhythm2010,
  title = {Modeling Common-Practice Rhythm},
  volume = {27},
  issn = {0730-7829},
  doi = {10.1525/mp.2010.27.5.355},
  abstract = {This study explores ways of modeling the compositional processes involved in common-practice rhythm (as represented by European classical music and folk music). Six probabilistic models of rhythm were evaluated using the method of cross-entropy: according to this method, the best model is the one that assigns the highest probability to the data. Two corpora were used: a corpus of European folk songs (the Essen Folksong Collection) and a corpus of Mozart and Haydn string quartets. The model achieving lowest cross-entropy was the First-Order Metrical Duration Model, which chooses a metrical position for each note conditional on the position of the previous note. Second best was the Hierarchical Position Model, which decides at each beat whether or not to generate a note there, conditional on the note status of neighboring strong beats (i.e., whether or not they contain notes).When complexity (number of parameters) is also considered, it is argued that the Hierarchical Position Model is preferable overall. (PsycINFO Database Record (c) 2012 APA, all rights reserved). (journal abstract)},
  number = {5},
  journaltitle = {Music Perception},
  shortjournal = {Music Perception},
  date = {2010-06},
  pages = {355-376},
  keywords = {Music,Rhythm,Mathematical Modeling,common practice rhythm},
  author = {Temperley, David}
}

@incollection{temperleyComputationalModelsMusic2013,
  location = {{San Diego, CA, US}},
  title = {Computational Models of Music Cognition},
  isbn = {978-0-12-381460-9},
  abstract = {In recent decades, computational research has assumed an increasingly important role in the study of cognition. Computer modeling is generally regarded as one of the three main approaches along with experimental psychology and neuroscience—that comprise the interdisciplinary field of "cognitive science." It is no surprise, then, that computational work has become an important part of the field of music cognition as well. What follows is a survey of some important research in computational modeling of music cognition. We begin with problems of perception or information processing—problems of extracting various kinds of information from music as it is heard. Here we focus primarily on two especially well-studied problems, keyfinding and meter-finding, but briefly consider several other problems as well. We then turn to three other broad issues: the modeling of musical experience, the modeling of performance, and the modeling of composition. (PsycINFO Database Record (c) 2014 APA, all rights reserved). (chapter)},
  booktitle = {The Psychology of Music (3rd Ed.).},
  publisher = {{Elsevier Academic Press}},
  date = {2013},
  pages = {327-368},
  keywords = {Music,music perception,Cognitive Processes,Computational Modeling,Simulation,musical experience,Psychology,modeling of composition,modeling of performance,music cognition,Performance},
  author = {Temperley, David},
  editor = {Deutsch, Diana and Deutsch, Diana (Ed)}
}

@article{acevedoEffectsMetricalEncoding2014,
  title = {Effects of Metrical Encoding on Melody Recognition},
  volume = {31},
  issn = {0730-7829},
  doi = {10.1525/mp.2014.31.4.372},
  abstract = {We report two experiments exploring whether matched metrical and motivic structure facilitate the recognition of melodic patterns. Eight tonal melodies were composed from binary (four-note) or ternary (three-note) motivic patterns, and were each presented within a metrical context that either matched or mismatched the pattern. On each trial, participants heard patterns twice and performed a same-different task; in half the trials, one pitch in the second presentation was altered. Performance was analyzed using signal detection analyses of sensitivity and response bias. In Experiment 1, expert listeners showed greater sensitivity to pitch change when metrical context matched motivic pattern structure than when they conflicted (an effect of metrical encoding) and showed no response bias. Novice listeners, however, did not show an effect of metrical encoding, exhibiting lower sensitivity and a bias toward responding “same.” In a second experiment using only novices, each trial contained five presentations of the standard followed by one presentation of the comparison. Sensitivity to changes improved relative to Experiment 1: evidence for metrical encoding – in the form of reduced response bias when meter and motive matched – was found. Results support the metrical encoding hypothesis and suggest that the use of metrical encoding may develop with expertise. (PsycINFO Database Record (c) 2014 APA, all rights reserved). (journal abstract)},
  number = {4},
  journaltitle = {Music Perception},
  shortjournal = {Music Perception},
  date = {2014-04},
  pages = {372-386},
  keywords = {Auditory Perception,Music,music perception,Human Information Storage,meter,melody recognition,metrical encoding,Signal Detection (Perception),signal detection analyses,tonal melody},
  author = {Acevedo, Stefanie and Temperley, David and Pfordresher, Peter Q.}
}

@article{alluriLargescaleBrainNetworks2012,
  title = {Large-Scale Brain Networks Emerge from Dynamic Processing of Musical Timbre, Key and Rhythm},
  volume = {59},
  issn = {1053-8119},
  doi = {10.1016/j.neuroimage.2011.11.019},
  abstract = {We investigated the neural underpinnings of timbral, tonal, and rhythmic features of a naturalistic musical stimulus. Participants were scanned with functional Magnetic Resonance Imaging (fMRI) while listening to a stimulus with a rich musical structure, a modern tango. We correlated temporal evolutions of timbral, tonal, and rhythmic features of the stimulus, extracted using acoustic feature extraction procedures, with the fMRI time series. Results corroborate those obtained with controlled stimuli in previous studies and highlight additional areas recruited during musical feature processing. While timbral feature processing was associated with activations in cognitive areas of the cerebellum, and sensory and default mode network cerebrocortical areas, musical pulse and tonality processing recruited cortical and subcortical cognitive, motor and emotion-related circuits. In sum, by combining neuroimaging, acoustic feature extraction and behavioral methods, we revealed the large-scale cognitive, motor and limbic brain circuitry dedicated to acoustic feature processing during listening to a naturalistic stimulus. In addition to these novel findings, our study has practical relevance as it provides a powerful means to localize neural processing of individual acoustical features, be it those of music, speech, or soundscapes, in ecological settings. (PsycINFO Database Record (c) 2012 APA, all rights reserved). (journal abstract)},
  number = {4},
  journaltitle = {NeuroImage},
  shortjournal = {NeuroImage},
  date = {2012-02-15},
  pages = {3677-3689},
  keywords = {brain,acoustics,Functional Magnetic Resonance Imaging,acoustic feature,amygdala,Biological Neural Networks,brain networks,dynamic processing,functional MRI,musical timbre},
  author = {Alluri, Vinoo and Toiviainen, Petri and Jääskeläinen, Iiro P. and Glerean, Enrico and Sams, Mikko and Brattico, Elvira}
}

@article{pressnitzerAuditorySceneAnalysis2011,
  title = {Auditory Scene Analysis: {{The}} Sweet Music of Ambiguity},
  volume = {5},
  issn = {1662-5161},
  doi = {10.3389/fnhum.2011.00158},
  shorttitle = {Auditory Scene Analysis},
  abstract = {In this review paper aimed at the non-specialist, we explore the use that neuroscientists and musicians have made of perceptual illusions based on ambiguity. The pivotal issue is auditory scene analysis (ASA), or what enables us to make sense of complex acoustic mixtures in order to follow, for instance, a single melody in the midst of an orchestra. In general, ASA uncovers the most likely physical causes that account for the waveform collected at the ears. However, the acoustical problem is ill-posed and it must be solved from noisy sensory input. Recently, the neural mechanisms implicated in the transformation of ambiguous sensory information into coherent auditory scenes have been investigated using so-called bistability illusions (where an unchanging ambiguous stimulus evokes a succession of distinct percepts in the mind of the listener). After reviewing some of those studies, we turn to music, which arguably provides some of the most complex acoustic scenes that a human listener will ever encounter. Interestingly, musicians will not always aim at making each physical source intelligible, but rather express one or more melodic lines with a small or large number of instruments. By means of a few musical illustrations and by using a computational model inspired by neuro-physiological principles, we suggest that this relies on a detailed (if perhaps implicit) knowledge of the rules of ASA and of its inherent ambiguity. We then put forward the opinion that some degree perceptual ambiguity may participate in our appreciation of music. (PsycINFO Database Record (c) 2012 APA, all rights reserved). (journal abstract)},
  journaltitle = {Frontiers in Human Neuroscience},
  shortjournal = {Frontiers in Human Neuroscience},
  date = {2011-12-14},
  keywords = {Musicians,Auditory Perception,Music,auditory scene analysis,Illusions (Perception),ambiguity,Neurosciences,neuroscientists,perceptual illusions},
  author = {Pressnitzer, Daniel and Suied, Clara and Shamma, Shihab A.}
}

@article{horvathSensoryERPEffects2014,
  title = {Sensory {{ERP}} Effects in Auditory Distraction: {{Did}} We Miss the Main Event?},
  volume = {78},
  issn = {0340-0727},
  url = {http://search.ebscohost.com/login.aspx?direct=true&db=psyh&AN=2013-28166-001&site=ehost-live},
  doi = {10.1007/s00426-013-0507-7},
  shorttitle = {Sensory {{ERP}} Effects in Auditory Distraction},
  abstract = {Event-related potentials (ERPs) offer unique insights into processes related to involuntary attention changes triggered by rare, unpredictably occurring sensory events, that is, distraction. Contrasting ERPs elicited by distracters and frequent standard stimuli in oddball paradigms allowed the formulation of a three-stage model describing distraction-related processing: first, the distracting event is highlighted by a sensory filter. Second, attention is oriented towards the event, and finally, the task-optimal attention set is restored, or task priorities are changed. Although this model summarizes how distracting stimulus information is processed, not much is known about the cost of taking this exceptional route of processing. The present study demonstrates the impact of distraction on sensory processing. Participants performed a Go/NoGo tone-duration discrimination task, with infrequent pitch distracters. In the two parts of the experiment the duration-response mapping was reversed. Contrasts of distracter and standard ERPs revealed higher P3a- and reorienting negativity amplitudes for short than for long tones, independently from response type. To understand the cause of these asymmetries, short vs. long ERP contrasts were calculated. The ERP pattern showed that short standards elicited an attention-dependent offset response, which was abolished for short distracters. That is, the apparent P3a- and RON enhancements were caused by the removal of a task-related attentional sensory enhancement. This shows that the disruption of task-optimal attention set precedes the elicitation of the P3a, which suggests that P3a does not reflect a process driving the initial distraction-related attention change. (PsycINFO Database Record (c) 2014 APA, all rights reserved). (journal abstract)},
  number = {3},
  journaltitle = {Psychological Research},
  shortjournal = {Psychological Research},
  urldate = {2015-06-17},
  date = {2014-05},
  pages = {339-348},
  keywords = {Attention,Evoked Potentials,Auditory Perception,auditory distraction,Distraction,Afferent Pathways,event-related potentials,involuntary attention,sensory processing},
  author = {Horváth, János},
  file = {D\:\\Sauve\\Zotero\\storage\\524N2EGD\\Horváth - 2014 - Sensory ERP effects in auditory distraction Did w.pdf}
}

@article{backerAttentionMemoryOrienting2014,
  title = {Attention to Memory: Orienting Attention to Sound Object Representations},
  volume = {78},
  issn = {03400727},
  url = {http://search.ebscohost.com/login.aspx?direct=true&db=bth&AN=95659905&site=ehost-live},
  doi = {10.1007/s00426-013-0531-7},
  shorttitle = {Attention to Memory},
  abstract = {Despite a growing acceptance that attention and memory interact, and that attention can be focused on an active internal mental representation (i.e., reflective attention), there has been a paucity of work focusing on reflective attention to 'sound objects' (i.e., mental representations of actual sound sources in the environment). Further research on the dynamic interactions between auditory attention and memory, as well as its degree of neuroplasticity, is important for understanding how sound objects are represented, maintained, and accessed in the brain. This knowledge can then guide the development of training programs to help individuals with attention and memory problems. This review article focuses on attention to memory with an emphasis on behavioral and neuroimaging studies that have begun to explore the mechanisms that mediate reflective attentional orienting in vision and more recently, in audition. Reflective attention refers to situations in which attention is oriented toward internal representations rather than focused on external stimuli. We propose four general principles underlying attention to short-term memory. Furthermore, we suggest that mechanisms involved in orienting attention to visual object representations may also apply for orienting attention to sound object representations.},
  number = {3},
  journaltitle = {Psychological Research},
  shortjournal = {Psychological Research},
  urldate = {2015-06-17},
  date = {2014-05},
  pages = {439-452},
  keywords = {Attention,Auditory Perception,Memory,BRAIN imaging,MENTAL representation,NEUROPLASTICITY,SOUNDS},
  author = {Backer, Kristina and Alain, Claude},
  file = {D\:\\Sauve\\Zotero\\storage\\XRJJ8B5U\\Backer and Alain - 2014 - Attention to memory orienting attention to sound .pdf}
}

@article{backerNeuralDynamicsUnderlying2015,
  title = {Neural Dynamics Underlying Attentional Orienting to Auditory Representations in Short-Term Memory},
  volume = {35},
  issn = {0270-6474},
  doi = {10.1523/JNEUROSCI.1487-14.2015},
  abstract = {Sounds are ephemeral. Thus, coherent auditory perception depends on “hearing” back in time: retrospectively attending that which was lost externally but preserved in short-term memory (STM). Current theories of auditory attention assume that sound features are integrated into a perceptual object, that multiple objects can coexist in STM, and that attention can be deployed to an object in STM. Recording electroencephalography from humans, we tested these assumptions, elucidating feature-general and feature-specific neural correlates of auditory attention to STM. Alpha/beta oscillations and frontal and posterior event-related potentials indexed feature-general top-down attentional control to one of several coexisting auditory representations in STM. Particularly, task performance during attentional orienting was correlated with alpha/low-beta desynchronization (i.e., power suppression). However, attention to one feature could occur without simultaneous processing of the second feature of the representation. Therefore, auditory attention to memory relies on both feature-specific and feature-general neural dynamics. (PsycINFO Database Record (c) 2015 APA, all rights reserved). (journal abstract)},
  number = {3},
  journaltitle = {The Journal of Neuroscience},
  shortjournal = {The Journal of Neuroscience},
  date = {2015-01-21},
  pages = {1307-1318},
  keywords = {Attention,electroencephalography,Oscillatory Network,Short Term Memory,EEG,Neurons,alpha/beta oscillations,auditory,feature,object,Object Recognition},
  author = {Backer, Kristina C. and Binns, Malcolm A. and Alain, Claude}
}

@article{lawoAttentionActionRole2015,
  title = {Attention and Action: {{The}} Role of Response Mappings in Auditory Attention Switching},
  volume = {27},
  issn = {2044-5911},
  doi = {10.1080/20445911.2014.995669},
  shorttitle = {Attention and Action},
  abstract = {Switching auditory attention incurs a performance decrement (i.e. auditory attention-switch costs). Using an auditory attention-switching paradigm, we aimed to generalise these across different response mappings. In all three experiments, two number words, spoken by a female and male speaker, were presented dichotically via headphones. A visual cue indicated the gender of the to-be-attended speaker in each trial. The task was a magnitude judgement of the relevant number word (i.e. smaller vs. larger than 5). We additionally varied the interval between cue onset and auditory stimulus onset (cue-stimulus interval) to explore cue-based preparatory effects. In Experiment 1, attention switching was more costly with direct-verbal responses (e.g. ‘smaller’) than in the shadowing task (e.g. ‘three’). In Experiment 2, performance was largely similar for direct-verbal responses and abstract-verbal responses (e.g. ‘left’). In Experiment 3, performance was generally worse with abstract-verbal responses than with abstract-manual responses (e.g. left key press) and auditory attention-switch costs were similar for both response mappings. Overall, auditory switch costs occurred more or less invariably across response mappings in categorical (magnitude) judgements suggesting a minor role of the response mapping in auditory attention switching. Furthermore, verbal identity-based judgements (i.e. shadowing) generally seem to benefit from ideomotor compatibility. (PsycINFO Database Record (c) 2015 APA, all rights reserved). (journal abstract)},
  number = {2},
  journaltitle = {Journal of Cognitive Psychology},
  shortjournal = {Journal of Cognitive Psychology},
  date = {2015-02},
  pages = {194-206},
  keywords = {Auditory Perception,selective attention,Responses,Auditory selective attention,Dichotic listening,Dichotic Stimulation,Response mapping,Shadowing,Task switching},
  author = {Lawo, Vera and Koch, Iring}
}

@article{lawoDissociableEffectsAuditory2014,
  title = {Dissociable Effects of Auditory Attention Switching and Stimulus-Response Compatibility},
  volume = {78},
  issn = {03400727},
  url = {http://search.ebscohost.com/login.aspx?direct=true&db=bth&AN=95659911&site=ehost-live},
  doi = {10.1007/s00426-014-0545-9},
  abstract = {Using a task-switching variant of dichotic listening, we examined the ability to intentionally switch auditory attention between two speakers. We specifically focused on possible interactions with stimulus-response compatibility. In each trial, two words, one spoken by a male and another by a female, were presented dichotically via headphones. In one experimental group, two animal names were presented, and the relevant animal had to be judged as smaller or larger than a sheep by pressing a left or right response key. In another group, two number words were presented and had to be judged as smaller or larger than 5. In each trial, a visual cue indicated the gender of the relevant speaker. Performance was worse when the gender of the relevant speaker switched from trial to trial. These switch costs were larger for animal names than for number words, suggesting stronger interference with slower access to semantic categories. Responses were slower if the side of the target stimulus (as defined by the relevant gender) was spatially incompatible with the required response (as defined by the size judgment). This stimulus-response compatibility effect did not differ across stimulus material and did not interact with attentional switch costs. These results indicate that auditory switch costs and stimulus-response compatibility effects are dissociable, referring to target selection and response selection, respectively.},
  number = {3},
  journaltitle = {Psychological Research},
  shortjournal = {Psychological Research},
  urldate = {2015-06-17},
  date = {2014-05},
  pages = {379-386},
  keywords = {Auditory Perception,AUDITORY attention,DICHOTIC listening tests,HEADPHONES,PERFORMANCE evaluation,SEMANTICS,TASK performance},
  author = {Lawo, Vera and Koch, Iring},
  file = {D\:\\Sauve\\Zotero\\storage\\BCDXFU4E\\Lawo and Koch - 2014 - Dissociable effects of auditory attention switchin.pdf}
}

@article{kochSwitchingCocktailParty2011,
  title = {Switching in the Cocktail Party: {{Exploring}} Intentional Control of Auditory Selective Attention},
  volume = {37},
  issn = {0096-1523},
  url = {http://search.ebscohost.com/login.aspx?direct=true&db=pdh&AN=2011-09201-001&site=ehost-live},
  doi = {10.1037/a0022189},
  shorttitle = {Switching in the Cocktail Party},
  abstract = {Using a novel variant of dichotic selective listening, we examined the control of auditory selective attention. In our task, subjects had to respond selectively to one of two simultaneously presented auditory stimuli (number words), always spoken by a female and a male speaker, by performing a numerical size categorization. The gender of the task-relevant speaker could change, as indicated by a visual cue prior to auditory stimulus onset. Three experiments show clear performance costs with instructed attention switches. Experiment 2 varied the cuing interval to examine advance preparation for an attention switch. Experiment 3 additionally isolated auditory switch costs from visual cue priming by using two cues for each gender, so that gender repetition could be indicated by a changed cue. Experiment 2 showed that switch costs decreased with prolonged cuing intervals, but Experiment 3 revealed that preparation did not affect auditory switch costs but only visual cue priming. Moreover, incongruent numerical categories in competing auditory stimuli produced interference and substantially increased error rates, suggesting continued processing of task-relevant information that often leads to responding to the incorrect auditory source. Together, the data show clear limitations in advance preparation of auditory attention switches and suggest a considerable degree of inertia in intentional control of auditory selection criteria. (PsycINFO Database Record (c) 2013 APA, all rights reserved). (journal abstract)},
  number = {4},
  journaltitle = {Journal of Experimental Psychology: Human Perception and Performance},
  shortjournal = {Journal of Experimental Psychology: Human Perception and Performance},
  urldate = {2015-06-17},
  date = {2011-08},
  pages = {1140-1147},
  keywords = {Auditory Perception,Cues,selective attention,intention,Auditory selective attention,Dichotic listening,Task switching,advance preparation,Code Switching,switch costs},
  author = {Koch, Iring and Lawo, Vera and Fels, Janina and Vorländer, Michael},
  file = {D\:\\Sauve\\Zotero\\storage\\MNIKXJV2\\Koch et al. - 2011 - Switching in the cocktail party Exploring intenti.pdf}
}

@article{maidhofProcessingExpectancyViolations2010,
  title = {Processing Expectancy Violations during Music Performance and Perception: {{An ERP}} Study},
  volume = {22},
  issn = {0898-929X},
  doi = {10.1162/jocn.2009.21332},
  shorttitle = {Processing Expectancy Violations during Music Performance and Perception},
  abstract = {Musicians are highly trained motor experts with pronounced associations between musical actions and the corresponding auditory effects. However, the importance of auditory feedback for music performance is controversial, and it is unknown how feedback during music performance is processed. The present study investigated the neural mechanisms underlying the processing of auditory feedback manipulations in pianists. To disentangle effects of action-based and perception-based expectations, we compared feedback manipulations during performance to the mere perception of the same stimulus material. In two experiments, pianists performed bimanually sequences on a piano,while at random positions, the auditory feedback of single notes was manipulated, thereby creating a mismatch between an expected and actually perceived action effect (action condition). In addition, pianists listened to tone sequences containing the same manipulations (perception condition). The manipulations in the perception condition were either task-relevant (Experiment 1) or task-irrelevant (Experiment 2). In action and perception conditions, event-related potentials elicited by manipulated tones showed an early fronto-central negativity around 200 msec, presumably reflecting a feedback ERN/N200, followed by a positive deflection (P3a). The early negativity was more pronounced during the action compared to the perception condition. This shows that during performance, the intention to produce specific auditory effects leads to stronger expectancies than the expectancies built up during music perception. (PsycINFO Database Record (c) 2012 APA, all rights reserved). (journal abstract)},
  number = {10},
  journaltitle = {Journal of Cognitive Neuroscience},
  shortjournal = {Journal of Cognitive Neuroscience},
  date = {2010-10},
  pages = {2401-2413},
  keywords = {Evoked Potentials,music perception,event related potentials,Expectations,auditory feedback,expectancy violations,music performance},
  author = {Maidhof, Clemens and Vavatzanidis, Niki and Prinz, Wolfgang and Rieger, Martina and Koelsch, Stefan}
}

@article{garridoEvokedBrainResponses2007,
  title = {Evoked Brain Responses Are Generated by Feedback Loops},
  volume = {104},
  issn = {0027-8424},
  doi = {10.1073/pnas.0706274105},
  abstract = {Neuronal responses to stimuli, measured electrophysiologically, unfold over several hundred milliseconds. Typically, they show characteristic waveforms with early and late components. It is thought that early or exogenous components reflect a perturbation of neuronal dynamics by sensory input bottom-up processing. Conversely, later, endogenous components have been ascribed to recurrent dynamics among hierarchically disposed cortical processing levels, top-down effects. Here, we show that evoked brain responses are generated by recurrent dynamics in cortical networks, and late components of event-related responses are mediated by backward connections. This evidence is furnished by dynamic causal modeling of mismatch responses, elicited in an oddball paradigm. We used the evidence for models with and without backward connections to assess their likelihood as a function of peristimulus time and show that backward connections are necessary to explain late components. Furthermore, we were able to quantify the contribution of backward connections to evoked responses and to source activity, again as a function of peristimulus time. These results link a generic feature of brain responses to changes in the sensorium and a key architectural component of functional anatomy; namely, backward connections are necessary for recurrent interactions among levels of cortical hierarchies. This is the theoretical cornerstone of most modern theories of perceptual inference and learning. (PsycINFO Database Record (c) 2012 APA, all rights reserved). (journal abstract)},
  number = {52},
  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 = {2007-12},
  pages = {20961-20966},
  keywords = {brain,Evoked Potentials,electrophysiology,Neurons,Feedback,evoked brain responses,feedback loops,neuronal responses},
  author = {Garrido, Marta I. and Kilner, James M. and Kiebel, Stefan J. and Friston, Karl J.}
}

@article{griffithsApproachesCorticalAnalysis2007,
  langid = {english},
  title = {Approaches to the Cortical Analysis of Auditory Objects},
  volume = {229},
  issn = {0378-5955},
  doi = {10.1016/j.heares.2007.01.010},
  abstract = {We describe work that addresses the cortical basis for the analysis of auditory objects using 'generic' sounds that do not correspond to any particular events or sources (like vowels or voices) that have semantic association. The experiments involve the manipulation of synthetic sounds to produce systematic changes of stimulus features, such as spectral envelope. Conventional analyses of normal functional imaging data demonstrate that the analysis of spectral envelope and perceived timbral change involves a network consisting of planum temporale (PT) bilaterally and the right superior temporal sulcus (STS). Further analysis of imaging data using dynamic causal modelling (DCM) and Bayesian model selection was carried out in the right hemisphere areas to determine the effective connectivity between these auditory areas. Specifically, the objective was to determine if the analysis of spectral envelope in the network is done in a serial fashion (that is from HG to PT to STS) or parallel fashion (that is PT and STS receives input from HG simultaneously). Two families of models, serial and parallel (16 in total) that represent different hypotheses about the connectivity between HG, PT and STS were selected. The models within a family differ with respect to the pathway that is modulated by the analysis of spectral envelope. After the models are identified, Bayesian model selection procedure is then used to select the 'optimal' model from the specified models. The data strongly support a particular serial model containing modulation of the HG to PT effective connectivity during spectral envelope variation. Parallel work in neurological subjects addresses the effect of lesions to different parts of this network. We have recently studied in detail subjects with 'dystimbria': an alteration in the perceived quality of auditory objects distinct from pitch or loudness change. The subjects have lesions of the normal network described above with normal perception of pitch strength but abnormal perception of the analysis of spectral envelope change.},
  number = {1-2},
  journaltitle = {Hearing Research},
  shortjournal = {Hear. Res.},
  date = {2007-07},
  pages = {46-53},
  keywords = {cognition,Auditory Perception,Auditory Cortex,Magnetic Resonance Imaging,Acoustic Stimulation,Auditory Pathways,humans,Psychoacoustics,Auditory Perceptual Disorders,Bayes Theorem,Models; Neurological},
  author = {Griffiths, Timothy D. and Kumar, Sukhbinder and Warren, Jason D. and Stewart, Lauren and Stephan, Klaas Enno and Friston, Karl J.},
  eprinttype = {pmid},
  eprint = {17321704}
}

@article{rohrmeierPredictiveInformationProcessing2012,
  title = {Predictive Information Processing in Music Cognition. {{A}} Critical Review},
  volume = {83},
  issn = {0167-8760},
  doi = {10.1016/j.ijpsycho.2011.12.010},
  abstract = {Expectation and prediction constitute central mechanisms in the perception and cognition of music, which have been explored in theoretical and empirical accounts. We review the scope and limits of theoretical accounts of musical prediction with respect to feature-based and temporal prediction. While the concept of prediction is unproblematic for basic single-stream features such as melody, it is not straight-forward for polyphonic structures or higher-order features such as formal predictions. Behavioural results based on explicit and implicit (priming) paradigms provide evidence of priming in various domains that may reflect predictive behaviour. Computational learning models, including symbolic (fragment-based), probabilistic/graphical, or connectionist approaches, provide well-specified predictive models of specific features and feature combinations. While models match some experimental results, full-fledged music prediction cannot yet be modelled. Neuroscientific results regarding the early right-anterior negativity (ERAN) and mismatch negativity (MMN) reflect expectancy violations on different levels of processing complexity, and provide some neural evidence for different predictive mechanisms. At present, the combinations of neural and computational modelling methodologies are at early stages and require further research. (PsycINFO Database Record (c) 2012 APA, all rights reserved). (journal abstract)},
  number = {2},
  journaltitle = {International Journal of Psychophysiology},
  shortjournal = {International Journal of Psychophysiology},
  date = {2012-02},
  pages = {164-175},
  keywords = {cognition,Prediction,Music,music cognition,predictive information processing},
  author = {Rohrmeier, Martin A. and Koelsch, Stefan}
}

@article{parmentierCognitiveDeterminantsBehavioral2014,
  title = {The Cognitive