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  journaltitle = {Frontiers in Psychology},
  date = {2016},
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}

@article{jaegerWhatHeckSalience2016,
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  volume = {7},
  url = {https://www.ncbi.nlm.nih.gov/pmc/articles/PMC4971435/},
  shorttitle = {What the Heck Is Salience?},
  journaltitle = {Frontiers in Psychology},
  date = {2016},
  author = {Jaeger, T. Florian and Weatherholtz, Kodi},
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  shorttitle = {Perceptual Linguistic Salience},
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  date = {2017},
  author = {Blumenthal-Dramé, Alice and Hanulíková, Adriana and Kortmann, Bernd},
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@article{prudenBirthWordsTenMonthOlds2006,
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  shorttitle = {The {{Birth}} of {{Words}}},
  number = {2},
  journaltitle = {Child development},
  date = {2006},
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}

@book{breitkopf371VierstimmigeChoralgesange1875,
  location = {{Leipzig}},
  title = {371 Vierstimmige {{Choralgesänge}} von {{Johann Sebastian Bach}}.},
  edition = {4th edition. Plate Number: V.A.10. Retypeset c. 1915 as Edition Breitkopf 10. Reprinted by Associated Music Publishers, Inc., New York [c. 1940].},
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}

@incollection{conklinRepresentationDiscoveryVertical2002,
  title = {Representation and Discovery of Vertical Patterns in Music},
  url = {http://link.springer.com/chapter/10.1007/3-540-45722-4_5},
  booktitle = {Music and Artificial Intelligence},
  publisher = {{Springer}},
  date = {2002},
  pages = {32--42},
  author = {Conklin, Darrell},
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@article{critchleyWillStudiesMacaque2012,
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  date = {2012},
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@article{sethInteroceptivePredictiveCoding2011,
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@article{frithExplainingDelusionsControl2012,
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@article{silversteinSchizophreniarelatedPhenomenaThat2013,
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}

@article{alinkStimulusPredictabilityReduces2010,
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}

@article{murrayShapePerceptionReduces2002,
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  date = {2002},
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}

@article{summerfieldNeuralRepetitionSuppression2008,
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  url = {https://www.ncbi.nlm.nih.gov/pmc/articles/PMC2747248/},
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  journaltitle = {Nature neuroscience},
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  pages = {1004},
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@article{rao16PredictiveCoding2002,
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}

@article{baddeleyWorkingMemory1974,
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@inproceedings{broadbentRecentAdvancesUnderstanding1983,
  title = {Recent Advances in Understanding Performance in Noise},
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@inproceedings{kirkMotivatingStrokeRehabilitation2016,
  title = {Motivating {{Stroke Rehabilitation Through Music}}: {{A Feasibility Study Using Digital Musical Instruments}} in the {{Home}}},
  url = {http://dl.acm.org/citation.cfm?id=2858376},
  shorttitle = {Motivating {{Stroke Rehabilitation Through Music}}},
  booktitle = {Proceedings of the 2016 {{CHI Conference}} on {{Human Factors}} in {{Computing Systems}}},
  publisher = {{ACM}},
  date = {2016},
  pages = {1781--1785},
  author = {Kirk, Pedro and Grierson, Mick and Bodak, Rebeka and Ward, Nick and Brander, Fran and Kelly, Kate and Newman, Nicholas and Stewart, Lauren},
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}

@article{andersonDynamicAuditorycognitiveSystem2013,
  title = {A Dynamic Auditory-Cognitive System Supports Speech-in-Noise Perception in Older Adults},
  volume = {300},
  url = {http://www.sciencedirect.com/science/article/pii/S0378595513000749},
  journaltitle = {Hearing research},
  date = {2013},
  pages = {18--32},
  author = {Anderson, Samira and White-Schwoch, Travis and Parbery-Clark, Alexandra and Kraus, Nina},
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}

@article{andersonNeuralBasisSpeechinnoise2011,
  title = {A Neural Basis of Speech-in-Noise Perception in Older Adults},
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  url = {https://www.ncbi.nlm.nih.gov/pmc/articles/PMC3189261/},
  number = {6},
  journaltitle = {Ear and hearing},
  date = {2011},
  pages = {750},
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}

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}

@book{richardsonWorkingMemoryHuman1996,
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  date = {1996},
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@book{craikFunctionalAccountAge1986,
  title = {A Functional Account of Age Differences in Memory},
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@article{rimmeleAgerelatedChangesUse2012,
  langid = {english},
  title = {Age-Related Changes in the Use of Regular Patterns for Auditory Scene Analysis},
  volume = {289},
  issn = {1878-5891},
  doi = {10.1016/j.heares.2012.04.006},
  abstract = {A recent approach to auditory processing suggests a close relationship of regularity processing in auditory sensory memory (ASM) and stream segregation, such that within-stream regularities can be used to stabilize stream segregation. The present study investigates age-related changes in how regular patterns are used for auditory scene analysis (ASA), when the stream containing the regularity is attended or unattended. In order to accomplish an intensity level deviant detection task, participants had to segregate the task-relevant pure tone sequence from an irrelevant distractor pure tone sequence, which randomly varied in level. In three conditions a simple spectro-temporal regularity ("Isochronous"), a more complex spectro-temporal regularity ("Rhythmic"), or no regularity ("Random") was embedded in either the attended target sequence (Experiment 1), or the unattended distractor sequence (Experiment 2). When the sequence containing the regularity was attended, older participants showed a similar increase of performance to younger adults in the conditions with regular patterns ("Isochronous" and "Rhythmic") compared to the "Random" condition. In contrast, when the sequence containing the regularity was unattended, older adults showed a specific performance decline compared to younger adults in the "Isochronous" condition. Results suggest a link between impaired automatic processing of regularities in ASM, and age-related deficits in the use of regular patterns for ASA.},
  number = {1-2},
  journaltitle = {Hearing Research},
  shortjournal = {Hear. Res.},
  date = {2012-07},
  pages = {98-107},
  keywords = {Auditory Perception,Cues,time perception,Acoustic Stimulation,humans,aging,Adult,Auditory Threshold,Middle Aged,Female,Male,Time Factors,Psychoacoustics,Analysis of Variance,Young Adult,Age Factors,Aged,Noise,Perceptual Masking,Audiometry; Pure-Tone,Pattern Recognition; Physiological},
  author = {Rimmele, Johanna and Schröger, Erich and Bendixen, Alexandra},
  file = {D\:\\Sauve\\Zotero\\storage\\VABVGBJE\\Rimmele et al. - 2012 - Age-related changes in the use of regular patterns.pdf;D\:\\Sauve\\Zotero\\storage\\8N9E7ZAP\\S0378595512000925.html;D\:\\Sauve\\Zotero\\storage\\EPANQMJX\\S0378595512000925.html},
  eprinttype = {pmid},
  eprint = {22543088}
}

@article{charnessAgingProblemsolvingPerformance1985,
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  date = {1985},
  pages = {225--259},
  author = {Charness, Neil},
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}

@article{halpernEffectsAgingMusical1996,
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  volume = {11},
  url = {http://psycnet.apa.org/journals/pag/11/2/235/},
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  date = {1996},
  pages = {235},
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}

@article{halpernAgingExperienceRecognition1995,
  title = {Aging and Experience in the Recognition of Musical Transpositions.},
  volume = {10},
  url = {http://psycnet.apa.org/journals/pag/10/3/325/},
  number = {3},
  journaltitle = {Psychology and Aging},
  date = {1995},
  pages = {325},
  author = {Halpern, Andrea R. and Bartlett, James C. and Dowling, W. Jay},
  file = {D\:\\Sauve\\Zotero\\storage\\U6RSBFHD\\Halpern et al. - 1995 - Aging and experience in the recognition of musical.pdf;D\:\\Sauve\\Zotero\\storage\\6QCND2VP\\325.html}
}

@article{bartlettRecognitionFamiliarUnfamiliar1995,
  title = {Recognition of Familiar and Unfamiliar Melodies in Normal Aging and {{Alzheimer}}’s Disease},
  volume = {23},
  url = {http://www.springerlink.com/index/28666614362Q8Q8U.pdf},
  number = {5},
  journaltitle = {Memory \& Cognition},
  date = {1995},
  pages = {531--546},
  author = {Bartlett, James C. and Halpern, Andrea R. and Dowling, W. Jay},
  file = {D\:\\Sauve\\Zotero\\storage\\HEABJPIN\\Bartlett et al. - 1995 - Recognition of familiar and unfamiliar melodies in.pdf;D\:\\Sauve\\Zotero\\storage\\UCFUS5UF\\10.html}
}

@article{haysContributionMusicPositive2002,
  title = {The Contribution of Music to Positive Aging: {{A}} Review},
  volume = {7},
  url = {http://www.springerlink.com/index/qk4834x5j703601w.pdf},
  shorttitle = {The Contribution of Music to Positive Aging},
  number = {3},
  journaltitle = {Journal of Aging and Identity},
  date = {2002},
  pages = {165--175},
  author = {Hays, Terrence and Bright, Ruth and Minichiello, Victor},
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}

@article{defflerContextualInformationMemory2011,
  title = {Contextual Information and Memory for Unfamiliar Tunes in Older and Younger Adults.},
  volume = {26},
  url = {http://psycnet.apa.org/journals/pag/26/4/900/},
  number = {4},
  journaltitle = {Psychology and aging},
  date = {2011},
  pages = {900},
  author = {Deffler, Samantha A. and Halpern, Andrea R.},
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}

@article{andrewsIdentificationSpeededSlowed1998,
  title = {Identification of Speeded and Slowed Familiar Melodies by Younger, Middle-Aged, and Older Musicians and Nonmusicians.},
  volume = {13},
  url = {http://psycnet.apa.org/journals/pag/13/3/462/},
  number = {3},
  journaltitle = {Psychology and aging},
  date = {1998},
  pages = {462},
  author = {Andrews, Melinda W. and Dowling, W. Jay and Bartlett, James C. and Halpern, Andrea R.},
  file = {D\:\\Sauve\\Zotero\\storage\\M5C9X2UX\\Andrews et al. - 1998 - Identification of speeded and slowed familiar melo.pdf;D\:\\Sauve\\Zotero\\storage\\2W4BUNU6\\462.html}
}

@article{mensSpeechUnderstandingNoise2011,
  title = {Speech Understanding in Noise with an Eyeglass Hearing Aid: Asymmetric Fitting and the Head Shadow Benefit of Anterior Microphones},
  volume = {50},
  url = {http://www.tandfonline.com/doi/abs/10.3109/14992027.2010.521199},
  shorttitle = {Speech Understanding in Noise with an Eyeglass Hearing Aid},
  number = {1},
  journaltitle = {International journal of audiology},
  date = {2011},
  pages = {27--33},
  author = {Mens, Lucas HM},
  file = {D\:\\Sauve\\Zotero\\storage\\G9BT8XBX\\14992027.2010.html}
}

@article{kreismanImprovementsSpeechUnderstanding2010,
  title = {Improvements in Speech Understanding with Wireless Binaural Broadband Digital Hearing Instruments in Adults with Sensorineural Hearing Loss},
  volume = {14},
  url = {http://journals.sagepub.com/doi/abs/10.1177/1084713810364396},
  number = {1},
  journaltitle = {Trends in amplification},
  date = {2010},
  pages = {3--11},
  author = {Kreisman, Brian M. and Mazevski, Annette G. and Schum, Donald J. and Sockalingam, Ravichandran},
  file = {D\:\\Sauve\\Zotero\\storage\\88UU6RHA\\1084713810364396.html;D\:\\Sauve\\Zotero\\storage\\QHPQGV7F\\PMC4111507.html}
}

@article{mcadamsHearingMusicalStreams1979,
  eprinttype = {jstor},
  eprint = {4617866},
  title = {Hearing Musical Streams},
  journaltitle = {Computer Music Journal},
  date = {1979},
  pages = {26--60},
  author = {McAdams, Stephen and Bregman, Albert},
  file = {D\:\\Sauve\\Zotero\\storage\\QW9SQ62D\\McAdams and Bregman - 1979 - Hearing musical streams.pdf;D\:\\Sauve\\Zotero\\storage\\6C2QXDXV\\4617866.html}
}

@unpublished{benetosASyMMuSWorkshopAudioSymbolic2015,
  venue = {{London, UK}},
  title = {{{ASyMMuS Workshop}} on {{Audio}}-{{Symbolic Music Similarity Modelling}}},
  type = {Workshop},
  date = {2015-07-08},
  author = {Benetos, Emmanouil}
}

@article{harrisonApplyingModernPsychometric2017,
  title = {Applying Modern Psychometric Techniques to Melodic Discrimination Testing: {{Item}} Response Theory, Computerised Adaptive Testing, and Automatic Item Generation.},
  volume = {In press.},
  journaltitle = {Scientific Reports},
  date = {2017},
  author = {Harrison, P. M. C. and Müllensiefen, Daniel and Collins, T.}
}

@inproceedings{deliegeSimilarityProcessesCategorisation1997,
  title = {Similarity in Processes of Categorisation: {{Imprint}} Formation as a Prototype Effect in Music Listening},
  url = {http://www.dai.ed.ac.uk/conferences/simcat/del.htm},
  shorttitle = {Similarity in Processes of Categorisation},
  booktitle = {Proceedings of the {{Interdisciplinary}} Workshop on Similarity and Categorisation},
  publisher = {{University of Edinburgh Edinburgh, UK}},
  date = {1997},
  pages = {59--65},
  author = {Deliège, Irene},
  file = {D\:\\Sauve\\Zotero\\storage\\DTF688HQ\\del.html}
}

@article{deliegeSimilarityRelationsListening2007,
  title = {Similarity Relations in Listening to Music: {{How}} Do They Come into Play?},
  volume = {11},
  url = {http://journals.sagepub.com/doi/abs/10.1177/1029864907011001021},
  shorttitle = {Similarity Relations in Listening to Music},
  issue = {1\_suppl},
  journaltitle = {Musicae Scientiae},
  date = {2007},
  pages = {9--37},
  author = {Deliège, Irène},
  file = {D\:\\Sauve\\Zotero\\storage\\RRP94WSC\\1029864907011001021.html}
}

@article{deliegeSpecialIssueMusic2003,
  title = {Special Issue on Music Similarity},
  journaltitle = {Musica Scientae},
  date = {2003},
  author = {Deliège, I.}
}

@book{deliegeSimilarityPerceptionCategorization2001,
  eprinttype = {jstor},
  eprint = {10.1525/mp.2001.18.3.233},
  title = {Similarity Perception↔ Categorization↔ Cue Abstraction},
  publisher = {{JSTOR}},
  date = {2001},
  author = {Deliège, Irène},
  file = {D\:\\Sauve\\Zotero\\storage\\3VJ6CCUM\\mp.2001.18.3.html}
}

@inproceedings{aucouturierMusicSimilarityMeasures2002,
  title = {Music Similarity Measures: {{What}}'s the Use?},
  url = {http://www.music.mcgill.ca/~ich/classes/mumt614/similarity/AucouturierSimilar.pdf},
  shorttitle = {Music Similarity Measures},
  booktitle = {{{ISMIR}}},
  date = {2002},
  pages = {13--17},
  author = {Aucouturier, Jean-Julien and Pachet, Francois and others},
  file = {D\:\\Sauve\\Zotero\\storage\\55NDSV6D\\Aucouturier et al. - 2002 - Music similarity measures What's the use.pdf}
}

@article{westModelbasedApproachConstructing2007,
  title = {A Model-Based Approach to Constructing Music Similarity Functions},
  volume = {2007},
  url = {http://dl.acm.org/citation.cfm?id=1289110},
  number = {1},
  journaltitle = {EURASIP Journal on Applied Signal Processing},
  date = {2007},
  pages = {149--149},
  author = {West, Kris and Lamere, Paul},
  file = {D\:\\Sauve\\Zotero\\storage\\TKAKEWBB\\West and Lamere - 2007 - A model-based approach to constructing music simil.pdf;D\:\\Sauve\\Zotero\\storage\\ICQW76WF\\citation.html}
}

@inproceedings{slaneyLearningMetricMusic2008,
  title = {Learning a Metric for Music Similarity},
  url = {https://www.slaney.org/malcolm/yahoo/Slaney2008-MusicSimilarityMetricsISMIR.pdf},
  booktitle = {International {{Symposium}} on {{Music Information Retrieval}} ({{ISMIR}})},
  date = {2008},
  author = {Slaney, Malcolm and Weinberger, Kilian and White, William},
  file = {D\:\\Sauve\\Zotero\\storage\\8RQKPP6F\\Slaney et al. - 2008 - Learning a metric for music similarity.pdf}
}

@inproceedings{flexerMIREXMetaanalysisHubness2012,
  title = {A {{MIREX Meta}}-Analysis of {{Hubness}} in {{Audio Music Similarity}}.},
  url = {http://ismir2012.ismir.net/event/papers/175_ISMIR_2012.pdf},
  booktitle = {{{ISMIR}}},
  date = {2012},
  pages = {175--180},
  author = {Flexer, Arthur and Schnitzer, Dominik and Schlüter, Jan},
  file = {D\:\\Sauve\\Zotero\\storage\\3757HDZ6\\Flexer et al. - 2012 - A MIREX Meta-analysis of Hubness in Audio Music Si.pdf}
}

@inproceedings{liContentbasedMusicSimilarity2004,
  title = {Content-Based Music Similarity Search and Emotion Detection},
  volume = {5},
  url = {http://ieeexplore.ieee.org/abstract/document/1327208/},
  booktitle = {Acoustics, {{Speech}}, and {{Signal Processing}}, 2004. {{Proceedings}}.({{ICASSP}}'04). {{IEEE International Conference}} On},
  publisher = {{IEEE}},
  date = {2004},
  pages = {V--705},
  author = {Li, Tao and Ogihara, Mitsunori},
  file = {D\:\\Sauve\\Zotero\\storage\\FFBKTERU\\Li and Ogihara - 2004 - Content-based music similarity search and emotion .pdf;D\:\\Sauve\\Zotero\\storage\\VFENC5GQ\\1327208.html}
}

@article{bogdanovUnifyingLowlevelHighlevel2011,
  title = {Unifying Low-Level and High-Level Music Similarity Measures},
  volume = {13},
  url = {http://ieeexplore.ieee.org/abstract/document/5728926/},
  number = {4},
  journaltitle = {IEEE Transactions on Multimedia},
  date = {2011},
  pages = {687--701},
  author = {Bogdanov, Dmitry and Serrà, Joan and Wack, Nicolas and Herrera, Perfecto and Serra, Xavier},
  file = {D\:\\Sauve\\Zotero\\storage\\I6WCURKG\\Bogdanov et al. - 2011 - Unifying low-level and high-level music similarity.pdf;D\:\\Sauve\\Zotero\\storage\\KAUTE9J7\\5728926.html}
}

@inproceedings{pohleRhythmGeneralMusic2009,
  title = {On {{Rhythm}} and {{General Music Similarity}}.},
  url = {http://www.cp.jku.at/people/schedl/Research/Publications/pdf/pohle_ismir_2009.pdf},
  booktitle = {{{ISMIR}}},
  date = {2009},
  pages = {525--530},
  author = {Pohle, Tim and Schnitzer, Dominik and Schedl, Markus and Knees, Peter and Widmer, Gerhard},
  file = {D\:\\Sauve\\Zotero\\storage\\757HXDN7\\Pohle et al. - 2009 - On Rhythm and General Music Similarity..pdf}
}

@inproceedings{pampalkImprovementsAudioBasedMusic2005,
  title = {Improvements of {{Audio}}-{{Based Music Similarity}} and {{Genre Classificaton}}.},
  volume = {5},
  url = {http://www.cp.jku.at/research/papers/pampalk_ismir_2005.pdf},
  booktitle = {{{ISMIR}}},
  publisher = {{London, UK}},
  date = {2005},
  pages = {634--637},
  author = {Pampalk, Elias and Flexer, Arthur and Widmer, Gerhard and others},
  file = {D\:\\Sauve\\Zotero\\storage\\H62MDMUC\\Pampalk et al. - 2005 - Improvements of Audio-Based Music Similarity and G.pdf}
}

@article{berenzweigLargescaleEvaluationAcoustic2004,
  title = {A Large-Scale Evaluation of Acoustic and Subjective Music-Similarity Measures},
  volume = {28},
  url = {http://www.mitpressjournals.org/doi/abs/10.1162/014892604323112257},
  number = {2},
  journaltitle = {Computer Music Journal},
  date = {2004},
  pages = {63--76},
  author = {Berenzweig, Adam and Logan, Beth and Ellis, Daniel PW and Whitman, Brian},
  file = {D\:\\Sauve\\Zotero\\storage\\AT6ANMKK\\Berenzweig et al. - 2004 - A large-scale evaluation of acoustic and subjectiv.pdf;D\:\\Sauve\\Zotero\\storage\\5GVR65TU\\014892604323112257.html}
}

@inproceedings{mardirossianKeyDistributionsMusical2005,
  title = {Key Distributions as Musical Fingerprints for Similarity Assessment},
  url = {http://ieeexplore.ieee.org/abstract/document/1565887/},
  booktitle = {Multimedia, {{Seventh IEEE International Symposium}} On},
  publisher = {{IEEE}},
  date = {2005},
  pages = {6--pp},
  author = {Mardirossian, Arpi and Chew, Elaine},
  file = {D\:\\Sauve\\Zotero\\storage\\9SQ5XRCM\\1565887.html}
}

@inproceedings{mardirossianMusicSummarizationKey2006,
  title = {Music {{Summarization Via Key Distributions}}: {{Analyses}} of {{Similarity Assessment Across Variations}}.},
  url = {https://pdfs.semanticscholar.org/79a8/096ec06f2a7178c57890e70e0adff22d5e0d.pdf},
  shorttitle = {Music {{Summarization Via Key Distributions}}},
  booktitle = {{{ISMIR}}},
  date = {2006},
  pages = {234--239},
  author = {Mardirossian, Arpi and Chew, Elaine},
  file = {D\:\\Sauve\\Zotero\\storage\\92EZZ2UD\\Mardirossian and Chew - 2006 - Music Summarization Via Key Distributions Analyse.pdf}
}

@article{dowlingImportanceIntervalInformation1981,
  title = {The Importance of Interval Information in Long-Term Memory for Melodies.},
  volume = {1},
  url = {http://psycnet.apa.org/journals/pmu/1/1/30/},
  number = {1},
  journaltitle = {Psychomusicology: A Journal of Research in Music Cognition},
  date = {1981},
  pages = {30},
  author = {Dowling, W. Jay and Bartlett, James C.},
  file = {D\:\\Sauve\\Zotero\\storage\\I6RXVRIC\\Dowling and Bartlett - 1981 - The importance of interval information in long-ter.pdf;D\:\\Sauve\\Zotero\\storage\\5GNDM7IM\\30.html}
}

@article{bartlettRecognitionTransposedMelodies1980,
  title = {Recognition of Transposed Melodies: A Key-Distance Effect in Developmental Perspective.},
  volume = {6},
  url = {http://psycnet.apa.org/journals/xhp/6/3/501/},
  shorttitle = {Recognition of Transposed Melodies},
  number = {3},
  journaltitle = {Journal of Experimental Psychology: Human Perception and Performance},
  date = {1980},
  pages = {501},
  author = {Bartlett, James C. and Dowling, W. Jay},
  file = {D\:\\Sauve\\Zotero\\storage\\Q5CI3DQH\\Bartlett and Dowling - 1980 - Recognition of transposed melodies a key-distance.pdf;D\:\\Sauve\\Zotero\\storage\\ITDU24MU\\501.html}
}

@article{rollandDiscoveringPatternsMusical1999,
  title = {Discovering Patterns in Musical Sequences},
  volume = {28},
  url = {http://www.tandfonline.com/doi/abs/10.1076/0929-8215(199912)28:04;1-O;FT334},
  number = {4},
  journaltitle = {Journal of New Music Research},
  date = {1999},
  pages = {334--350},
  author = {Rolland, Pierre-Yves},
  file = {D\:\\Sauve\\Zotero\\storage\\TXK5MVI9\\0929-8215(199912)2804\;1-O\;FT334.html}
}

@book{nettlStudyEthnomusicologyThirtyone2010,
  title = {The Study of Ethnomusicology: {{Thirty}}-One Issues and Concepts},
  url = {https://books.google.co.uk/books?hl=en&lr=&id=_vlrrG7HvP4C&oi=fnd&pg=PR3&dq=bruno+nettl&ots=jAI17MgskK&sig=7MuMaASA7RwI15sYITI7cVNQkvc},
  shorttitle = {The Study of Ethnomusicology},
  publisher = {{University of Illinois Press}},
  date = {2010},
  author = {Nettl, Bruno},
  file = {D\:\\Sauve\\Zotero\\storage\\3ZVFMSVB\\Nettl - 2010 - The study of ethnomusicology Thirty-one issues an.pdf;D\:\\Sauve\\Zotero\\storage\\4WTKHGBD\\books.html}
}

@article{margulisAestheticResponsesRepetition2013,
  title = {Aesthetic Responses to Repetition in Unfamiliar Music},
  volume = {31},
  url = {http://journals.sagepub.com/doi/abs/10.2190/EM.31.1.c},
  number = {1},
  journaltitle = {Empirical Studies of the Arts},
  date = {2013},
  pages = {45--57},
  author = {Margulis, Elizabeth Hellmuth},
  file = {D\:\\Sauve\\Zotero\\storage\\HE37TP2Z\\EM.31.1.html}
}

@article{margulisMusicalRepetitionDetection2012,
  title = {Musical Repetition Detection across Multiple Exposures},
  volume = {29},
  url = {http://mp.ucpress.edu/content/29/4/377.short},
  number = {4},
  journaltitle = {Music Perception: An Interdisciplinary Journal},
  date = {2012},
  pages = {377--385},
  author = {Margulis, Elizabeth Hellmuth},
  file = {D\:\\Sauve\\Zotero\\storage\\6QQ4KH24\\Margulis - 2012 - Musical repetition detection across multiple expos.pdf;D\:\\Sauve\\Zotero\\storage\\RWKTN3PA\\377.html}
}

@book{margulisRepeatHowMusic2014,
  title = {On Repeat: {{How}} Music Plays the Mind},
  url = {https://books.google.co.uk/books?hl=en&lr=&id=4a6cAQAAQBAJ&oi=fnd&pg=PP1&dq=music+repetition+margulis&ots=w4JLN6C7--&sig=5IU3XVRffwdmPMIAXfvfAHnsJkc},
  shorttitle = {On Repeat},
  publisher = {{Oxford University Press}},
  date = {2014},
  author = {Margulis, Elizabeth Hellmuth},
  file = {D\:\\Sauve\\Zotero\\storage\\7KACEUX9\\books.html}
}

@article{bendixenRegularityExtractionApplication2007,
  title = {Regularity Extraction and Application in Dynamic Auditory Stimulus Sequences},
  volume = {19},
  url = {http://www.mitpressjournals.org/doi/abs/10.1162/jocn.2007.19.10.1664},
  number = {10},
  journaltitle = {Journal of Cognitive Neuroscience},
  date = {2007},
  pages = {1664--1677},
  author = {Bendixen, Alexandra and Roeber, Urte and Schröger, Erich},
  file = {D\:\\Sauve\\Zotero\\storage\\JN4NHA2D\\jocn.2007.19.10.html}
}

@article{bendixenMemoryTraceFormation2008,
  title = {Memory Trace Formation for Abstract Auditory Features and Its Consequences in Different Attentional Contexts},
  volume = {78},
  url = {http://www.sciencedirect.com/science/article/pii/S0301051108000677},
  number = {3},
  journaltitle = {Biological psychology},
  date = {2008},
  pages = {231--241},
  author = {Bendixen, Alexandra and Schröger, Erich},
  file = {D\:\\Sauve\\Zotero\\storage\\R9XW9QNC\\Bendixen and Schröger - 2008 - Memory trace formation for abstract auditory featu.pdf;D\:\\Sauve\\Zotero\\storage\\RPTJTBU7\\S0301051108000677.html}
}

@article{bendixenRapidExtractionAuditory2008,
  title = {Rapid Extraction of Auditory Feature Contingencies},
  volume = {41},
  url = {http://www.sciencedirect.com/science/article/pii/S1053811908002875},
  number = {3},
  journaltitle = {Neuroimage},
  date = {2008},
  pages = {1111--1119},
  author = {Bendixen, Alexandra and Prinz, Wolfgang and Horváth, János and Trujillo-Barreto, Nelson J. and Schröger, Erich},
  file = {D\:\\Sauve\\Zotero\\storage\\UP645VMN\\Bendixen et al. - 2008 - Rapid extraction of auditory feature contingencies.pdf;D\:\\Sauve\\Zotero\\storage\\NVPGVAXZ\\S1053811908002875.html}
}

@article{mcauleyTimeOurLives2006,
  title = {The Time of Our Lives: Life Span Development of Timing and Event Tracking.},
  volume = {135},
  url = {http://psycnet.apa.org/journals/xge/135/3/348/},
  shorttitle = {The Time of Our Lives},
  number = {3},
  journaltitle = {Journal of Experimental Psychology: General},
  date = {2006},
  pages = {348},
  author = {McAuley, J. Devin and Jones, Mari Riess and Holub, Shayla and Johnston, Heather M. and Miller, Nathaniel S.},
  file = {D\:\\Sauve\\Zotero\\storage\\NRYQ6BNY\\McAuley et al. - 2006 - The time of our lives life span development of ti.pdf;D\:\\Sauve\\Zotero\\storage\\2LVJA5BF\\2006-09007-002.html;D\:\\Sauve\\Zotero\\storage\\75GMGPXM\\348.html}
}

@article{langeCanRegularContext2010,
  title = {Can a Regular Context Induce Temporal Orienting to a Target Sound?},
  volume = {78},
  url = {http://www.sciencedirect.com/science/article/pii/S0167876010006732},
  number = {3},
  journaltitle = {International Journal of Psychophysiology},
  date = {2010},
  pages = {231--238},
  author = {Lange, Kathrin},
  file = {D\:\\Sauve\\Zotero\\storage\\KQTGRZF9\\S0167876010006732.html}
}

@article{honingBeatInductionInnate2009,
  title = {Is {{Beat Induction Innate}} or {{Learned}}?},
  volume = {1169},
  url = {http://onlinelibrary.wiley.com/doi/10.1111/j.1749-6632.2009.04761.x/full},
  number = {1},
  journaltitle = {Annals of the New York Academy of Sciences},
  date = {2009},
  pages = {93--96},
  author = {Honing, Henkjan and Ladinig, Olivia and Háden, Gábor P. and Winkler, István},
  file = {D\:\\Sauve\\Zotero\\storage\\M7AKKVSJ\\Honing et al. - 2009 - Is Beat Induction Innate or Learned.pdf;D\:\\Sauve\\Zotero\\storage\\KUSCSNCZ\\full.html}
}

@inproceedings{burgoyneExpertGroundTruth2011,
  title = {An {{Expert Ground Truth Set}} for {{Audio Chord Recognition}} and {{Music Analysis}}.},
  volume = {11},
  isbn = {978-0-615-54865-4},
  url = {http://ismir2011.ismir.net/papers/OS8-1.pdf},
  booktitle = {{{ISMIR}}},
  date = {2011},
  pages = {633--638},
  author = {Burgoyne, John Ashley and Wild, Jonathan and Fujinaga, Ichiro},
  file = {D\:\\Sauve\\Zotero\\storage\\CV4T9TKI\\Burgoyne et al. - 2011 - An Expert Ground Truth Set for Audio Chord Recogni.pdf}
}

@article{bendixenEarlyElectrophysiologicalIndicators2012,
  title = {Early Electrophysiological Indicators for Predictive Processing in Audition: {{A}} Review},
  volume = {83},
  issn = {0167-8760},
  doi = {10.1016/j.ijpsycho.2011.08.003},
  shorttitle = {Early Electrophysiological Indicators for Predictive Processing in Audition},
  abstract = {The auditory system essentially deals with sequential type of input and thus requires processing that is particularly suited to extract stimulus relations within a sequence. Evidence from a variety of paradigms converges to show that the auditory system automatically uses stimulus predictability for facilitating its sequential processing. This type of predictive processing does not require attentional processing of the sounds or cognitive control of the predictions, nor does it involve the preparation of motor responses to the auditory stimuli. We will present a taxonomy of paradigms and resulting electrophysiological indicators for such automatic predictive processing in terms of event-related potential components and oscillatory activity. These indicators will include signals of fulfilled predictions (match signals such as N1 attenuation, repetition positivity, and early evoked gamma band response enhancement) as well as signals of violated predictions (mismatch signals such as the mismatch negativity and stimulus omission responses). We will show how recent approaches have revealed particularly early indicators of predictive processing down to the level of the auditory middle-latency responses. We will discuss the strength of the various indicators in terms of a truly predictive account of auditory processing (as opposed to, e.g., a retrospective verification of predictions). Finally, we will discuss the benefits of a predictive system within and beyond auditory processing. In conclusion, we argue in favor of the overwhelming evidence for predictions in audition, flexibly instantiated on different levels and timescales, and we aim to provide guidance along a variety of research paradigms illustrating the existence of these predictions. (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 = {120-131},
  keywords = {Auditory Evoked Potentials,Oscillatory Network,electrophysiology,automatic predictive processing},
  author = {Bendixen, Alexandra and SanMiguel, Iria and Schröger, Erich},
  file = {D\:\\Sauve\\Zotero\\storage\\58SCVSG5\\Bendixen et al. - 2012 - Early electrophysiological indicators for predicti.pdf;D\:\\Sauve\\Zotero\\storage\\9C48IKI6\\S0167876011002376.html}
}

@article{andreouRoleTemporalRegularity2011,
  langid = {english},
  title = {The Role of Temporal Regularity in Auditory Segregation},
  volume = {280},
  issn = {1878-5891},
  doi = {10.1016/j.heares.2011.06.001},
  abstract = {The idea that predictive modelling and extraction of regularities plays a pivotal role in auditory segregation has recently attracted considerable attention. The present study investigated the effect of one basic form of regularity, rhythmic regularity, on auditory stream segregation. We departed from the classic streaming paradigm and developed a new stimulus, Rand-AB, consisting of two, concurrently presented, temporally uncorrelated, tone sequences (with frequencies A and B). To evaluate segregation, we used an objective measure of the extent to which listeners are able to selectively attend to one of the sequences in the presence of the other. Performance was quantified on a difficult pattern detection task which involves detecting a rarely occurring pattern of amplitude modulation applied to three consecutive A or B tones. In all cases the attended sequence was temporally irregular (with a random inter-tone-interval (ITI) between 100 and 400 ms) and the regularity status of the competing sequence was set to one of four conditions: (1) random ITI between 100 and 400 ms (2) isochronous with ITI = 400 ms. (3) isochronous with ITI = 250 ms (equal to the mean rate of the attended sequence) (4) isochronous with ITI = 100 ms. For a frequency separation of 2 (but not 4) semi tones we observed improved performance in conditions (3) and (4) relative to (1), suggesting that stream segregation is facilitated when the distracter sequence is temporally regular, but that the effect of temporal regularity as a cue for segregation is limited to relatively fast rates and to situations where frequency separation is insufficient for segregation. These findings provide new evidence to support models of streaming that involve segregation based on the formation of predictive models.},
  number = {1-2},
  journaltitle = {Hearing Research},
  shortjournal = {Hear. Res.},
  date = {2011-10},
  pages = {228-235},
  keywords = {Auditory Perception,Cues,Auditory Cortex,Acoustic Stimulation,Auditory Pathways,humans,Models; Biological,Adult,Female,Male,SOUND,Periodicity},
  author = {Andreou, Lefkothea-Vasiliki and Kashino, Makio and Chait, Maria},
  file = {D\:\\Sauve\\Zotero\\storage\\AHM5W5W7\\S0378595511001614.html},
  eprinttype = {pmid},
  eprint = {21683778}
}

@article{meinzEffectsAgeExperience1998,
  title = {The Effects of Age and Experience on Memory for Visually Presented Music},
  volume = {53},
  url = {http://psychsocgerontology.oxfordjournals.org/content/53B/1/P60.short},
  number = {1},
  journaltitle = {The Journals of Gerontology Series B: Psychological Sciences and Social Sciences},
  urldate = {2017-05-28},
  date = {1998},
  pages = {P60--P69},
  author = {Meinz, Elizabeth J. and Salthouse, Timothy A.},
  file = {D\:\\Sauve\\Zotero\\storage\\2PDQU82Q\\Meinz and Salthouse - 1998 - The effects of age and experience on memory for vi.pdf;D\:\\Sauve\\Zotero\\storage\\XB6NHVWR\\The-Effects-of-Age-and-Experience-on-Memory-for.html}
}

@article{halpernPerceptionModeRhythm1998,
  title = {Perception of Mode, Rhythm, and Contour in Unfamiliar Melodies: {{Effects}} of Age and Experience},
  volume = {15},
  url = {http://mp.ucpress.edu/content/15/4/335.abstract},
  shorttitle = {Perception of Mode, Rhythm, and Contour in Unfamiliar Melodies},
  number = {4},
  journaltitle = {Music Perception: An Interdisciplinary Journal},
  urldate = {2017-05-28},
  date = {1998},
  pages = {335--355},
  author = {Halpern, Andrea R. and Bartlett, James C. and Dowling, W. Jay},
  file = {D\:\\Sauve\\Zotero\\storage\\IJHSJA2P\\Halpern et al. - 1998 - Perception of mode, rhythm, and contour in unfamil.pdf;D\:\\Sauve\\Zotero\\storage\\KBRQJFCD\\335.html}
}

@article{halpernAgingMemoryMusic2002,
  title = {Aging and Memory for Music: {{A}} Review.},
  volume = {18},
  url = {http://psycnet.apa.org/journals/pmu/18/1-2/10/},
  shorttitle = {Aging and Memory for Music},
  number = {1-2},
  journaltitle = {Psychomusicology: A Journal of Research in Music Cognition},
  urldate = {2017-05-28},
  date = {2002},
  pages = {10},
  author = {Halpern, Andrea R. and Bartlett, James C.},
  file = {D\:\\Sauve\\Zotero\\storage\\BV9RW6FN\\Halpern and Bartlett - 2002 - Aging and memory for music A review..pdf;D\:\\Sauve\\Zotero\\storage\\PZJUAFSS\\10.html}
}

@article{dowlingMelodyRecognitionFast2008,
  title = {Melody Recognition at Fast and Slow Tempos: {{Effects}} of Age, Experience, and Familiarity},
  volume = {70},
  url = {http://www.springerlink.com/index/6801R18158770025.pdf},
  shorttitle = {Melody Recognition at Fast and Slow Tempos},
  number = {3},
  journaltitle = {Attention, Perception, \& Psychophysics},
  urldate = {2017-05-28},
  date = {2008},
  pages = {496--502},
  author = {Dowling, W. Jay and Bartlett, James C. and Halpern, Andrea R. and Andrews, Melinda W.},
  file = {D\:\\Sauve\\Zotero\\storage\\QR42NHKG\\Dowling et al. - 2008 - Melody recognition at fast and slow tempos Effect.pdf;D\:\\Sauve\\Zotero\\storage\\F2BJXXQN\\10.3758PP.70.3.html}
}

@article{halpernImplicitMemoryMusic2000,
  title = {Implicit Memory for Music in {{Alzheimer}}'s Disease.},
  volume = {14},
  url = {http://psycnet.apa.org/journals/neu/14/3/391/},
  number = {3},
  journaltitle = {Neuropsychology},
  urldate = {2017-05-28},
  date = {2000},
  pages = {391},
  author = {Halpern, Andrea R. and O'connor, Margaret G.},
  file = {D\:\\Sauve\\Zotero\\storage\\GF2NEG4W\\391.html}
}

@article{pearceAgerelatedPatternsEmotions2015,
  title = {Age-Related Patterns in Emotions Evoked by Music.},
  volume = {9},
  url = {http://psycnet.apa.org/journals/aca/9/3/248/},
  number = {3},
  journaltitle = {Psychology of Aesthetics, Creativity, and the Arts},
  urldate = {2017-05-28},
  date = {2015},
  pages = {248},
  author = {Pearce, Marcus T. and Halpern, Andrea R.},
  file = {D\:\\Sauve\\Zotero\\storage\\EQHPE7EZ\\Pearce and Halpern - 2015 - Age-related patterns in emotions evoked by music..pdf;D\:\\Sauve\\Zotero\\storage\\EUZE8WWA\\248.html}
}

@article{halpernThatNoteSounds2017,
  title = {That Note Sounds Wrong! {{Age}}-Related Effects in Processing of Musical Expectation},
  volume = {113},
  url = {http://www.sciencedirect.com/science/article/pii/S0278262616300434},
  journaltitle = {Brain and Cognition},
  urldate = {2017-05-28},
  date = {2017},
  pages = {1--9},
  author = {Halpern, Andrea R. and Zioga, Ioanna and Shankleman, Martin and Lindsen, Job and Pearce, Marcus T. and Bhattarcharya, Joydeep},
  file = {D\:\\Sauve\\Zotero\\storage\\3W4R7MC2\\S0278262616300434.html;D\:\\Sauve\\Zotero\\storage\\4FPYVAE4\\S0278262616300434.html;D\:\\Sauve\\Zotero\\storage\\JEW3KNBN\\S0278262616300434.html}
}

@article{jergerEffectsAgeSex1980,
  title = {Effects of Age and Sex on Auditory Brainstem Response},
  volume = {106},
  url = {http://archotol.jamanetwork.com/article.aspx?articleid=608454},
  number = {7},
  journaltitle = {Archives of Otolaryngology},
  urldate = {2017-05-23},
  date = {1980},
  pages = {387--391},
  author = {Jerger, James and Hall, James},
  file = {D\:\\Sauve\\Zotero\\storage\\BFWGT7NB\\608454.html}
}

@article{gebauerEverchangingCyclesMusical2012,
  title = {Ever-Changing Cycles of Musical Pleasure: {{The}} Role of Dopamine and Anticipation.},
  volume = {22},
  url = {http://psycnet.apa.org/journals/pmu/22/2/152/},
  shorttitle = {Ever-Changing Cycles of Musical Pleasure},
  number = {2},
  journaltitle = {Psychomusicology: Music, Mind, and Brain},
  urldate = {2017-05-22},
  date = {2012},
  pages = {152},
  author = {Gebauer, Line and Kringelbach, Morten L. and Vuust, Peter},
  file = {D\:\\Sauve\\Zotero\\storage\\74HF9WTK\\Gebauer et al. - 2012 - Ever-changing cycles of musical pleasure The role.pdf;D\:\\Sauve\\Zotero\\storage\\4T53WNE5\\152.html}
}

@article{volkStudySyncopationUsing2008,
  title = {The {{Study}} of {{Syncopation Using Inner Metric Analysis}}: {{Linking Theoretical}} and {{Experimental Analysis}} of {{Metre}} in {{Music}}},
  volume = {37},
  issn = {0929-8215},
  url = {http://dx.doi.org/10.1080/09298210802680758},
  doi = {10.1080/09298210802680758},
  shorttitle = {The {{Study}} of {{Syncopation Using Inner Metric Analysis}}},
  abstract = {This paper investigates the influence of syncopation on the metric structure of musical pieces using the computational model of Inner Metric Analysis. Inner Metric Analysis generates metric hierarchies evoked by the note onsets of a piece. Syncopation in the rhythmic structure influences these hierarchies in different ways. The comparison of local and global perspectives on the metric structure allows one to distinguish between different amounts of syncopation present in a musical piece. This paper shows that the study of syncopation using Inner Metric Analysis contributes to explaining tapping performances of listeners. Hence comparing the structural descriptions generated by the model to results of a listening experiment helps to link music theoretic and perceptual studies.},
  number = {4},
  journaltitle = {Journal of New Music Research},
  urldate = {2017-05-22},
  date = {2008-12-01},
  pages = {259-273},
  author = {Volk, Anja},
  file = {D\:\\Sauve\\Zotero\\storage\\ETJKJJIP\\09298210802680758.html}
}

@article{desainComputationalModelsBeat1999,
  title = {Computational {{Models}} of {{Beat Induction}}: {{The Rule}}-{{Based Approach}}},
  volume = {28},
  issn = {0929-8215},
  url = {http://www.tandfonline.com/doi/abs/10.1076/jnmr.28.1.29.3123},
  doi = {10.1076/jnmr.28.1.29.3123},
  shorttitle = {Computational {{Models}} of {{Beat Induction}}},
  abstract = {This paper is a report of ongoing research on the computational modeling of beat induction which aims at achieving a better understanding of the perceptual processes involved by ordering and reformulating existing models. One family of rule-based beat induction models is described (Longuet-Higgins and Lee, 1982; Lee, 1985; Longuet-Higgins, 1994), along with the presentation of analysis methods that allow an evaluation of the models in terms of their in- and output spaces, ing from internal detail. It builds on work described in (Desain and Honing, 1994b). The present paper elaborates these methods and presents the results obtained. It will be shown that they can be used to characterize the differences between these models, a point that was difficult to assess previously. Furthermore, the first results of using the method to improve the existing rule-based models are presented, by describing the most effective version of a specific rule, and the most effective parameter settings.},
  number = {1},
  journaltitle = {Journal of New Music Research},
  urldate = {2017-05-22},
  date = {1999-03-01},
  pages = {29-42},
  author = {Desain, Peter and Honing, Henkjan},
  file = {D\:\\Sauve\\Zotero\\storage\\2IXZ3NF9\\jnmr.28.1.29.html}
}

@article{jonesControlledAttendingFunction1982,
  langid = {english},
  title = {Controlled Attending as a Function of Melodic and Temporal Context},
  volume = {32},
  issn = {0031-5117, 1532-5962},
  url = {http://link.springer.com/article/10.3758/BF03206225},
  doi = {10.3758/BF03206225},
  abstract = {Melodic and rhythmic context were systematically varied in a pattern recognition task involving pairs (standard-comparison) of nine-tone auditory sequences. The experiment was designed to test the hypothesis that rhythmic context can direct attention toward or away from tones which instantiate higher order melodic rules. Three levels of melodic structure (one, two, no higher order rules) were crossed with four levels of rhythm [isochronous, dactyl (A U U), anapest (U U A), irregular]. Rhythms were designed to shift accent locations on three centrally embedded tones. Listeners were more accurate in detecting violations of higher order melodic rules when the rhythmic context induced accents on tones which instantiated these rules. Effects are discussed in terms of attentional rhythmicity.},
  number = {3},
  journaltitle = {Perception \& Psychophysics},
  shortjournal = {Perception \& Psychophysics},
  urldate = {2016-09-05},
  date = {1982},
  pages = {211-218},
  author = {Jones, Mari Riess and Boltz, Marilyn and Kidd, Gary},
  file = {D\:\\Sauve\\Zotero\\storage\\HVHIE56C\\Jones et al. - Controlled attending as a function of melodic and .pdf;D\:\\Sauve\\Zotero\\storage\\QBN8C8CJ\\BF03206225.html}
}

@article{palmerIndependentTemporalPitch1987,
  langid = {english},
  title = {Independent Temporal and Pitch Structures in Determination of Musical Phrases},
  volume = {13},
  issn = {0096-1523},
  abstract = {In two experiments we addressed the roles of temporal and pitch structures in judgments of melodic phrases. Musical excerpts were rated on how good or complete a phrase they made. In Experiment 1, trials in the temporal condition retained the original temporal pattern but were equitonal; trials in the pitch condition retained the original pitch pattern but were equitemporal; and trials in the melody condition contained both temporal and pitch patterns. In Experiment 2, one pattern (pitch or temporal) was shifted in phase and recombined with the other pattern to create the pitch and temporal conditions. In the melody condition, both patterns were shifted together. In both experiments, ratings in the temporal and pitch conditions were uncorrelated, and the melody condition ratings were accurately predicted by a linear combination of the pitch and temporal condition ratings. These results were consistent across musicians with varying levels of experience.},
  number = {1},
  journaltitle = {Journal of Experimental Psychology. Human Perception and Performance},
  shortjournal = {J Exp Psychol Hum Percept Perform},
  date = {1987-02},
  pages = {116-126},
  keywords = {Music,Pitch Discrimination,humans,Adult,Psychoacoustics,Adolescent,Set (Psychology)},
  author = {Palmer, C. and Krumhansl, C. L.},
  eprinttype = {pmid},
  eprint = {2951485}
}

@article{palmerPitchTemporalContributions1987,
  langid = {english},
  title = {Pitch and Temporal Contributions to Musical Phrase Perception: {{Effects}} of Harmony, Performance Timing, and Familiarity},
  volume = {41},
  issn = {0031-5117, 1532-5962},
  url = {http://link.springer.com/article/10.3758/BF03210485},
  doi = {10.3758/BF03210485},
  shorttitle = {Pitch and Temporal Contributions to Musical Phrase Perception},
  abstract = {Four experiments assessed pitch and temporal contributions to phrase judgments made on excerpts from classical music. In Experiment 1, pitch-condition trials retained the original pitch pattern but were equitemporal, temporal-condition trials retained the original temporal pattern but were equitonal, and combined-condition trials contained both patterns. In Experiment 2, one pattern was shifted in phase and recombined with the other pattern to create the pitch and temporal conditions; in the combined condition, both patterns were shifted together. The stimuli in Experiments 3 and 4 used durations from a recorded performance. In all experiments, a linear combination of the pitch- and temporal-condition ratings accurately predicted the combinedcondition ratings. Familiarity with the music resulted in a higher correlation between pitch- and temporal-condition ratings, but did not alter the additive relationship; performance timing had little effect.},
  number = {6},
  journaltitle = {Perception \& Psychophysics},
  shortjournal = {Perception \& Psychophysics},
  urldate = {2016-08-15},
  date = {1987},
  pages = {505-518},
  author = {Palmer, Caroline and Krumhansl, Carol L.},
  file = {D\:\\Sauve\\Zotero\\storage\\NQIUPZSU\\Palmer and Krumhansl - Pitch and temporal contributions to musical phrase.pdf;D\:\\Sauve\\Zotero\\storage\\4JRD6PSU\\BF03210485.html}
}

@software{schutteMATLABToolbosUsed2012,
  title = {{{MATLAB}} Toolbos Used to Handle {{MIDI}} Data},
  url = {http://www.kenschutte.com/midi#Files},
  urldate = {2014-12-05},
  date = {2012},
  author = {Schutte, K}
}

@article{hannonTuningMusicalRhythms2005,
  langid = {english},
  title = {Tuning in to Musical Rhythms: {{Infants}} Learn More Readily than Adults},
  volume = {102},
  issn = {0027-8424, 1091-6490},
  url = {http://www.pnas.org/content/102/35/12639},
  doi = {10.1073/pnas.0504254102},
  shorttitle = {Tuning in to Musical Rhythms},
  abstract = {Domain-general tuning processes may guide the acquisition of perceptual knowledge in infancy. Here, we demonstrate that 12-month-old infants show an adult-like, culture-specific pattern of responding to musical rhythms, in contrast to the culture-general responding that is evident at 6 months of age. Nevertheless, brief exposure to foreign music enables 12-month-olds, but not adults, to perceive rhythmic distinctions in foreign musical contexts. These findings may indicate a sensitive period early in life for acquiring rhythm in particular or socially and biologically important structures more generally.},
  number = {35},
  journaltitle = {Proceedings of the National Academy of Sciences of the United States of America},
  shortjournal = {PNAS},
  urldate = {2016-08-15},
  date = {2005-08-30},
  pages = {12639-12643},
  keywords = {Development,Learning,Perception},
  author = {Hannon, Erin E. and Trehub, Sandra E.},
  file = {D\:\\Sauve\\Zotero\\storage\\K9PUMK9H\\Hannon and Trehub - 2005 - Tuning in to musical rhythms Infants learn more r.pdf;D\:\\Sauve\\Zotero\\storage\\2XWEE7VC\\12639.html},
  eprinttype = {pmid},
  eprint = {16105946}
}

@article{pelletierEffectMusicDecreasing2004,
  langid = {english},
  title = {The Effect of Music on Decreasing Arousal Due to Stress: A Meta-Analysis},
  volume = {41},
  issn = {0022-2917},
  shorttitle = {The Effect of Music on Decreasing Arousal Due to Stress},
  abstract = {A meta-analytic review of research articles using music to decrease arousal due to stress was conducted on 22 quantitative studies. Results demonstrated that music alone and music assisted relaxation techniques significantly decreased arousal (d = +.67). Further analysis of each study revealed that the amount of stress reduction was significantly different when considering age, type of stress, music assisted relaxation technique, musical preference, previous music experience, and type of intervention. Implications and suggestions for future research are discussed.},
  number = {3},
  journaltitle = {Journal of Music Therapy},
  shortjournal = {J Music Ther},
  date = {2004},
  pages = {192-214},
  keywords = {Music,humans,Arousal,Relaxation Therapy,Stress; Psychological},
  author = {Pelletier, Cori L.},
  eprinttype = {pmid},
  eprint = {15327345}
}

@article{khalfaEffectsRelaxingMusic2003,
  langid = {english},
  title = {Effects of Relaxing Music on Salivary Cortisol Level after Psychological Stress},
  volume = {999},
  issn = {0077-8923},
  abstract = {The goal of the present study was to determine whether relaxing music (as compared to silence) might facilitate recovery from a psychologically stressful task. To this aim, changes in salivary cortisol levels were regularly monitored in 24 students before and after the Trier Social Stress Test. The data show that in the presence of music, the salivary cortisol level ceased to increase after the stressor, whereas in silence it continued to increase for 30 minutes.},
  journaltitle = {Annals of the New York Academy of Sciences},
  shortjournal = {Ann. N. Y. Acad. Sci.},
  date = {2003-11},
  pages = {374-376},
  keywords = {Music,humans,Adult,Male,emotions,Relaxation Therapy,Stress; Psychological,Anxiety,Hydrocortisone,Music therapy,Salivary Glands},
  author = {Khalfa, Stephanie and Bella, Simone Dalla and Roy, Mathieu and Peretz, Isabelle and Lupien, Sonia J.},
  eprinttype = {pmid},
  eprint = {14681158}
}

@article{pearceTwoTheoriesAttention2010,
  title = {Two Theories of Attention: {{A}} Review and a Possible Integration},
  url = {https://books.google.co.uk/books?hl=en&lr=&id=wn-hHPt_ftgC&oi=fnd&pg=PA11&dq=pearce+mackintosh+Two+theories+of+attention&ots=jxIwCgyHz0&sig=sK-nORMHOm5hWdZVodZKqhWewzU},
  shorttitle = {Two Theories of Attention},
  journaltitle = {Attention and associative learning: From brain to behaviour},
  urldate = {2016-08-12},
  date = {2010},
  pages = {11--39},
  author = {Pearce, John M. and Mackintosh, Nicholas J.},
  file = {D\:\\Sauve\\Zotero\\storage\\EA26Q8HC\\books.html}
}

@article{mackintoshTheoryAttentionVariations1975,
  title = {A Theory of Attention: {{Variations}} in the Associability of Stimuli with Reinforcement},
  volume = {82},
  issn = {1939-1471(Electronic);0033-295X(Print)},
  doi = {10.1037/h0076778},
  shorttitle = {A Theory of Attention},
  abstract = {Review of the literature indicates that, according to theories of selective attention, learning about a stimulus depends on attending to that stimulus; this is represented in 2-stage models by saying that Ss switch in analyzers as well as learning stimulus-response associations. It is argued that this assumption, however, is equally well represented in a formal model by the incorporation of a stimulus-specific learning-rate parameter, a, into the equations describing changes in the associative strength of stimuli. Previous theories of selective attention have also assumed that (a) Ss learn to attend to and ignore relevant and irrelevant stimuli (i.e., that a may increase or decrease depending on the correlation of a stimulus with reinforcement); and (b) there is an inverse relationship between the probabilities of attending to different stimuli (i.e., that an increase in a to one stimulus is accompanied by a decrease in a to others). The first assumption has been used to explain the phenomena of acquired distinctiveness and dimensional transfer, the second to explain those of overshadowing and blocking. It is argued that although the first assumption is justified by the data, the second is not: Overshadowing and blocking are better explained by the choice of an appropriate rule for changing a, such that a decreases to stimuli that signal no change from the probability of reinforcement predicted by other stimuli. (65 ref)},
  number = {4},
  journaltitle = {Psychological Review},
  date = {1975},
  pages = {276-298},
  keywords = {selective attention,*Associative Processes,*Learning Rate,*Learning Theory,*Reinforcement},
  author = {Mackintosh, N. J.}
}

@article{pearceModelPavlovianLearning1980,
  title = {A Model for {{Pavlovian}} Learning: {{Variations}} in the Effectiveness of Conditioned but Not of Unconditioned Stimuli},
  volume = {87},
  issn = {1939-1471(Electronic);0033-295X(Print)},
  doi = {10.1037/0033-295X.87.6.532},
  shorttitle = {A Model for {{Pavlovian}} Learning},
  abstract = {Part 1 of this discussion summarizes several formal models of exicitatory classical conditioning. It is suggested that a central problem for all of them is the explanation of cases in which learning does not occur in spite of the fact that the CS is a signal for the reinforcer. A new model is proposed that deals with this problem by specifying that certain procedures cause a CS to lose effectiveness; in particular, it is argued that a CS will lose associability when its consequences are accurately predicted. In contrast to other current models, the effectiveness of the reinforcer remains constant throughout conditioning. Part 2 presents a reformulation of the nature of the learning produced by inhibitory-conditioning procedures and a discussion of the way in which such learning can be accommodated within the model outlined for excitatory learning. (47 ref)},
  number = {6},
  journaltitle = {Psychological Review},
  date = {1980},
  pages = {532-552},
  keywords = {Models,*Classical Conditioning},
  author = {Pearce, John M. and Hall, Geoffrey}
}

@article{eerolaExpectancyViolationInformationTheoreticModels2016,
  title = {Expectancy-{{Violation}} and {{Information}}-{{Theoretic Models}} of {{Melodic Complexity}}},
  volume = {11},
  issn = {1559-5749},
  url = {http://emusicology.org/article/view/4836},
  doi = {10.18061/emr.v11i1.4836},
  number = {1},
  journaltitle = {Empirical Musicology Review},
  urldate = {2016-08-10},
  date = {2016-07-08},
  pages = {2-17},
  author = {Eerola, Tuomas}
}

@article{bittmanRecreationalMusicmakingAlters2013,
  title = {Recreational Music-Making Alters Gene Expression Pathways in Patients with Coronary Heart Disease},
  volume = {19},
  issn = {1234-1010},
  url = {http://www.ncbi.nlm.nih.gov/pmc/articles/PMC3628588/},
  doi = {10.12659/MSM.883807},
  abstract = {Background
Psychosocial stress profoundly impacts long-term cardiovascular health through adverse effects on sympathetic nervous system activity, endothelial dysfunction, and atherosclerotic development. Recreational Music Making (RMM) is a unique stress amelioration strategy encompassing group music-based activities that has great therapeutic potential for treating patients with stress-related cardiovascular disease.

Material/Methods
Participants (n=34) with a history of ischemic heart disease were subjected to an acute time-limited stressor, then randomized to RMM or quiet reading for one hour. Peripheral blood gene expression using GeneChip® Human Genome U133A 2.0 arrays was assessed at baseline, following stress, and after the relaxation session.

Results
Full gene set enrichment analysis identified 16 molecular pathways differentially regulated (P{$<$}0.005) during stress that function in immune response, cell mobility, and transcription. During relaxation, two pathways showed a significant change in expression in the control group, while 12 pathways governing immune function and gene expression were modulated among RMM participants. Only 13\% (2/16) of pathways showed differential expression during stress and relaxation.

Conclusions
Human stress and relaxation responses may be controlled by different molecular pathways. Relaxation through active engagement in Recreational Music Making may be more effective than quiet reading at altering gene expression and thus more clinically useful for stress amelioration.},
  journaltitle = {Medical Science Monitor : International Medical Journal of Experimental and Clinical Research},
  shortjournal = {Med Sci Monit},
  urldate = {2016-08-10},
  date = {2013-02-25},
  pages = {139-147},
  author = {Bittman, Barry and Croft, Daniel T. and Brinker, Jeannie and van Laar, Ryan and Vernalis, Marina N. and Ellsworth, Darrell L.},
  options = {useprefix=true},
  file = {D\:\\Sauve\\Zotero\\storage\\HNK2Z283\\Bittman et al. - 2013 - Recreational music-making alters gene expression p.pdf},
  eprinttype = {pmid},
  eprint = {23435350},
  pmcid = {PMC3628588}
}

@article{castillo-perezEffectsMusicTherapy2010,
  title = {Effects of Music Therapy on Depression Compared with Psychotherapy},
  volume = {37},
  issn = {0197-4556},
  url = {http://www.sciencedirect.com/science/article/pii/S0197455610000857},
  doi = {10.1016/j.aip.2010.07.001},
  abstract = {This paper reports a study testing the effects of music on depression and compares them with the effects of psychotherapy. There are mainly three conventional treatments for depression: psychotherapy, pharmaceutical treatments, and electroconvulsive therapy. Because conventional treatment has proven to be poorly successful, new means of treatment must be found that might improve depression when used together with other therapies. A randomized controlled clinical trial was performed with a convenience sample of 79 patients aged 25–60 years with low- and medium-grade depression. The Zung Depression Scale was employed for selection purposes. Patients were randomly assigned to the music-therapy group (classical and baroque music) (n = 41), or the psychotherapy group based on conductive-behavioral therapy (n = 38). The music therapy was applied for 50 min a day, every day, for eight weeks. At the end, the music-therapy group had less depressive symptoms than the psychotherapy group, and this was proven to be statistically significant with the Friedman test. We propose that patients with low- and medium-grade depression can use music to enhance the effects of psychological support.},
  number = {5},
  journaltitle = {The Arts in Psychotherapy},
  shortjournal = {The Arts in Psychotherapy},
  urldate = {2016-08-10},
  date = {2010-11},
  pages = {387-390},
  keywords = {Music therapy,Depression,Psychotherapy,Randomized controlled trial},
  author = {Castillo-Pérez, Sergio and Gómez-Pérez, Virginia and Velasco, Minerva Calvillo and Pérez-Campos, Eduardo and Mayoral, Miguel-Angel},
  file = {D\:\\Sauve\\Zotero\\storage\\S44MHFAX\\S0197455610000857.html}
}

@article{carpentierEffectsMusicPhysiological2007,
  title = {Effects of {{Music}} on {{Physiological Arousal}}: {{Explorations}} into {{Tempo}} and {{Genre}}},
  volume = {10},
  issn = {1521-3269},
  url = {http://dx.doi.org/10.1080/15213260701533045},
  doi = {10.1080/15213260701533045},
  shorttitle = {Effects of {{Music}} on {{Physiological Arousal}}},
  abstract = {Two experiments explore the validity of conceptualizing musical beats as auditory structural features and the potential for increases in tempo to lead to greater sympathetic arousal, measured using skin conductance. In the first experiment, fast- and slow-paced rock and classical music excerpts were compared to silence. As expected, skin conductance response (SCR) frequency was greater during music processing than during silence. Skin conductance level (SCL) data showed that fast-paced music elicits greater activation than slow-paced music. Genre significantly interacted with tempo in SCR frequency, with faster tempo increasing activation for classical music and decreasing it for rock music. A second experiment was conducted to explore the possibility that the presumed familiarity of the genre led to this interaction. Although further evidence was found for conceptualizing musical beat onsets as auditory structure, the familiarity explanation was not supported.},
  number = {3},
  journaltitle = {Media Psychology},
  urldate = {2016-08-03},
  date = {2007-09-28},
  pages = {339-363},
  author = {Carpentier, Francesca R. Dillman and Potter, Robert F.},
  file = {D\:\\Sauve\\Zotero\\storage\\CCR5MIVS\\15213260701533045.html}
}

@article{husainEffectsMusicalTempo2002,
  eprinttype = {jstor},
  eprint = {10.1525/mp.2002.20.2.151},
  title = {Effects of {{Musical Tempo}} and {{Mode}} on {{Arousal}}, {{Mood}}, and {{Spatial Abilities}}},
  volume = {20},
  issn = {0730-7829},
  doi = {10.1525/mp.2002.20.2.151},
  abstract = {We examined effects of tempo and mode on spatial ability, arousal, and mood. A Mozart sonata was performed by a skilled pianist and recorded as a MIDI file. The file was edited to produce four versions that varied in tempo (fast or slow) and mode (major or minor). Participants listened to a single version and completed measures of spatial ability, arousal, and mood. Performance on the spatial task was superior after listening to music at a fast rather than a slow tempo, and when the music was presented in major rather than minor mode. Tempo manipulations affected arousal but not mood, whereas mode manipulations affected mood but not arousal. Changes in arousal and mood paralleled variation on the spatial task. The findings are consistent with the view that the "Mozart effect" is a consequence of changes in arousal and mood.},
  number = {2},
  journaltitle = {Music Perception: An Interdisciplinary Journal},
  shortjournal = {Music Perception: An Interdisciplinary Journal},
  date = {2002},
  pages = {151-171},
  author = {Husain, Gabriela and Thompson, William Forde and Schellenberg, E. Glenn}
}

@article{deanTimeSeriesAnalysis2014,
  title = {Time Series Analysis of Real-Time Music Perception: Approaches to the Assessment of Individual and Expertise Differences in Perception of Expressed Affect},
  volume = {8},
  issn = {1745-9737},
  url = {http://dx.doi.org/10.1080/17459737.2014.928752},
  doi = {10.1080/17459737.2014.928752},
  shorttitle = {Time Series Analysis of Real-Time Music Perception},
  abstract = {We use time series analysis methods to detect differences between individuals and expertise groups in continuous perceptions of the arousal expressed by Wishart's electroacoustic piece Red Bird. The study is part of a project in which we characterise dynamic perception of the structure and affective expression of music. We find that individual series of perceptions of expressed arousal often show considerable periods of stasis. This may challenge conventional time series methodologies, so we test their validity by application of a general linear autoregressive moving average (GLARMA) approach, which supports it. Acoustic intensity is a dominant predictor of perceived arousal in this piece. We show that responses are time-variant and that animate sounds influence the conditional variance of perceived arousal. Using vector autoregression and cross-sectional time series analysis (which preserves the integrity of each individual response series), we find differences between musical expertise groups (non-musicians, musicians, and electroacoustic musicians). Individual differences within each group are greater than those between expertise groups. The companion paper applies the developed methods to all four pieces in our overall project (Dean, R.T., F. Bailes, and W.T.M. Dunsmuir. 2014. “Shared and Distinct Mechanisms of Individual and Expertise-Group Perception of Expressed Arousal in Four Works.” Journal of Mathematics and Music 8 (3): 207–223). An Online Supplement is available at http://dx.doi.org/10.1080/17459737.2014.928752.},
  number = {3},
  journaltitle = {Journal of Mathematics and Music},
  urldate = {2016-08-03},
  date = {2014-09-02},
  pages = {183-205},
  author = {Dean, Roger T. and Bailes, Freya and Dunsmuir, William T. M.},
  file = {D\:\\Sauve\\Zotero\\storage\\4J4892S8\\17459737.2014.html}
}

@article{thompsonSeeingMusicPerformance2005,
  title = {Seeing Music Performance: {{Visual}} Inﬂuences on Perception and Experience},
  volume = {2005},
  issn = {1613-3692},
  url = {http://www.degruyter.com/view/j/semi.2005.2005.issue-156/semi.2005.2005.156.203/semi.2005.2005.156.203.xml},
  doi = {10.1515/semi.2005.2005.156.203},
  shorttitle = {Seeing Music Performance},
  abstract = {Drawing from ethnographic, empirical, and historical / cultural perspectives, we examine the extent to which visual aspects of music contribute to the communication that takes place between performers and their listeners. First, we introduce a framework for understanding how media and genres shape aural and visual experiences of music. Second, we present case studies of two performances, and describe the relation between visual and aural aspects of performance. Third, we report empirical evidence that visual aspects of performance reliably inﬂuence perceptions of musical structure (pitch related features) and affective interpretations of music. Finally, we trace new and old media trajectories of aural and visual dimensions of music, and highlight how our conceptions, perceptions and appreciation of music are intertwined with technological innovation and media deployment strategies.},
  number = {156},
  journaltitle = {Semiotica},
  urldate = {2016-08-02},
  date = {2005},
  pages = {203--227},
  author = {Thompson, William Forde and Graham, Phil and Russo, Frank A.}
}

@article{vinesCrossmodalInteractionsPerception2006,
  title = {Cross-Modal Interactions in the Perception of Musical Performance},
  volume = {101},
  issn = {0010-0277},
  url = {http://www.sciencedirect.com/science/article/pii/S0010027705001538},
  doi = {10.1016/j.cognition.2005.09.003},
  abstract = {We investigate the dynamics of sensory integration for perceiving musical performance, a complex natural behavior. Thirty musically trained participants saw, heard, or both saw and heard, performances by two clarinetists. All participants used a sliding potentiometer to make continuous judgments of tension (a measure correlated with emotional response) and continuous judgments of phrasing (a measure correlated with perceived musical structure) as performances were presented. The data analysis sought to reveal relations between the sensory modalities (vision and audition) and to quantify the effect of seeing the performances on participants' overall subjective experience of the music. In addition to traditional statistics, functional data analysis techniques were employed to analyze time-varying aspects of the data. The auditory and visual channels were found to convey similar experiences of phrasing but different experiences of tension through much of the performances. We found that visual information served both to augment and to reduce the experience of tension at different points in the musical piece (as revealed by functional linear modeling and functional significance testing). In addition, the musicians' movements served to extend the sense of phrasing, to cue the beginning of new phrases, to indicate musical interpretation, and to anticipate changes in emotional content. Evidence for an interaction effect suggests that there may exist an emergent quality when musical performances are both seen and heard. The investigation augments knowledge of human communicative processes spanning language and music, and involving multiple modalities of emotion and information transfer.},
  number = {1},
  journaltitle = {Cognition},
  shortjournal = {Cognition},
  urldate = {2016-08-02},
  date = {2006-08},
  pages = {80-113},
  keywords = {emotion,music cognition,Cross-modal interactions,Gesture},
  author = {Vines, Bradley W. and Krumhansl, Carol L. and Wanderley, Marcelo M. and Levitin, Daniel J.},
  file = {D\:\\Sauve\\Zotero\\storage\\EJSPTNTH\\S0010027705001538.html}
}

@article{trainorComparisonInfantsAdults1992,
  title = {A Comparison of Infants' and Adults' Sensitivity to {{Western}} Musical Structure},
  volume = {18},
  issn = {1939-1277(Electronic);0096-1523(Print)},
  doi = {10.1037/0096-1523.18.2.394},
  abstract = {28 adults and 48 8-mo-old infants listened to repeated transpositions of a 10-note melody exemplifying the rules of Western tonal music. They were tested for their detection of 2 types of changes to that melody: (1) a 4-semitone change in 1 note that remained within the key and implied dominant harmony (diatonic change) or (2) a 1-semitone change in the same note that went outside the key (nondiatonic change). Adults easily detected the nondiatonic change but had difficulty with the diatonic change. Infants detected both changes equally well, performing better than adults in some circumstances. These findings imply that there are qualitative differences in infants' and adults' processing of musical information.},
  number = {2},
  journaltitle = {Journal of Experimental Psychology: Human Perception and Performance},
  date = {1992},
  pages = {394-402},
  keywords = {Age Differences,Cognitive Processes,*Music,*Auditory Perception,*Familiarity},
  author = {Trainor, Laurel J. and Trehub, Sandra E.}
}

@article{balkwillCrossCulturalInvestigationPerception1999,
  langid = {english},
  title = {A {{Cross}}-{{Cultural Investigation}} of the {{Perception}} of {{Emotion}} in {{Music}}: {{Psychophysical}} and {{Cultural Cues}}},
  volume = {17},
  issn = {0730-7829, 1533-8312},
  url = {http://mp.ucpress.edu/content/17/1/43},
  doi = {10.2307/40285811},
  shorttitle = {A {{Cross}}-{{Cultural Investigation}} of the {{Perception}} of {{Emotion}} in {{Music}}},
  abstract = {Studies of the link between music and emotion have primarily focused on listeners' sensitivity to emotion in the music of their own culture. This sensitivity may reflect listeners' enculturation to the conventions of their culture's tonal system. However, it may also reflect responses to psychophysical dimensions of sound that are independent of musical experience. A model of listeners' perception of emotion in music is proposed in which emotion in music is communicated through a combination of universal and cultural cues. Listeners may rely on either of these cues, or both, to arrive at an understanding of musically expressed emotion. The current study addressed the hypotheses derived from this model using a cross-cultural approach. The following questions were investigated: Can people identify the intended emotion in music from an unfamiliar tonal system? If they can, is their sensitivity to intended emotions associated with perceived changes in psychophysical dimensions of music? Thirty Western listeners rated the degree of joy, sadness, anger, and peace in 12 Hindustani raga excerpts (field recordings obtained in North India). In accordance with the raga-rasa system, each excerpt was intended to convey one of the four moods or "rasas" that corresponded to the four emotions rated by listeners. Listeners also provided ratings of four psychophysical variables: tempo, rhythmic complexity, melodic complexity, and pitch range. Listeners were sensitive to the intended emotion in ragas when that emotion was joy, sadness, or anger. Judgments of emotion were significantly related to judgments of psychophysical dimensions, and, in some cases, to instrument timbre. The findings suggest that listeners are sensitive to musically expressed emotion in an unfamiliar tonal system, and that this sensitivity is facilitated by psychophysical cues.},
  number = {1},
  journaltitle = {Music Perception: An Interdisciplinary Journal},
  urldate = {2016-08-02},
  date = {1999-10-01},
  pages = {43-64},
  author = {Balkwill, Laura-Lee and Thompson, William Forde},
  file = {D\:\\Sauve\\Zotero\\storage\\BAQYLGMJ\\Balkwill and Thompson - 1999 - A cross-cultural investigation of the perception o.pdf;D\:\\Sauve\\Zotero\\storage\\F8YMIABN\\43.html;D\:\\Sauve\\Zotero\\storage\\WWFS9MB5\\43.html}
}

@article{cirelliMeasuringNeuralEntrainment2016,
  title = {Measuring {{Neural Entrainment}} to {{Beat}} and {{Meter}} in {{Infants}}: {{Effects}} of {{Music Background}}},
  url = {http://journal.frontiersin.org/article/10.3389/fnins.2016.00229/full},
  doi = {10.3389/fnins.2016.00229},
  shorttitle = {Measuring {{Neural Entrainment}} to {{Beat}} and {{Meter}} in {{Infants}}},
  abstract = {Caregivers often engage in musical interactions with their infants. For example, parents across cultures sing lullabies and playsongs to their infants from birth. Behavioral studies indicate that infants not only extract beat information, but also group these beats into metrical hierarchies by as early as 6 months of age. However, it is not known how this is accomplished in the infant brain. An EEG frequency-tagging approach has been used successfully with adults to measure neural entrainment to auditory rhythms. The current study is the first to use this technique with infants in order to investigate how infants' brains encode rhythms. Furthermore, we examine how infant and parent music background is associated with individual differences in rhythm encoding. In Experiment 1, EEG was recorded while 7-month-old infants listened to an ambiguous rhythmic pattern that could be perceived to be in two different meters. In Experiment 2, EEG was recorded while 15-month-old infants listened to a rhythmic pattern with an unambiguous meter. In both age groups, information about music background (parent music training, infant music classes, hours of music listening) was collected. Both age groups showed clear EEG responses frequency-locked to the rhythms, at frequencies corresponding to both beat and meter. For the younger infants (Experiment 1), the amplitudes at duple meter frequencies were selectively enhanced for infants enrolled in music classes compared to those who had not engaged in such classes. For the older infants (Experiment 2), amplitudes at beat and meter frequencies were larger for infants with musically-trained compared to musically-untrained parents. These results suggest that the frequency-tagging method is sensitive to individual differences in beat and meter processing in infancy and could be used to track developmental changes.},
  journaltitle = {Auditory Cognitive Neuroscience},
  shortjournal = {Front. Neurosci},
  urldate = {2016-08-02},
  date = {2016},
  pages = {229},
  keywords = {Music,Rhythm,electroencephalography,meter,frequency-tagging,infancy,neural entrainment,steady-state evoked potentials},
  author = {Cirelli, Laura K. and Spinelli, Christina and Nozaradan, Sylvie and Trainor, Laurel J.}
}

@article{leechInformationalFactorsIdentifying2009,
  title = {Informational Factors in Identifying Environmental Sounds in Natural Auditory Scenes},
  volume = {126},
  issn = {0001-4966},
  url = {http://scitation.aip.org/content/asa/journal/jasa/126/6/10.1121/1.3238160},
  doi = {10.1121/1.3238160},
  abstract = {In a non-linguistic analog of the “cocktail-party” scenario, informational and contextual factors were found to affect the recognition of everyday environmental sounds embedded in naturalistic auditory scenes. Short environmental sound targets were presented in a dichotic background scene composed of either a single stereo background scene or a composite background scene created by playing different background scenes to the different ears. The side of presentation, time of onset, and number of target sounds were varied across trials to increase the uncertainty for the participant. Half the sounds were contextually congruent with the background sound (i.e., consistent with the meaningful real-world sound environment represented in the auditory scene) and half were incongruent. The presence of a single competing background scene decreased identification accuracy, suggesting an informational masking effect. In tandem, there was a contextual pop-out effect, with contextually incongruent sounds identified more accurately. However, when targets were incongruent with the real-world context of the background scene, informational masking was reduced. Acoustic analyses suggested that this contextual pop-out effect was driven by a mixture of perceptual differences between the target and background, as well as by higher-level cognitive factors. These findings indicate that identification of environmental sounds in naturalistic backgrounds is an active process that requires integrating perceptual, attentional, and cognitive resources.},
  number = {6},
  journaltitle = {The Journal of the Acoustical Society of America},
  urldate = {2016-07-19},
  date = {2009-12-01},
  pages = {3147-3155},
  keywords = {acoustics,Acoustic sensing,Acoustic source localization,Acoustical effects,Acoustical measurements},
  author = {Leech, Robert and Gygi, Brian and Aydelott, Jennifer and Dick, Frederic},
  file = {D\:\\Sauve\\Zotero\\storage\\XZ87F37T\\Leech et al. - 2009 - Informational factors in identifying environmental.pdf;D\:\\Sauve\\Zotero\\storage\\NA365JNE\\1.html}
}

@article{micheylInfluenceMusicalPsychoacoustical2006,
  title = {Influence of Musical and Psychoacoustical Training on Pitch Discrimination},
  volume = {219},
  issn = {0378-5955},
  url = {http://www.sciencedirect.com/science/article/pii/S037859550600133X},
  doi = {10.1016/j.heares.2006.05.004},
  abstract = {This study compared the influence of musical and psychoacoustical training on auditory pitch discrimination abilities. In a first experiment, pitch discrimination thresholds for pure and complex tones were measured in 30 classical musicians and 30 non-musicians, none of whom had prior psychoacoustical training. The non-musicians’ mean thresholds were more than six times larger than those of the classical musicians initially, and still about four times larger after 2 h of training using an adaptive two-interval forced-choice procedure; this difference is two to three times larger than suggested by previous studies. The musicians’ thresholds were close to those measured in earlier psychoacoustical studies using highly trained listeners, and showed little improvement with training; this suggests that classical musical training can lead to optimal or nearly optimal pitch discrimination performance. A second experiment was performed to determine how much additional training was required for the non-musicians to obtain thresholds as low as those of the classical musicians from experiment 1. Eight new non-musicians with no prior training practiced the frequency discrimination task for a total of 14 h. It took between 4 and 8 h of training for their thresholds to become as small as those measured in the classical musicians from experiment 1. These findings supplement and qualify earlier data in the literature regarding the respective influence of musical and psychoacoustical training on pitch discrimination performance.},
  number = {1–2},
  journaltitle = {Hearing Research},
  shortjournal = {Hearing Research},
  urldate = {2016-07-19},
  date = {2006-09},
  pages = {36-47},
  keywords = {Musicians,pitch,Auditory training,Frequency discrimination,Perceptual learning},
  author = {Micheyl, Christophe and Delhommeau, Karine and Perrot, Xavier and Oxenham, Andrew J.},
  file = {D\:\\Sauve\\Zotero\\storage\\UF5PTAH9\\Micheyl et al. - 2006 - Influence of musical and psychoacoustical training.pdf;D\:\\Sauve\\Zotero\\storage\\X7RSTXGH\\S037859550600133X.html}
}

@article{kishon-rabinPitchDiscriminationAre2011,
  title = {Pitch {{Discrimination}}: {{Are Professional Musicians Better}} than {{Non}}-{{Musicians}}?},
  volume = {12},
  issn = {2191-0286},
  url = {http://www.degruyter.com/view/j/jbcpp.2001.12.2/jbcpp.2001.12.2.125/jbcpp.2001.12.2.125.xml},
  doi = {10.1515/JBCPP.2001.12.2.125},
  shorttitle = {Pitch {{Discrimination}}},
  number = {2},
  journaltitle = {Journal of Basic and Clinical Physiology and Pharmacology},
  urldate = {2016-07-19},
  date = {2011},
  pages = {125--144},
  author = {Kishon-Rabin, L. and Amir, O. and Vexler, Y. and Zaltz, Y.}
}

@unpublished{knightInvestigatingRoleAuditory2016,
  venue = {{London, UK}},
  title = {Investigating the Role of Auditory and Cognitive Factors for Various Speech-Perception-in-Noise Situations in Older Listeners},
  url = {http://c4dm.eecs.qmul.ac.uk/wancm2016/WANCM_programme.pdf},
  eventtitle = {Workshop on {{Auditory Neuroscience}}, {{Cognition}} and {{Modelling}}},
  date = {2016},
  author = {Knight, Sarah and Heinrich, Antje}
}

@article{schellenbergMusicLessonsEnhance2004,
  langid = {english},
  title = {Music {{Lessons Enhance IQ}}},
  volume = {15},
  issn = {0956-7976, 1467-9280},
  url = {http://pss.sagepub.com/content/15/8/511},
  doi = {10.1111/j.0956-7976.2004.00711.x},
  abstract = {The idea that music makes you smarter has received considerable attention from scholars and the media. The present report is the first to test this hypothesis directly with random assignment of a large sample of children (N = 144) to two different types of music lessons (keyboard or voice) or to control groups that received drama lessons or no lessons. IQ was measured before and after the lessons. Compared with children in the control groups, children in the music groups exhibited greater increases in full-scale IQ. The effect was relatively small, but it generalized across IQ subtests, index scores, and a standardized measure of academic achievement. Unexpectedly, children in the drama group exhibited substantial pre- to post-test improvements in adaptive social behavior that were not evident in the music groups.},
  number = {8},
  journaltitle = {Psychological Science},
  shortjournal = {Psychological Science},
  urldate = {2016-07-19},
  date = {2004-08-01},
  pages = {511-514},
  author = {Schellenberg, E. Glenn},
  file = {D\:\\Sauve\\Zotero\\storage\\K7VV3GNZ\\Schellenberg - 2004 - Music Lessons Enhance IQ.pdf;D\:\\Sauve\\Zotero\\storage\\X9N84K9S\\511.html},
  eprinttype = {pmid},
  eprint = {15270994}
}

@article{abioguMusicEducationYouth2015,
  title = {Music {{Education}} and {{Youth Empowerment}}: {{A Conceptual Clarification}}},
  volume = {5},
  shorttitle = {Music {{Education}} and {{Youth Empowerment}}},
  number = {1},
  journaltitle = {Open Journal of Philosophy},
  date = {2015},
  pages = {117--122},
  author = {Abiogu, G. C. and Mbaji, I. N. and Adeogun, A. O.},
  file = {D\:\\Sauve\\Zotero\\storage\\46T9EH29\\undefined.html}
}

@article{kunertIndependentPsychometricEvaluation2016,
  title = {An {{Independent Psychometric Evaluation}} of the {{PROMS Measure}} of {{Music Perception Skills}}},
  volume = {11},
  issn = {1932-6203},
  url = {http://journals.plos.org/plosone/article?id=10.1371/journal.pone.0159103},
  doi = {10.1371/journal.pone.0159103},
  abstract = {The Profile of Music Perception Skills (PROMS) is a recently developed measure of perceptual music skills which has been shown to have promising psychometric properties. In this paper we extend the evaluation of its brief version to three kinds of validity using an individual difference approach. The brief PROMS displays good discriminant validity with working memory, given that it does not correlate with backward digit span ( r  = .04). Moreover, it shows promising criterion validity (association with musical training ( r  = .45), musicianship status ( r  = .48), and self-rated musical talent ( r  = .51)). Finally, its convergent validity, i.e. relation to an unrelated measure of music perception skills, was assessed by correlating the brief PROMS to harmonic closure judgment accuracy. Two independent samples point to good convergent validity of the brief PROMS ( r  = .36;  r  = .40). The same association is still significant in one of the samples when including self-reported music skill in a partial correlation ( r  partial  = .30;  r  partial  = .17). Overall, the results show that the brief version of the PROMS displays a very good pattern of construct validity. Especially its tuning subtest stands out as a valuable part for music skill evaluations in Western samples. We conclude by briefly discussing the choice faced by music cognition researchers between different musical aptitude measures of which the brief PROMS is a well evaluated example.},
  number = {7},
  journaltitle = {PLOS ONE},
  shortjournal = {PLOS ONE},
  urldate = {2016-07-18},
  date = {2016-07-11},
  pages = {e0159103},
  keywords = {Attention,music perception,Memory,psychometrics,music cognition,Working memory,Aptitude tests,Long-term memory},
  author = {Kunert, Richard and Willems, Roel M. and Hagoort, Peter},
  file = {D\:\\Sauve\\Zotero\\storage\\3Z7UAGJA\\Kunert et al. - 2016 - An Independent Psychometric Evaluation of the PROM.pdf;D\:\\Sauve\\Zotero\\storage\\9SDHB65P\\article.html}
}

@article{lawAssessingMusicalAbilities2012,
  title = {Assessing {{Musical Abilities Objectively}}: {{Construction}} and {{Validation}} of the {{Profile}} of {{Music Perception Skills}}},
  volume = {7},
  issn = {1932-6203},
  url = {http://www.ncbi.nlm.nih.gov/pmc/articles/PMC3532219/},
  doi = {10.1371/journal.pone.0052508},
  shorttitle = {Assessing {{Musical Abilities Objectively}}},
  abstract = {A common approach for determining musical competence is to rely on information about individuals’ extent of musical training, but relying on musicianship status fails to identify musically untrained individuals with musical skill, as well as those who, despite extensive musical training, may not be as skilled. To counteract this limitation, we developed a new test battery (Profile of Music Perception Skills; PROMS) that measures perceptual musical skills across multiple domains: tonal (melody, pitch), qualitative (timbre, tuning), temporal (rhythm, rhythm-to-melody, accent, tempo), and dynamic (loudness). The PROMS has satisfactory psychometric properties for the composite score (internal consistency and test-retest r{$>$}.85) and fair to good coefficients for the individual subtests (.56 to.85). Convergent validity was established with the relevant dimensions of Gordon’s Advanced Measures of Music Audiation and Musical Aptitude Profile (melody, rhythm, tempo), the Musical Ear Test (rhythm), and sample instrumental sounds (timbre). Criterion validity was evidenced by consistently sizeable and significant relationships between test performance and external musical proficiency indicators in all three studies (.38 to.62, p{$<$}.05 to p{$<$}.01). An absence of correlations between test scores and a nonmusical auditory discrimination task supports the battery’s discriminant validity (−.05, ns). The interrelationships among the various subtests could be accounted for by two higher order factors, sequential and sensory music processing. A brief version of the full PROMS is introduced as a time-efficient approximation of the full version of the battery.},
  number = {12},
  journaltitle = {PLoS ONE},
  shortjournal = {PLoS One},
  urldate = {2016-07-18},
  date = {2012-12-28},
  author = {Law, Lily N. C. and Zentner, Marcel},
  file = {D\:\\Sauve\\Zotero\\storage\\4TT7E94S\\Law and Zentner - 2012 - Assessing Musical Abilities Objectively Construct.pdf},
  eprinttype = {pmid},
  eprint = {23285071},
  pmcid = {PMC3532219}
}

@article{meredithPs13PitchSpelling2006,
  title = {The Ps13 Pitch Spelling Algorithm},
  volume = {35},
  issn = {0929-8215},
  url = {http://dx.doi.org/10.1080/09298210600834961},
  doi = {10.1080/09298210600834961},
  abstract = {In the ps13 pitch spelling algorithm, the pitch name of a note is assumed to depend on the local key and voice-leading. In the first stage of ps13, the pitch name implied for a note by a tonic is assumed to be the one that lies closest to that tonic on the line of fifths. The strength with which a pitch name is implied for a note is assumed to be proportional to the sum of the frequencies of occurrence, within a context around the note, of the tonics that imply that pitch name. In the second stage of ps13, certain neighbour-note and passing-note errors in the output of the first stage are corrected. An implementation of ps13, called PS13, spelt correctly 99.31\% of the notes in a 195972 note test corpus, . A post-processing phase was added to PS13 in which the pitch names computed by PS13 are transposed by a diminished second if this brings them closer on the line of fifths to the pitch names of the notes in their vicinity. This version of the algorithm spelt 99.43\% of the notes in correctly. When the second stage was removed altogether from PS13, 99.44\% of the notes in were spelt correctly. The ps13-based algorithms achieved higher note accuracies than the algorithms of Temperley, Longuet-Higgins, Cambouropoulos and Chew and Chen on both and a “noisy” version of containing temporal deviations similar to those that occur in MIDI files derived from human performances.},
  number = {2},
  journaltitle = {Journal of New Music Research},
  urldate = {2016-07-17},
  date = {2006-06-01},
  pages = {121-159},
  author = {Meredith, David},
  file = {D\:\\Sauve\\Zotero\\storage\\HQ5DNTTQ\\09298210600834961.html}
}

@article{bassSuppressionAuditoryN12008,
  langid = {english},
  title = {Suppression of the Auditory {{N1}} Event-Related Potential Component with Unpredictable Self-Initiated Tones: Evidence for Internal Forward Models with Dynamic Stimulation},
  volume = {70},
  issn = {0167-8760},
  doi = {10.1016/j.ijpsycho.2008.06.005},
  shorttitle = {Suppression of the Auditory {{N1}} Event-Related Potential Component with Unpredictable Self-Initiated Tones},
  abstract = {Internally operating forward model mechanisms enable the organism to discriminate the sensory consequences of one's own actions from other sensory events. The present event-related potential (ERP) study compared the processing of self-initiated tones with the processing of externally-initiated but otherwise identical tones. In different conditions, frequency and onset of the sound were either predictable or unpredictable. The amplitudes of the N1 component of the ERP for the self-initiated relative to the ones for externally-initiated sounds were significantly attenuated even when the particular frequency or sound onset could not be predicted by the subject. These results support internal forward model mechanisms which dynamically predict the sensorial consequences of ones own motor acts even in face of uncertainties with respect to the frequency of the sound and its onset. Moreover, the attenuation effect was reduced when the frequency was unpredictable suggesting that it is easier to discriminate a self-initiated sound with exact foreknowledge.},
  number = {2},
  journaltitle = {International Journal of Psychophysiology: Official Journal

repository: sarahsauve/Entropy-Learning-Atonal

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repo_name: sarahsauve/Entropy-Learning-Atonal

branch_name: refs/heads/master

extension: bib