Figure 1. Flow diagram of literature research (PRISMA 2020). More

Figure 2. Model of categories of listening modes within an acoustic environment. More

Figure 3. Model of categories of listening modes within the frame of a concert. More

Figure 4. Model of categories of listening modes within the frame of a concert, with an example of the effect of the frame on the listening mode. More

Figure 1 Sample music notation of rhythmic stimuli. A) rhythmical pattern in legato; B) rhythmical pattern in staccato. More

Figure 2 Boxplots showing overall reproduction (s) for each type of interval (Empty, Full, Legato, Staccato) in different stimulus duration (2, 2.5, 2.75, and 3 s). There was a significant difference (marked as * p < .001 except Full-Staccato, which was p < .01) between the pairs: Empty-F... More

Figure 3 Boxplots showing overall reproduction (s) for two versions (low pitch and high pitch: 261.63 and 523.25 Hz) in different stimulus duration (2, 2.5, 2.75, and 3 s), There was a significant difference (marked as * p < .001) between the two tone pitches in Tukey’s post hoc test in all st... More

Figure 4 Values of reaction time (RT, s) each type of interval (Empty, Full, Legato, Staccato) and stimulus duration (2, 2.5, 2.75, and 3 s).The conditional R 2 (variance explained by both fixed and random effects) was .314 and marginal R 2 was .072 (variance explained only by fixed effects). More

Figure 1. Examples of networks. Panel A: Two documents yield two separate networks each with three nodes and three edges. Panel B: Visualization of a combined network of five nodes and six edges from the two documents. “Oboe” is the most central node in this network based on metrics of degree, bet... More

Figure 2. Scatterplot of log-scaled betweenness centrality values of expressive qualities of “eerie” (gespenstisch) and “uncanny” (unheimlich) music. Codes closer to the solid regression line overlap between “eerie” (gespenstisch) and “uncanny” (unheimlich) music. Codes outside the 95% confidence ... More

Figure 3. Scatterplot of log-scaled betweenness centrality values of sound descriptions and two classifications of technical features of “eerie” (gespenstisch) and “uncanny” (unheimlich) music. The broad classification scheme is shown in dark grey, the fine-grained classification scheme is shown i... More

Figure 1. Screenshot of the main experimental task as presented to participants. Each page contained three tasks corresponding to the three different test chords. More

Figure 2. Mean ratings grouped by the type of chord, condition, and by whether the songs were presented first in the one-chord condition or the all-chords condition. The error bars indicate halved standard deviations. The asterisk marks the statistically significant difference between the 1 st an... More

Figure 3. Interpretation of the four components in terms of veridical, schematic, general and specialized knowledge of harmony. The black text indicates variables with the strongest relations to the dimensions. More

Figure 4. AUCs for one-chord and all-chords condition. Error bars indicate halved standard deviations. More

Figure 5. Mean ratings grouped by type of chord, condition, and whether participants had heard the song before the experiment. Error bars indicate halved standard deviations More