Figure 1: The experimental design and notated examples of the neutral, tension, and tension resolution conditions used in the experiment. A) An illustration of the experimental design throughout the learning and memory phases. B) A notated example of the three musical conditions utilized in the en... More about this image found in The experimental design and notated examples of the neutral, tension, and t...

Figure 2: Subjective felt-tension ratings and eye-tracking pupil dilation results. A) Mean ratings of felt-tension (1–5) for tense and neutral excerpts that were presented following the main experiment. B) Mean ratings of felt-tension divided by perceivers and non-perceivers of tension. C) Pupil D... More about this image found in Subjective felt-tension ratings and eye-tracking pupil dilation results. A)...

Figure 3: Memory performance. A) Mean memory performance scores (d’) for spoken words presented during the different musical conditions. B) Mean memory performance for words encoded during tension and neutral musical phrases separately for tension perceivers and non-perceivers. Significant Spearma... More about this image found in Memory performance. A) Mean memory performance scores (d’) for spoken words...

Figure 1. Singing accuracy and vividness of earworm scatterplots. Note: All of the associations in the above figures were predicted to be positive associations. The scale on the y -axis for all the figures is 1 = Always experiences a scenario and 5 = Never experiences a scenario . More about this image found in Singing accuracy and vividness of earworm scatterplots. Note: All of the as...

Figure 1. Application of Friedmann’s CAS and CC models ( Wallentinsen, 2017 , p. 5) More about this image found in Application of Friedmann’s CAS and CC models ( Wallentinsen, 2017 , p. 5)

Figure 2. Overview of the experimental procedure for all three experiments. For the Test Melodies column in Experiments 1 and 2, dotted red lines illustrate one possible set of differences between the test melody and the reference melody contour. For Experiment 3, all dotted blue lines are used be... More about this image found in Overview of the experimental procedure for all three experiments. For the T...

Figure 3. Results from Experiment 1. Participants were able to detect differences between the test contour and the reference contours, even with as few as one difference. More about this image found in Results from Experiment 1. Participants were able to detect differences bet...

Figure 4. The 24 reference contours used in Experiment 1, and the average hit rate for each. Note that each of the 24 contours displayed here also had an inverted version used in the experiment (48 contours total in the experiment). The varying hit rates suggest that some test contours were easier... More about this image found in The 24 reference contours used in Experiment 1, and the average hit rate fo...

Figure 5. Results from Experiment 2, predicting similarity ratings from the number of differences between the test contour and reference contour. Individual participant regression lines are shown. Generally, more differences between the test contour and the reference contour predicts lower similar... More about this image found in Results from Experiment 2, predicting similarity ratings from the number of...

Figure 6. Results from Experiment 3, predicting similarity ratings from FCM values. Individual participant regression lines are shown. Generally, higher FCM values predict higher similarity ratings. The overall mixed linear effects model is reported in the main text, which includes participant num... More about this image found in Results from Experiment 3, predicting similarity ratings from FCM values. I...

Figure 7. Results from Experiment 3, predicting similarity ratings from Average Edit Distance. Individual participant regression lines are shown. Generally, lower Average Edit Distance values predict higher similarity ratings. The overall mixed linear-effects model is reported in the main text, wh... More about this image found in Results from Experiment 3, predicting similarity ratings from Average Edit ...

Figure 1. The proposed “closed loop” of beat perception and rhythmic action (in this case, finger tapping). A) A closed loop in the absence of a pacing signal or auditory rhythm. Sensory motor feedback from tapping induces and entrains a beat, and the beat is used to time subsequent taps. B) A clo... More about this image found in The proposed “closed loop” of beat perception and rhythmic action (in this ...

Figure 2. A model of entrainment and self-entrainment. A) Description and illustration of the model. The dynamic component of the model is a single complex variable z t that oscillates with frequency ω and damping time constant τ d . Its amplitude represents the strength of the beat perce... More about this image found in A model of entrainment and self-entrainment. A) Description and illustratio...

Figure 1. Emotion classification in the associative theory of Rolls (2005) . (By permission of Oxford University Press.) More about this image found in Emotion classification in the associative theory of Rolls (2005) . (By per...

Figure 2. Russell’s Circumplex model of affect. (Reproduced from Russell, J. A. (1980). A circumplex model of affect. Journal of Personality and Social Psychology, 39 , 1161–1178. Copyright © 1980 by the American Psychological Association.) More about this image found in Russell’s Circumplex model of affect. (Reproduced from Russell, J. A. (1980...