... differences can occur between the two ( Juslin & Laukka, 2004 ). It was developed through a data-driven approach, employing emotion categories found through extended research to be relevant to music listening. These include possible “aesthetic” emotions such as “Wonder,” as well as “basic” emotions...

.... Subsequently, a conceptual model of music listening in Western classical concerts is developed on the basis of the identified categories and the Ecological Theory of Perception. In this framework, the Western classical concert is understood as a social-aesthetic event in which the experience of the audience...

... to an account of tonal aesthetics based on the biology of auditory-vocal communication. Daniel L. Bowling, Stanford University, 1201 Welch Rd. MSLS P-106, Mail core 5485, Stanford, CA 94306. E-mail: [email protected] 15 12 2020 16 12 2020 © 2021 by The Regents of the University...

... of attention to competing perceptual targets, and has long been exploited in studies examining knowledge in infants ( Colombo & Mitchell, 2009 ; Oakes, 2010 ), even though it has not been utilized extensively in studies of aesthetic judgments or stimulus preference. Early experiments that examined...

... and culture (nature and nurture) interact to shape how we experience music, and theories that neglect the former do so at their peril. Received: March 7, 2017, accepted July 17, 2017. Key words: aesthetics, psychoacoustics, neurobiology, culture, evolution T HE ORIGINS OF MUSICAL TONALITY HAVEbeen debated...

...-mail: [email protected] 22 9 2016 24 2 2017 © 2017 by The Regents of the University of California 2017 aesthetics individual differences explicit information music performance judgments and preferences THE REPEATED RECORDING ILLUSION: THE EFFECTS OF EXTRINSIC...