...Kelly Jakubowski; Elizabeth Hellmuth Margulis; Liila Taruffi Music listening can evoke a range of extra-musical thoughts, from colors and smells to autobiographical memories and fictional stories. We investigated music-evoked thoughts as an overarching category, to examine how the music’s genre...

.... Demographic Information for Participants in the Musician Group Musicians Sex Age at testing (yrs) Age at onset of music training (yrs) Musical experience (yrs) Instruments trained M1 M 25 5 20 Piano M2 F 25 4 21 Piano M3 F 25 5 20 Piano M4 F 27 5 22 Piano M5 F...

...Adam Eric Berkowitz Artificial intelligence (AI) deployed for customer relationship management (CRM), digital rights management (DRM), content recommendation, and content generation challenge longstanding truths about listening to and making music. CRM uses music to surveil audiences, removes...

...Almudena González; Antoni Gamundi; Julián J. González Professional musicians have been teaching/learning/interpreting Western classical tonal music for longer than atonal music. This may be reflected in their brain plasticity and playing efficiency. To test this idea, EEG connectivity networks (EEG...

...Hugo Rodriguez; Pablo Arias Sarah; Clément Canonne In the psychological literature on musical humor, the emphasis on laughter-inducing music has naturally led researchers to focus on quite uncommon devices, such as stylistic deviations or formal incongruities that strongly violate listeners...

...Sara J. Philibotte; Stephen Spivack; Nathaniel H. Spilka; Ian Passman; Pascal Wallisch Music psychology has a long history, but the question of whether brief music excerpts are representative of whole songs has been largely unaddressed. Here, we explore whether preference and familiarity ratings...

...Patrik N. Juslin; Laura S. Sakka; Gonçalo T. Barradas; Olivier Lartillot Emotions have been found to play a paramount role in both everyday music experiences and health applications of music, but the applicability of musical emotions depends on: 1) which emotions music can induce, 2) how it induces...

...Kathleen A. Corrigall; Barbara Tillmann; E. Glenn Schellenberg We used implicit and explicit tasks to measure knowledge of Western harmony in musically trained and untrained Canadian children. Younger children were 6–7 years of age; older children were 10–11. On each trial, participants heard...

... and production capacity: 1) expertise : music or dance, 2) training style : percussive or nonpercussive, 3) stimulus modality : auditory or visual, and 4) movement type : finger-tap or whole-body bounce. Experiment 1 examined how expertise and training style influenced beat perception and production performance...

...Laure-Hélène Canette; Philippe Lalitte; Barbara Tillmann; Emmanuel Bigand Conceptual priming studies have shown that listening to musical primes triggers semantic activation. The present study further investigated with a free semantic evocation task, 1) how rhythmic vs. textural structures affect...

...J. Devin McAuley; Patrick C. M. Wong; Lucas Bellaiche; Elizabeth Hellmuth Margulis Although people across multiple cultures have been shown to experience music narratively, it has proven difficult to disentangle whether narrative dimensions of music derive from learned extramusical associations...

...Mathilde Cabon; Anais Le Fur-Bonnabesse; Steeve Genestet; Bertrand Quinio; Laurent Misery; Alain Woda; Céline Bodéré Passive music listening has shown its capacity to soothe pain in several clinical and experimental studies. This phenomenon—known as music-induced analgesia—could partly be explained...

...Amy M. Belfi; Elena Bai; Ava Stroud The study of music-evoked autobiographical memories (MEAMs) has grown substantially in recent years. Prior work has used various methods to compare MEAMs to memories evoked by other cues (e.g., images, words). Here, we sought to identify which methods could...

... Trehub; Michael Veal; Melanie Wald-Fuhrmann Many foundational questions in the psychology of music require cross-cultural approaches, yet the vast majority of work in the field to date has been conducted with Western participants and Western music. For cross-cultural research to thrive, it will require...

...Lindsay A. Warrenburg When designing a new study regarding how music can portray and elicit emotion, one of the most crucial design decisions involves choosing the best stimuli. Every researcher must find musical samples that are able to capture an emotional state, are appropriate lengths, and have...

...Rosalie Ollivier; Louise Goupil; Marco Liuni; Jean-Julien Aucouturier T raditional neurobiological theories of musical emotions explain well why extreme music such as punk, hardcore, or metal—whose vocal and instrumental characteristics share much similarity with acoustic threat signals—should...

...Douglas A. Kowalewski; Ronald S. Friedman; Stan Zavoyskiy; W. Trammell Neill I n a recent article , B onin , T rainor , B elyk , and Andrews (2016) proposed a novel way in which basic processes of auditory perception may influence affective responses to music. According to their source dilemma...

... expressed by each variant of the hymns. In line with Juslin (2001) , results revealed that when final ritardandi were included, expressively sad music was perceived as conveying more sadness, whereas expressively tender music was perceived as conveying more tenderness. Inclusion of ritardandi did...

...Anna Wolf; Reinhard Kopiez; Friedrich Platz; Hsin-Rui Lin; Hanna Mütze T he present study has investigated the minimal-distance hypothesis in music ( Langlois & Roggman, 1990 ; Repp, 1997 ) by replicating Repp's original study (1997) on the aesthetic quality of an averaged performance—compared...

...Andrea R. Halpern; Jennifer M. Talarico; Nura Gouda; Victoria J. Williamson We compared young adults’ autobiographical (AB) memories involving Music to memories concerning other specific categories and to Everyday AB memories with no specific cue. In all cases, participants reported both their most...