| EMBODIED LISTENING AND TIMBRE: PERCEPTUAL, ACOUSTICAL, AND NEURAL CORRELATES |
7 |
| RHYTHMIC PROTOTYPES ACROSS CULTURES: A COMPARATIVE STUDY OF TAPPING SYNCHRONIZATION |
6 |
| A SINGLE ITEM MEASURE FOR IDENTIFYING MUSICIAN AND NONMUSICIAN CATEGORIES BASED ON MEASURES OF MUSICAL SOPHISTICATION |
5 |
| A PSYCHOCULTURAL THEORY OF MUSICAL INTERVAL: BYE BYE PYTHAGORAS |
4 |
| DEVELOPMENTAL LINKS BETWEEN SPEECH PERCEPTION IN NOISE, SINGING, AND CORTICAL PROCESSING OF MUSIC IN CHILDREN WITH COCHLEAR IMPLANTS |
4 |
| A PERCEPTUAL STUDY OF SCALE-DEGREE QUALIA IN CONTEXT |
4 |
| LISTENER EXPERTISE ENHANCES INTELLIGIBILITY OF VOCALIZATIONS IN DEATH METAL MUSIC |
3 |
| MUSICAL ACTIVITY AND WELL-BEING: A NEW QUANTITATIVE MEASUREMENT INSTRUMENT |
3 |
| ENJOY THE VIOLENCE: IS APPRECIATION FOR EXTREME MUSIC THE RESULT OF COGNITIVE CONTROL OVER THE THREAT RESPONSE SYSTEM? |
3 |
| MICROTIMING AND MENTAL EFFORT: ONSET ASYNCHRONIES IN MUSICAL RHYTHM MODULATE PUPIL SIZE |
2 |
| PSYCHOPHYSIOLOGICAL RESPONSES TO HAPPY'' AND SAD'' MUSIC: A REPLICATION STUDY |
2 |
| AVERAGE PITCH HEIGHT AND PERCEIVED EMOTIONAL EXPRESSION WITHIN AN UNCONVENTIONAL TUNING SYSTEM |
2 |
| DECONSTRUCTING THE NPVI: A METHODOLOGICAL CRITIQUE OF THE NORMALIZED PAIRWISE VARIABILITY INDEX AS APPLIED TO MUSIC |
2 |
| ABSOLUTE PITCH AND RELATIVE PITCH IN MUSIC STUDENTS IN THE EAST AND THE WEST: IMPLICATIONS FOR AURAL-SKILLS EDUCATION |
2 |
| CHALLENGES AND OPPORTUNITIES OF PREDICTING MUSICAL EMOTIONS WITH PERCEPTUAL AND AUTOMATIZED FEATURES |
2 |
| MUSEBAQ: A MODULAR TOOL FOR MUSIC RESEARCH TO ASSESS MUSICIANSHIP, MUSICAL CAPACITY, MUSIC PREFERENCES, AND MOTIVATIONS FOR MUSIC USE |
2 |
| THE RELATIVE IMPORTANCE OF AURAL AND VISUAL INFORMATION IN THE EVALUATION OF WESTERN CANON MUSIC PERFORMANCE BY MUSICIANS AND NONMUSICIANS |
2 |
| ARE MUSICAL AUTOBIOGRAPHICAL MEMORIES SPECIAL? IT AIN'T NECESSARILY SO |
2 |
| SHORT-TERM RECOGNITION OF TIMBRE SEQUENCES: MUSIC TRAINING, PITCH VARIABILITY, AND TIMBRAL SIMILARITY |
2 |
| DID YOU HEAR THE VOCALIST? DIFFERENCES IN PROCESSING BETWEEN SHORT SEGMENTS OF FAMILIAR AND UNFAMILIAR MUSIC |
1 |
| THE LONE INSTRUMENT: MUSICAL SOLOS AND SADNESS-RELATED FEATURES |
1 |
| ELECTROPHYSIOLOGICAL CORRELATES OF KEY AND HARMONY PROCESSING IN 3-YEAR-OLD CHILDREN |
1 |
| MOVING TO COMMUNICATE, MOVING TO INTERACT: PATTERNS OF BODY MOTION IN MUSICAL DUO PERFORMANCE |
1 |
| ACOUSTICALLY EXPRESSING AFFECT |
1 |
| VOWEL CONTENT INFLUENCES RELATIVE PITCH PERCEPTION IN VOCAL MELODIES |
1 |
| DISTORTION AND ROCK GUITAR HARMONY: THE INFLUENCE OF DISTORTION LEVEL AND STRUCTURAL COMPLEXITY ON ACOUSTIC FEATURES AND PERCEIVED PLEASANTNESS OF GUITAR CHORDS |
1 |
| ANTICIPATORY SYNCOPATION IN ROCK: A CORPUS STUDY |
1 |
| TONE PROFILES OF ISOLATED MUSICAL CHORDS: PSYCHOACOUSTIC VERSUS COGNITIVE MODELS |
1 |
| PLEASANT MUSICAL IMAGERY: ELICITING CHERISHED MUSIC IN THE SECOND PERSON |
1 |
| ACTIVITY ANALYSIS AND COORDINATION IN CONTINUOUS RESPONSES TO MUSIC |
1 |
| DISTORTION AND WESTERN MUSIC CHORD PROCESSING: AN ERP STUDY OF MUSICIANS AND NONMUSICIANS |
1 |
| EXPRESSIVENESS IN MUSIC FROM A MULTIMODAL PERSPECTIVE |
1 |
| TIME DILATION CAUSED BY ODDBALL SERIAL POSITION AND PITCH DEVIANCY: A COMPARISON OF MUSICIANS AND NONMUSICIANS |
1 |
| HOW MUSIC MOVES US: ENTRAINING TO MUSICIANS' MOVEMENTS |
1 |
| PERFORMERS' MOTIONS REFLECT THE INTENTION TO EXPRESS SHORT OR LONG MELODIC GROUPINGS |
1 |
| THE EFFECTS OF TIMBRE ON NEURAL RESPONSES TO MUSICAL EMOTION |
0 |
| INFORMATION-THEORETIC MODELING OF PERCEIVED MUSICAL COMPLEXITY |
0 |
| PERCEPTION-BASED CLASSIFICATION OF EXPRESSIVE MUSICAL TERMS: TOWARD A PARAMETERIZATION OF MUSICAL EXPRESSIVENESS |
0 |
| TONALITY WITHOUT STRUCTURE: USING DRONES TO INDUCE MODES AND CONVEY MOODS |
0 |
| PSYCHOLOGICAL AND MUSICAL FACTORS UNDERLYING ENGAGEMENT WITH UNFAMILIAR MUSIC |
0 |
| THE DISTINCTIVENESS EFFECT IN THE RECOGNITION OF WHOLE MELODIES |
0 |
| EXAMINING THE EFFECT OF ORAL TRANSMISSION ON FOLKSONGS |
0 |
| PLAYING TOGETHER, APART: MUSICIANS' EXPERIENCES OF PHYSICAL SEPARATION IN A CLASSICAL RECORDING SESSION |
0 |
| EMPATHY, ENTRAINMENT, AND PERCEIVED INTERACTION IN COMPLEX DYADIC DANCE MOVEMENT |
0 |
| PEAK EXPERIENCES WITH ELECTRONIC DANCE MUSIC: SUBJECTIVE EXPERIENCES, PHYSIOLOGICAL RESPONSES, AND MUSICAL CHARACTERISTICS OF THE BREAK ROUTINE |
0 |
| MOTOWN, DISCO, AND DRUMMING: AN EXPLORATION OF THE RELATIONSHIP BETWEEN BEAT SALIENCE, MELODIC STRUCTURE, AND PERCEIVED TEMPO |
0 |
| A WHOLE BRAIN EEG ANALYSIS OF MUSICIANSHIP |
0 |
| EFFECTS OF MUSICAL CONTEXT ON THE RECOGNITION OF MUSICAL MOTIVES DURING LISTENING |
0 |
| ACTION-SOUND LATENCY AND THE PERCEIVED QUALITY OF DIGITAL MUSICAL INSTRUMENTS: COMPARING PROFESSIONAL PERCUSSIONISTS AND AMATEUR MUSICIANS |
0 |
| TENDENCY TOWARDS THE AVERAGE? THE AESTHETIC EVALUATION OF A QUANTITATIVELY AVERAGE MUSIC PERFORMANCE: A SUCCESSFUL REPLICATION OF REPP'S (1997) STUDY |
0 |
