Can an expert musical ear develop from passive listening to music?;L'oreille musicale experte peut-elle se développer par l'écoute passive de la musique?

Revue de Neuropsychologie

Volumn 14, Issue 1-2, 2004, Pages 191-221

  Bigand, Emmanuel ^a  

^a UNIVERSITÉ DE BOURGOGNE   (France)

Author keywords

Expertise; Implicit learning; Musical cognition and emotion; Musicians; Nonmusicians

Indexed keywords

ARTICLE; HEARING; HUMAN; LEARNING; MUSIC; MUSICIAN; PERCEPTION; TRAINING;

EID: 4243152867     PISSN: 11554452     EISSN: None     Source Type: Journal    
DOI: None     Document Type: Article

References (66)

1. Bever, T. G., & Chiarello, R. J. (1974), Cerebral dominance in musicians and nonmusicians, Science, 185, 537-539.
2. Bharucha, J. J., & Stoeckig, K. (1986). Reaction time and musical expectancy. Journal of Experimental Psychology: Human Perception and Performance, 12, 403-410.
3. Bharucha, J. J., & Stoeckig, K. (1987). Priming of chords: Spreading activation or overlapping frequency spectra? Perception and Psychophysics, 41, 519-524.
4. Bigand, E. (1993). The influence of implicit harmony, rhythm and musical training on the abstraction of "tension-relaxation schemas "in a tonal musical phrase". Contemporary Music Review, 9, 128-139.
5. Bigand, E. (1997). Perceiving musical stability: The effect of tonal structure, rhythm and musical expertise. Journal of Experimental Psychology: Human Perception and Performance, 23, 808-812.
6. Bigand, E., D'Adamo, D., & Poulin, B. (soumis). The implicit learning of twelve-tone music. Manuscript soumis pour plublication.
7. Bigand, E., Madurell, F., Tillmann B., & Pineau, M. (1999). Effect of global structure and temporal organization on chord processing. Journal of Experimental Psychology: Human Perception and Performance, 25, 184-197.
8. Bigand, E., & Parncutt, R. (1999). Perception of musical tension in long chord sequences. Psychological Research, 62, 237-254.
9. Bigand, E., Parncutt, R., & Lerdahl, F. (1996). Perception of musical tension in short chord sequences: The influence of harmonic function, sensory dissonance, horizontal motion, and musical training. Perception and Psychophysics, 58, 125-141.
10. Bigand, E., & Pineau, M. (1996). Context effects on melody recognition: a dynamic interpretation. Cahiers de Psychologie Cognitive/Current Psychology of Cognition, 15, 121-134.
11. Bigand, E., & Pineau, M. (1997). Context effects on musical expectancy. Perception and Psychophysics, 59, 1098-1107.
12. Bigand, E., Tillmann, B., Poulin, B., D'Adamo, D., & Madurell, F. (2001). The effect of harmonic context on phoneme monitoring in vocal music. Cognition, 81, 11-20.
13. Bigand, E., Poulin, B., Tillmann, B, Madurell, F., & D'Adamo, D. (2003). Sensory versus cognitive components in harmonic priming. Journal of Experimental Psychology: Human Perception and Performance, 29, 159-171.
14. Bigand, E., Vieillard, S., Madurell, F., Marozeau, J., & Dacquet, A. (soumis). Multi dimensional scaling of emotional responses to music: the effect of musical expertise and excerpts' duration. Manuscript soumis pour plublication.
15. Burns, E. M., & Ward, W. D. (1982). Intervals, scale and tuning. In Deutsch (Ed.), The psychology of music (pp. 241-261). New York: Academic Press.
16. Chollet, S., & Valentin, D. (2000). Expertise level and odour perception: What can we learn from red burgundy wines? L'Année Psychologique, 100, 11-36.
17. Cuddy, L. L., & Badertscher, B. (1987). Recovery for the tonal hierarchy: some comparisons across age and levels of musical experience. Perception and Psychophysics, 41, 609-620.
18. Cuddy, L. L., & Thompson, W. F. (1992). Asymmetry of perceived key movement in chorale sequences: converging evidence from a probe-tone analysis. Psychological Reserarch, 54, 51-59.
19. Donnadieu, S., McAdams, S., & Winsberg, S. (1994). Characterization of a timber of complex sounds: multidimensional analysis. Journal de Physique, 4, 593-596.
20. Elbert, T., Pantev, C., Wienbruch, C., Rockstroh, B., & Taub, E. (1996). Increased cortical representation of the fingers of the left hands in string players. Science, 270, 305-307.
21. Francès, R. (1958). La perception de la musique. Paris: Vrin. [Transl. J. W. Dowling (1988), The perception of music. Hillsdale, NJ: Erlbaum.]
22. Francès, R. (1958). La perception de la musique. Paris: Vrin. [Transl. J. W. Dowling (1988), The perception of music. Hillsdale, NJ: Erlbaum.]
23. Frederickson, (2000). Perception of tension in music: Musicians versus nonmusicians. Journal of Music Therapy, 37, 40-50.
24. Gernsbacher, M. A., Varner, K. R., & Faust, M. E. (1990). Investigating differences in general comprehension skill. Journal of Experimental Psychology: Learning, Memory, and Cognition, 16, 460-445.
25. Gobet, F., & Simon, H. A. (1996). Recall of random and distorted chess positions: Implications for the theory of expertise. Memory and Cognition, 24, 493-503.
26. Gomez, R., & Gerken, L. (1999). Artificial grammar learning by 1-year-olds leads to specific and abstract knowledge. Cognition, 70, 109-135.
27. Hebert, S., Peretz, I., & Gagnon, L. (1995). Perceiving the tonal ending of tune excerpts: the role of preexisting representation and musical expertise. Canadian Journal of Experimental Psychology, 49, 193-210.
28. Hetch, H., & Proffitt, D. R. (1995). The price of expertise: Effects of experience on the water-level task. Psychological Science, 6, 90-95.
29. Houlston, D. R., & Lowes, R. (1993). Anticipatory cue-utilization processes amongst expert and nonexpert wicketkeeper in cricket. International Journal of Sport Psychology, 24, 59-73.
30. Jackendoff, R. (1991). Musical parsing and musical affect. Music Perception, 9, 199-230.
31. Johnson, P. R. (1977). Dichotically stimulated ear differences in musicians and nonmusicians. Cortex, 13, 385-389.
32. Jones, M. R. (1987). Dynamic pattern structures in music: Recent theory and research. Perception and Psychophysics, 41, 621-634.
33. Jones, M. R., & Boltz, M. (1989). Dynamic attending and responses to time. Psychological Review, 96, 459-491.
34. Karno, M., & Konecni, V. J. (1992). The effects of structural interventions in the First Movement of Mozart's Symphony in G-Minor, K. 550, on aesthetic preference. Music Perception, 10, 63-72.
35. Klarreich, E. (2001). Left in music: Musicians' brains may use language modules listening to music. Science Update, September 6. Nature.
36. Koelsch, S., Gunter, T., & Friederici, A. D. (2000). Brain indices of musical processing: "Nonmusicians" are musical. Journal of Cognitive Neuroscience, 12, 520-541.
37. Krumhansl, C. L., & Shepard, R. N. (1979). Quantification of the hierarchy of tonal function within a diatonic context. Journal of Experimental Psychology: Human Perception and Performance, 5, 579-594.
38. Lerdahl, F. (1988). Tonal pitch dpace. Music Perception, 5, 315-345.
39. Lerdahl, F., & Jackendoff, R. (1983). A generative theory of tonal music. Cambridge, MA: MIT Press.
40. Levinson, J. (1997). Music in the moment. Ithaca, NY: Cornell University Press.
41. Maess, B., Koelsch, S., Gunter, T. C., & Friederici, A. D. (2001). Musical syntax is processed in Broca's area: an MEG study. Nature Neuroscience, 4, 540-545
42. Mazzuchi, A., Parma, M., & Cattelani, R. (1981). Hemispheric dominance in the perception of tonal sequences in relation to sex, musical competence, and handedness. Cortex, 17, 291-302.
43. McAdams, S., Winsberg, S., Donnadieu, S., Desoete, G., & Krimphoff, J. (1995). Perceptual scaling of synthesized musical timbres - common dimensions, specificities, and latent subject classes. Psychological Research, 58, 177-192.
44. McKloskey, M., Whasburn, A., & Flech, L. (1983). Intuitive physics: The straight-down belief and its origin. Journal of Experimental Psychology: Learning, Memory, and Cognition, 9, 635-649.
45. Meyer, L. B. (1956). Emotion and meaning in music. Chicago, IL: University of Chicago Press.
46. Meulemans, T. (1998). L'apprentissage implicite: une approche cognitive, développementale et neuropsychologique. Marseille: Solal.
47. Ohnishi, T., Matsuda, H., Asada, T., Aruga, M., Hirakata, M., Nishikawa, M., Katoh, A., & Imabayashi, E. (2001). Functional anatomy of musical perception in musicians. Cerebral Cortex, 11, 754-760.
48. Pantev, C., & Lütkenhöner, B. (2000). Magnetoencephalographic studies of functional organization and plasticity of the human auditory cortex. Journal of Clinical Neurophysiology Society, 17, 130-142.
49. Pantev, C., Oostenveld, R., Engelien, A., Ross, B., Roberts, L. E., & Hoke, M. (1998). Increased auditory cortical representation in musicians. Nature, 392, 811-814.
50. Pineau, M., & Bigand, E. (1997). Influence du contexte global sur l'amorçage harmonique. L'Année Psychologique, 97, 385-408.
51. Poulin, B., Bigand, E., & Dowling, J. (soumis). Musical memory and expertise. Manuscript soumis pour publication.
52. Regnault, P., Bigand, E., & Besson, M. (2001). Different brain mechanisms mediate sensitivity to sensory consonance and harmonic context: Evidence from auditory Event Related brain Potentials. Journal of Cognitive Neurosciences, 13, 241-255.
53. Saffran, J. R., Aslin, R. N., & Newport, E. L. (1996). Statistical learning by eight-month-old infants. Science, 274, 1926-1928.
54. Schlaug, G., Jäncke, L., Huang, Y., & Steinmetz, H. (1995). In vivo evidence of structural brain asymmetry in musicians. Science, 267, 699-701.
55. Simon, H. A., & Gobert, F. (2000). Expertise effects in memory recall: Comment on Vicente and Wang (1998). Psychological Review, 107, 593-600.
56. Smith, J. D., Nelson, D. G. K., Grohshkopf, L. A., & Appleton, T. (1994). What child is this? What interval was that? Familiar tunes and music perception in novice listeners. Cognition, 52, 23-54.
57. Tekman, H. G., & Bharucha, J. J. (1998). Implicit knowledge versus psychoacoustic similarity in priming of chords. Journal of Experimental Psychology: Human Perception and Performance, 24, 252-260.
58. Tillmann, B., Bharucha, J., & Bigand, E. (2000). Implicit learning of tonality: A self-organizing approach. Psychological Review, 107, 885-913.
59. Tillmann, B., & Bigand, E. (1996). Does formal musical structure affect perception of musical expressiveness? Psychology of Music, 24, 3-17.
60. Tillmann, B., & Bigand, E. (1998). Influence of global structure on musical target detection and recognition. International Journal of Psychology. 33, 107-122.
61. Tillmann, B., & Bigand, E. (2001). Global context effects in normal and scrambled musical sequences. Journal of Experimental Psychology: Human Perception and Performance, 27, 1185-1196.
62. Tillmann, B., Bigand, E., & Madurell, F. (1998). Influence of global and local structures on solution of musical puzzles. Psychological Research, 61, 157-174.
63. Tillmann, B., Bigand, E., & Pineau, M. (1998). Effect of local and global contexts on harmonic expectancy. Music Perception, 16, 99-118.
64. Tillmann, B. Janata, P., & Bharucha, J. (sous presse). The costs and benefits of tonal centers for chord processing. Perception and Psychophysics.
65. Trainor, L. J., Desjardin, R. N., & Rockel, C. A., (1999). A comparison of contour and interval processing in musicians and nonmusicians using event-related potentials. Australian Journal of Psychology, 51, 147-153.
66. Wolpert, R. S. (1990). Recognition of melody, harmonic accompaniment, and instrumentation: musicians vs. nonmusicians. Music Perception, 8, 95-105.