N1 component reflects difference of terminal chords in three-chord sequences

NeuroReport

Volumn 20, Issue 3, 2009, Pages 251-256

  Dekio Hotta, Shoko ^a,b,h   Kojima, Tomoyuki ^c   Karino, Shotaro ^d   Yamasoba, Tatsuya ^a,d   Dekio, Itaru ^e   Lto, Yoichi M ^f   Satake, Hiroyuki ^g   Kaga, Kimitaka ^a,d  

^a Graduate School of Medicine   (Japan)

^b Shiga University of Medical Science   (Japan)

^c Ichikawa Consultancy for Higher Brain Dysfunction   (Japan)

^d UNIVERSITY OF TOKYO   (Japan)

^e SHIMANE UNIVERSITY   (Japan)

^f HOKKAIDO UNIVERSITY GRADUATE SCHOOL OF MEDICINE   (Japan)

^g NIHON KOHDEN CORPORATION   (Japan)

^h SUZUKA UNIVERSITY OF MEDICAL SCIENCE   (Japan)

Author keywords

Auditory evoked potential; Chord, harmony; N1; Semantic priming effect three chord sequence; Western tonal music

Indexed keywords

ADULT; ARTICLE; AUDITORY STIMULATION; CONTROLLED STUDY; EVOKED AUDITORY RESPONSE; FEMALE; HEARING; HUMAN; HUMAN EXPERIMENT; MALE; MUSIC; NORMAL HUMAN; PRIORITY JOURNAL; TASK PERFORMANCE;

ACOUSTIC STIMULATION; ADULT; AUDITORY CORTEX; BRAIN MAPPING; ELECTROENCEPHALOGRAPHY; EVOKED POTENTIALS, AUDITORY; FEMALE; HUMANS; MALE; MUSIC; NEUROPSYCHOLOGICAL TESTS; PITCH PERCEPTION; QUESTIONNAIRES; REACTION TIME; SOUND; TIME FACTORS; YOUNG ADULT;

EID: 62149107958     PISSN: 09594965     EISSN: None     Source Type: Journal    
DOI: 10.1097/WNR.0b013e32831d7bcb     Document Type: Article

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