Relevant bibliographies by topics / Music Perception and cognition

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Music Perception and cognition'

Author: Grafiati
Published: 4 June 2021
Last updated: 18 February 2022

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Journal articles on the topic "Music Perception and cognition"

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Gottfried, Terry L., Irene Deliege, and John Sloboda. "Perception and Cognition of Music." Notes 55, no. 2 (December 1998): 374. http://dx.doi.org/10.2307/900181.

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Petitot, Jean. "Perception, cognition and morphological objectivity." Contemporary Music Review 4, no. 1 (January 1989): 171–80. http://dx.doi.org/10.1080/07494468900640271.

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Godøy, Rolf Inge. "Motor-Mimetic Music Cognition." Leonardo 36, no. 4 (August 2003): 317–19. http://dx.doi.org/10.1162/002409403322258781.

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Music appeals to more than just our sense of hearing, and clearly we often associate other sensations with music. These non-sonorous sensations seem to be inseparable from the experience of music; in particular, images of movement appear to be deeply embedded in our perception and cognition of music. Explorations of mental images of music-related movement could enhance our understanding of music as a phenomenon, as well as be of practical value in various music-making tasks.
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Geeves, Andrew, and John Sutton. "Embodied Cognition, Perception, and Performance in Music." Empirical Musicology Review 9, no. 3-4 (January 5, 2015): 247. http://dx.doi.org/10.18061/emr.v9i3-4.4538.

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Matyja, Jakub Ryszard. "Toward Extended Music Cognition: Commentary on Music and Cognitive Extension." Empirical Musicology Review 9, no. 3-4 (January 5, 2015): 203. http://dx.doi.org/10.18061/emr.v9i3-4.4450.

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In his paper, Luke Kersten (2014) argues that since music cognition is part of a locationally wide computational system, it can be considered as an extended process. Overall I sympathize with Kersten’s (2014) view. However, in the present paper I underline those issues that need to be, in my opinion, developed in a more detailed and cautious way. Extended music perception is the idea that “it ain’t all in the head”, but rather involves the exploitation of non-neural body and musical environment. In order to push the debate further, I suggest situating Kersten’s views within a broader context of recent research, thus strengthening the theoretical importance of his proposal.
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Dowling, W. Jay. "Book Review: The Convergence of Musicology and Music Cognition: Perception and Cognition of Music." Musicae Scientiae 2, no. 1 (March 1998): 95–98. http://dx.doi.org/10.1177/102986499800200106.

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Tramo, Mark Jude. "Split-brain studies of music perception and cognition." Contemporary Music Review 9, no. 1-2 (January 1993): 113–21. http://dx.doi.org/10.1080/07494469300640381.

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Andrade, Paulo Estêvão, and Joydeep Bhattacharya. "Music: Specialized to Integrate?" Empirical Musicology Review 9, no. 3-4 (January 7, 2015): 183. http://dx.doi.org/10.18061/emr.v9i3-4.4545.

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In her paper Schaefer (2014) provides a relevant amount of behavioral and neuroimaging evidence within and outside the realm of music favoring the notion that predictive processing plays a prominent role in the coupling of perception, cognition and action and, further, that imagery and active perception are closely associated to each other. Central to this review is that research into music imagery is exceptionally suitable and informative since prediction has a prominent role in music processing. In this commentary we suggest that it could be useful to investigate the role of working memory in this context since imagery and memory are inextricably associated processes. In addition to neuroimaging we also highlight that anthropological and developmental evidence could be relevant in showing that music is possibly unique in the coupling of perception, cognition and action. However, we believe that more cautions are needed on the author’s assumption that perception and interpretation of music is uniquely determined by listening biography of the listener.
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Leman, Marc, and Pieter-Jan Maes. "The Role of Embodiment in the Perception of Music." Empirical Musicology Review 9, no. 3-4 (January 5, 2015): 236. http://dx.doi.org/10.18061/emr.v9i3-4.4498.

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In this paper, we present recent and on-going research in the field of embodied music cognition, with a focus on studies conducted at IPEM, the research laboratory in systematic musicology at Ghent University, Belgium. Attention is devoted to encoding/decoding principles underlying musical expressiveness, synchronization and entrainment, and action-based effects on music perception. The discussed empirical findings demonstrate that embodiment is only one component in an interconnected network of sensory, motor, affective, and cognitive systems involved in music perception. Currently, these findings drive embodiment theory towards a more dynamical approach in which the interaction between various internal processes and the external environment are of central importance. <br />
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Purwins, Hendrik, Maarten Grachten, Perfecto Herrera, Amaury Hazan, Ricard Marxer, and Xavier Serra. "Computational models of music perception and cognition II: Domain-specific music processing." Physics of Life Reviews 5, no. 3 (September 2008): 169–82. http://dx.doi.org/10.1016/j.plrev.2008.03.005.

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Dissertations / Theses on the topic "Music Perception and cognition"

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Viel, Massimiliano. "Listening patterns : from music to perception and cognition." Thesis, University of Plymouth, 2018. http://hdl.handle.net/10026.1/11809.

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The research aims to propose a narrative of the experience of listening and to provide some first examples of its possible application. This is done in three parts. Part One, “Words”, aims to methodologically frame the narrative by discussing the limits and requirements of a theory of listening. After discussing the difficulties of building an objective characterization of the listening experience, the research proposes that any theorization on listening can only express a point of view that is implied by descriptions of listening both in linguistic terms and in the data they involve. The analysis of theories about listening is therefore conducted through a grammatical path that unfolds by following the syntactic roles of the words involved in theoretical claims about listening. Starting from the problem of synonymy, the analysis moves around the subject, the object, adjectives and adverbs to finally discuss the status of the references of the discourses on listening. The Part One ends by claiming the need to reintroduce the subject in theories about listening and proposes to attribute the epistemological status of the narrative to any discourse about the listening experience. This implies that any proposed narrative must substitute its truth-value with the instrumental value that is expressed by the idea of “viability”. The Part Two, “Patterns”, is devoted to introducing a narrative of listening. This is first informally introduced in terms of the experience of a distinction within the sonic flow. After an intermission dedicated to connecting the idea of distinction to Gaston Bachelard’s metaphysics of time, the narrative is finally presented as a dialectics among three ways of organizing perceptive distinctions. Three perceptive modes of distinctions are presented as a basic mechanism that is responsible for articulating the sonic continuum in a complex structure of expectations and reactions, in terms of patterns, that is constantly renewed under the direction of statistical learning. The final chapter of the Part Two aims to briefly apply the narrative of pattern structures to dealing with the experience of noise. Part Three aims to show the “viability” of the proposed narrative of listening. First, a method for analysing music by listening is discussed. Then, a second chapter puts the idea of pattern structures in contact with music composition, as a framework that can be applied to data sonification, installations, music production and to the didactics of composition. Finally, the last chapter is devoted to the discussion of the idea of “soundscape” and “identity formation”, in order to show the potential of applying the proposed narrative to the context of cultural and social studies.
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Tirovolas, Anna Kristina. "Applied music perception and cognition: predicting sight-reading performance." Thesis, McGill University, 2013. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=116886.

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AbstractThis research sought to translate three standardized assessment measures of phonological processing known to be related to text reading, into experimental tasks that measure music processing. The primary aim of this thesis was to ascertain the relationship between these musically-adapted tasks and sight-reading performance in music. A broader goal was to explore and compare task performance across text and music, thereby informing a larger issue in cognitive and educational psychology: the relationship between music and language. In this manuscript-based thesis, there are six chapters, including three manuscripts (one previously published) that contribute to these goals. The first manuscript, published in the journal Music Perception, is a 26-year review of the field of music perception and cognition. The categorical and bibliometric analysis sought to document the longitudinal course of empirical studies in the journal Music Perception, by examining 384 empirical articles, as well as the full set of 578 articles, published between 1983 and 2010. The review suggested that only 9% of music perception studies use any assessment measures (mostly standardized tests, but also measures of musical ability). An increase over time in the use of assessment measures (ß = .40, p < .05) as data collection instruments was observed. It was thus inferred that the development of tasks which measure musical ability would be important to the continued advancement of psychometrics in the field of music perception and cognition. The second and third manuscripts were devoted to designing measures of music processing based on standardized tests of text reading. The objective was to search for relationships between the language and music tasks themselves, as well as testing their capacity to predict errors in musical sight-reading (SR) performance. In other words, an investigation of whether musically-adapted tasks, initially developed specifically for the assessment of text reading, would be significant predictors of SR performance. The second manuscript explored the effectiveness of the Rapid Automatized Naming (RAN) task in predicting SR by testing 41 participants: pianists aged 18 to 36. For all RAN tasks, response times (interonset intervals of vocal responses) were used to predict errors in sight reading performance of piano music. Correlational analyses revealed several significant associations between performance on standard RAN and music RAN tasks. Regression analyses revealed that the RAN letter task was the most consistent predictor of SR, with music RAN tasks adding additional explanatory power to the model. These findings suggested that processing specific to musical symbols may underlie aspects of SR performance, but that an already existing standardized task typically used for text reading could be more useful in predicting SR ability. The third manuscript reports an experiment in which musical tasks were designed to mirror two phonological awareness tasks from the "Comprehensive Test of Phonological Processing" (CTOPP), Elision and Blending Words. Participants were 25 pianists, aged 18 to 53. Regression analyses revealed the importance of music training and working memory in SR, and showed that performance on a musical blending task was important to the prediction of SR performance in certain cases.
RésuméCette recherche a tenté de traduire trois mesures d'évaluation normalisées d'habiletés de traitement phonologique liés à la lecture du texte, en tâches expérimentales mesurant le traitement de musique. L'objectif principal de cette thèse était de déterminer la relation entre ces tâches adaptées musicalement et la lecture à vue musicale. Un objectif plus large était d'explorer et de comparer la performance des tâches dans le texte et la musique, élucidant ainsi une question plus vaste de la psychologie cognitive et éducative: la relation entre la musique et la langue. Cette thèse comprend six chapitres, et trois manuscits (un publié) qui contribuent à ces objectifs. Le premier manuscrit, publié dans la revue Music Perception, est une analyse de 26 ans de littérature dans domaine de la perception et de la cognition musicale. L'analyse bibliométrique et catégorique a cherché à documenter l'évolution longitudinale des études empiriques dans la publication Music Perception, en examinant 384 articles empiriques, ainsi que l'ensemble complet des 578 articles publiés entre 1983 et 2010. L'analyse suggère que seulement 9% des études sur la perception de la musique utilisent des mesures d'évaluation (essentiellement des essais normalisés, mais aussi des mesures de la capacité musicale). J'ai observé une augmentation au fil du temps dans l'utilisation des mesures d'évaluation (ß = .40, p < .05) comme des instruments de collecte de données. Par conséquent, j'ai déduit que le développement de tâches qui mesurent la capacité musicale était considéré important pour l'avancement continu de la psychométrie dans le domaine de la perception et la cognition de la musique. Les deuxième et troisième manuscrits ont été consacrés à l'élaboration de mesures de traitement de la musique basés sur des tests standardisés de lecture de texte. L'objectif était de chercher les relations entre les tâches langagières et musicales elles-mêmes, ainsi que de tester leur capacité à prédire des erreurs dans la lecture à vue musicale. Autrement dit, j'ai examiné si les tâches musicales, initialement développées spécifiquement pour l'évaluation de la lecture du texte, seraient des prédicteurs significatifs de la lecture à vue. Le second manuscrit a exploré l'efficacité de la tâche Rapid Automatized Naming (RAN) dans la prédiction de la lecture à vue en testant 41 participants: des pianistes âgés de 18 à 36 ans. Pour toutes les tâches RAN, le temps de réponse (intervalles "interonset" de réponses vocales) a été utilisé pour prédire des erreurs dans la lecture à vue des performances de musique pour piano. Les analyses de corrélation ont révélé plusieurs associations significatives entre les performances sur les RAN standards et les RAN musicaux. Les analyses de regression ont révélé un modèle dans lequel la tâche RAN lettre était le prédicteur le plus constant de la lecture à vue, avec une des tâches RAN musique ajoutant un pouvoir explicatif au modèle. Ces résultats suggèrent que le traitement spécifique des symboles musicaux peuvent sous-tendre les aspects de la performance de la lecture à vue, mais aussi qu'une tâche déjà existante normalisée généralement utilisée pour la lecture du texte pourrait être plus utile pour prédire la capacité de la lecture à vue. Le troisième manuscrit présente une expérience où des tâches musicales ont été conçues pour refléter deux tâches de conscience phonologique comprises dans le "Comprehensive Test of Phonological Processing", Elision et Blending Words. Les participants étaient 25 pianistes, âgés de 18 à 53 ans. Les analyses de régression ont révélé l'importance de la formation musicale et de la mémoire de travail dans la lecture à vue et ont montré que la performance sur une tâche musicale était importante pour la prédiction de performance musicale dans certains cas.
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Ilari, Beatriz Senoi. "Music cognition in infancy : infants' preferences and long-term memory for complex music." Thesis, McGill University, 2002. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=38490.

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The purpose of this study was to investigate infants' preferences and long-term memory for two contrasting complex pieces of music, that is, Prelude and Forlane from Le Tombeau de Couperin by Maurice Ravel (1875--1937). Seventy 8.5-month-old infants were randomly assigned to one of four experiments conducted on the Headturn Preference Procedure. The first experiment examined infants' preferences for Prelude and Forlane in piano timbre. The second experiment assessed infants' preferences for Prelude and Forlane in orchestra timbre. Infants' preferences for the Forlane in piano and orchestra timbres were investigated in the third experiment. The last experiment aimed at infants' long-term memory for complex music. Thirty infants were exposed to either the Prelude or the Forlane three times a day for ten consecutive days. Two weeks following the exposure, infants were tested on the HPP. It was predicted that these infants would prefer to listen to the familiar piece from the exposure over the unfamiliar one. Results suggested that 8.5-month-olds could tell apart two complex pieces of music in orchestra timbre and could discriminate between the piano and the orchestra timbres. Contrary to the belief that infants are ill equipped to process complex music, this study found that infants could encode and remember complex pieces of music for at least two weeks.
Because infants rely on their caretakers to provide musical experiences for them, maternal beliefs and uses of music were also investigated. Mothers of participating infants were interviewed on musical background, listening preferences and musical behaviors and beliefs with their infants. The analysis of interview data yielded the following main results: (1) Singing was the primary musical activity of mothers and babies; (2) Maternal occupation and previous musical experiences affected their musical behaviors with their babies; (3) Most mothers held the belief that there is appropriate music for babies to listen to although there was no consensus as to what is appropriate music. Such beliefs reflect a conflict between maternal beliefs regarding infants' music cognition and the actual music-related perceptual and cognitive abilities of infants. Attempting to attenuate this conflict, suggestions for music educators, parents and researchers were proposed.
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Carrabré, Ariel. "Understanding Schenkerian Analysis from the Perspective of Music Perception and Cognition." Thesis, Université d'Ottawa / University of Ottawa, 2015. http://hdl.handle.net/10393/32850.

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This thesis investigates the perceptual and cognitive reality of Schenkerian theory through a survey of relevant empirical research. It reviews existing Schenkerian-specific empirical research, examines general tonal research applicable to Schenkerian analysis, and proposes the possibility of an optimal empirical research method by which to explore the theory. It evaluates data dealing with musical instruction’s effect on perception. From this review, reasonable evidence for the perceptual reality of Schenkerian-style structural levels is found to exist. This thesis asserts that the perception of Schenkerian analytical structures is largely an unconscious process.
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Pinard-Welyczko, Kira. "Does Training Enhance Entraining? Musical Ability and Neural Signatures of Beat Perception." Oberlin College Honors Theses / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1495617848085978.

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Hass, Richard William. "DEVELOPMENT OF CREATIVE EXPERTISE IN MUSIC: A QUANTITATIVE ANALYSIS OF THE SONGS OF COLE PORTER AND IRVING BERLIN." Diss., Temple University Libraries, 2008. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/21257.

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Psychology
Ph.D.
Previous studies of musical creativity lacked strong foundations in music theory and music analysis. The goal of the current project was to merge the study of music perception and cognition with the study of expertise-based musical creativity. Three hypotheses about the nature of creativity were tested. According to the productive-thinking hypothesis, creativity represents a complete break from past knowledge. According to the reproductive-thinking hypothesis, creators develop a core collection of kernel ideas early in their careers and continually recombine those ideas in novel ways. According to what can be called the field hypothesis, creativity involves more than just the individual creator; creativity represents an interaction between the individual creator, the domain in which the creator works, and the field, or collection of institutions that evaluate creative products. In order to evaluate each hypothesis, the musical components of a sample of songs by two eminent 20th century American songwriters, Cole Porter and Irving Berlin, were analyzed. Five separate analyses were constructed to examine changes in the psychologically salient musical components of Berlin's and Porter's songs over time. In addition, comparisons between hit songs and non-hit songs were also drawn to investigate whether the composers learned from their cumulative songwriting experiences. Several developmental trends were found in the careers of both composers; however, there were few differences between hit songs and non-hit songs on all measures. The careers of both composers contain evidence of productive and reproductive creativity. Implications of the results and suggestions for future research are discussed.
Temple University--Theses
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Leinbach, Cade. "A Multi-Dimensional Approach towards Understanding Music Notation through Cognition." Thesis, University of North Texas, 2020. https://digital.library.unt.edu/ark:/67531/metadc1703356/.

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Composition has been conceptualized as a method for communicating a way of thinking (i.e., cognition) from composers to performers and audience members. Music notation, or how music is represented in a visual format, becomes the vehicle through which such cognition is communicated. In the past, research on notation has been approached either categorically or as a taxonomy, where it is placed into separate categories based primarily on visual elements, including its symbols, conventions, and practices. The modern application of notation in Western classical music repertoire, however, has shown that the boundaries between these systems are not always clear and sometimes blend together. Viewing music notation from a spectrum-based approach instead provides a better understanding of notation through its cognitive effects. These spectra can then be viewed through multiple dimensions, all addressing different aspects. The first dimension consists of the historical systems of notation, ranging from standard music notation (SMN) to music graphics. Additional kinds of notation, such as proportional, pictorial, and aleatoric, work as the mediary levels between these two. The second dimension focuses on whether notation is processed intuitively, based on either cultural priming or general cognitive principles, or through conscious interpretation. The last dimension views notation as either a visual representation of the sound (descriptive) or a representation of the process performed to create the sound (prescriptive). This thesis conceptualizes a theory for understanding music notation though these multiple dimensions by synthesizing psychological studies about music, music notation research, and pre-existing musical scores.
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Bianchi, Frederick W. "The cognition of atonal pitch structures." Virtual Press, 1985. http://liblink.bsu.edu/uhtbin/catkey/438705.

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The Cognition of Atonal Pitch Structures investigated the ability of a listener to internally organize atonal pitch sequences into hierarchical structures. Based on an information processing model proposed by Deutsch and Feroe (1981), the internal organization of well processed pitch sequences will result in the formation of hierarchical structures. The more efficiently information is processed by the listener, the more organized its internal hierarchical representation in memory. Characteristic of a well organized internal hierarchy As redundancy. Each ensuing level of the hierarchical structure represents a parsimoniuos recoding of the lower levels. In this respect, each higher hierarchical level contains the most salient structural features extracted from lower levels.Because efficient internal organization increases redundancy, more memory space must be allocated to retain a well processed pitch sequence. Based on this assumption, an experiment was conducted to determine the amount of information retained when listening to pre-organized atonal pitch structures and randomly organized pitch structures. Using time duration estimation techniques (Ornstein, 1969; Block, 1974), the relative size of memory allocated for a processing task was determined. Since the subjective experience of time is influenced by the amount of information processed and retained in memory (Ornstein, 1969; Block, 1974), longer time estimations corresponded to larger memory space allocations, and thus, more efficiently organized hierarchical structures.ConclusionThough not significant at the .05 level (p-.21), the results indicate a tendency to suggest that atonal pitch structures were more efficiently organized into internal hierarchical structures than were random pitch structures. The results of the experiment also suggest that a relationship exists between efficient internal hierarchical organization and increased attention and enjoyment. The present study also investigated the influence that other parameters may have on the cognition of pre-organized music. Of interest were the characteristics inherent in music which may facilitate internal organization.
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Feinberg, Daniel K. "Infants’ Responses to Affect in Music and Speech." Scholarship @ Claremont, 2013. http://scholarship.claremont.edu/pitzer_theses/44.

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Existing literature demonstrates that infants can discriminate between categories of infant-directed (ID) speech based on the speaker’s intended message – that is, infants recognize the difference between comforting and approving ID speech, and treat different utterances from within these two categories similarly. Furthermore, the literature also demonstrates that infants understand many aspects of music and can discriminate between happy and sad music. Building on these findings, the present study investigated whether exposure to happy or sad piano music would systematically affect infants’ preferences for comforting or approving ID speech. Five- to nine-month-old infants’ preferences for comforting or approving ID speech were examined as a function of whether infants were exposed to sad or happy piano music. Seventeen (10 male, 7 female) full-term, healthy infants were included in the study. It was hypothesized that relative to infants exposed to happy music, infants exposed to sad music would demonstrate a stronger desire to hear comforting ID speech. The study employed an infant controlled, preferential looking procedure to test this hypothesis. The results of the study did not statistically support the researchers’ hypotheses. Limitations of the present work and suggestions for future research are discussed.
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Plazak, Joseph Stephen. "Listener Knowledge Gained from Brief Musical Excerpts." The Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=osu1250696592.

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Books on the topic "Music Perception and cognition"

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Iyer, Padma. Music perception and cognition. New Delhi: Vishvabharti Publications, 2004.

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L, Harwood Dane, ed. Music cognition. Orlando: Academic Press, 1986.

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Rhythm games for perception & cognition. [S.l.]: Volkwein Bros., 1997.

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David, Butler. The musician's guide to perception and cognition. New York: Schirmer Books, 1992.

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Ockelford, Adam. The cognition of order in music: A metacognitive study. London: ASME, 1999.

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Leman, Marc. Embodied music cognition and mediation technology. Cambridge, Mass: MIT Press, 2008.

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Desain, Peter. Music, mind, and machine: Studies in computer music, music cognition, and artificial intelligence. Amsterdam: Thesis, 1992.

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The cognition of basic musical structures. Cambridge, Mass: MIT Press, 2001.

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Analyse musicale: Sémiologie et cognition des formes temporelles. Paris: Harmattan, 2006.

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Gabrielsson, Alf. Strong experiences with music: Music is much more than just music. Oxford: Oxford University Press, 2011.

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Book chapters on the topic "Music Perception and cognition"

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Elhilali, Mounya. "Modulation Representations for Speech and Music." In Timbre: Acoustics, Perception, and Cognition, 335–59. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-14832-4_12.

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McAdams, Stephen. "Timbre as a Structuring Force in Music." In Timbre: Acoustics, Perception, and Cognition, 211–43. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-14832-4_8.

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Chella, Antonio. "A Cognitive Architecture for Music Perception Exploiting Conceptual Spaces." In Applications of Conceptual Spaces, 187–203. Cham: Springer International Publishing, 2015. http://dx.doi.org/10.1007/978-3-319-15021-5_10.

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Xu, Wei, Yin Tian, Haiyong Zhang, Huiling Zhang, Zhongyan Wang, Li Yang, Shuxing Zheng, et al. "Time-Varying Scalp EEG Network Patterns for Music Tempo Perception." In Advances in Cognitive Neurodynamics (VI), 151–56. Singapore: Springer Singapore, 2018. http://dx.doi.org/10.1007/978-981-10-8854-4_19.

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Bo, Hongjian, Haifeng Li, Lin Ma, and Bo Yu. "Time-Course EEG Spectrum Evidence for Music Key Perception and Emotional Effects." In Advances in Brain Inspired Cognitive Systems, 184–95. Cham: Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-49685-6_17.

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Sørensen, Henrik, Jesper Kjeldskov, Mikael B. Skov, and Mathies G. Kristensen. "The Cognitive Perception of a Multi-room Music System with Spatial Interaction." In Computer-Human Interaction. Cognitive Effects of Spatial Interaction, Learning, and Ability, 215–36. Cham: Springer International Publishing, 2015. http://dx.doi.org/10.1007/978-3-319-16940-8_11.

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Ádám, György. "Visceroception and Cognition." In Visceral Perception, 135–59. Boston, MA: Springer US, 1998. http://dx.doi.org/10.1007/978-1-4757-2903-0_11.

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Trehub, Sandra E., and Michael W. Weiss. "Music Cognition." In The Routledge Companion to Music Cognition, 403–14. New York : Routledge, 2017.: Routledge, 2017. http://dx.doi.org/10.4324/9781315194738-33.

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Lee, Kyung Myun. "Music Cognition." In The Routledge Companion to Music Cognition, 467–77. New York : Routledge, 2017.: Routledge, 2017. http://dx.doi.org/10.4324/9781315194738-38.

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Eysenck, Michael W., and Marc Brysbaert. "Visual perception." In Fundamentals of Cognition, 36–91. Third Edition. | New York : Routledge, 2018. | Revised edition of Fundamentals of cognition, 2012.: Routledge, 2018. http://dx.doi.org/10.4324/9781315617633-2.

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Conference papers on the topic "Music Perception and cognition"

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Goma, Sergio R. "Next gen perception and cognition: augmenting perception and enhancing cognition through mobile technologies." In IS&T/SPIE Electronic Imaging, edited by Bernice E. Rogowitz, Thrasyvoulos N. Pappas, and Huib de Ridder. SPIE, 2015. http://dx.doi.org/10.1117/12.2086166.

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Hayes, Lauren. "Skin Music (2012)." In C&C '15: Creativity and Cognition. New York, NY, USA: ACM, 2015. http://dx.doi.org/10.1145/2757226.2757370.

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Schacher, Jan C. "Music means movement." In MOCO '15: Intersecting Art, Meaning, Cognition, Technology. New York, NY, USA: ACM, 2015. http://dx.doi.org/10.1145/2790994.2791001.

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Ervaz Garcia, Felipe Gabriel, and Antonio Roberto Chiachiri Filho. "PERCEPTION AND COGNITION INSIDE TECHNOLOGICAL SPHERES." In New Semiotics. Between Tradition and Innovation. IASS Publications, 2015. http://dx.doi.org/10.24308/iass-2014-036.

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"Evaluation of human perception and cognition." In 2015 8th International Conference on Human System Interactions (HSI). IEEE, 2015. http://dx.doi.org/10.1109/hsi.2015.7170683.

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Merchel, Sebastian, and M. Ercan Altinsoy. "Auditory-Tactile Music Perception." In ICA 2013 Montreal. ASA, 2013. http://dx.doi.org/10.1121/1.4799137.

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Wang, Yuanyuan. "Music emotion cognition model and interactive technology." In 2014 IEEE Workshop on Electronics, Computer and Applications (IWECA). IEEE, 2014. http://dx.doi.org/10.1109/iweca.2014.6845608.

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Huang, Jia. "Music Cognition in General Education at University." In Proceedings of the 2019 4th International Conference on Modern Management, Education Technology and Social Science (MMETSS 2019). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/mmetss-19.2019.69.

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Yumeng He. "Research and degisn of music cognition education mode for music schools." In 2014 IEEE Workshop on Advanced Research and Technology in Industry Applications (WARTIA). IEEE, 2014. http://dx.doi.org/10.1109/wartia.2014.6976308.

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Isci, Hakan, Sema Simsek, Ozer Tekisen, and Ilker Suer. "Perception and Cognition Under Military Aggravating Factors." In AIAA Modeling and Simulation Technologies Conference. Reston, Virigina: American Institute of Aeronautics and Astronautics, 2010. http://dx.doi.org/10.2514/6.2010-8095.

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