Часть II. Музыка в жизни взрослых
Глава 4. Музыкальные взрослые
1. Altenmüller, E., and Schlaug, G. (2012), ‘Music, Brain and Health: Exploring Biological Foundations of Music’s Health Effect’, in R.A.R. MacDonald, G. Kreutz and L. Mitchell (eds.), Music, Health, & Wellbeing. Oxford: Oxford University Press.
2. Maguire, E.A., Woollett, K., and Spiers, H.J. (2006), ‘London taxi drivers and bus drivers: A structural MRI and neuropsychological analysis’, Hippocampus, 16 (12), 1091–1101.
3. Driemeyer, J., et al. (2008), ‘Changes in gray matter induced by learning — revisited’, PLOS ONE, 3 (7), e2669.
4. Stewart, L. (2008), ‘Do musicians have different brains?’, Clinical Medicine, 8, 304–308. Barrett, K.C., Ashley, R., Strait, D.L., and Kraus,
N. (2013) Art and Science: How Musical Training Shapes the Brain.
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5. Hyde, K.L., et al. (2009), ‘The effects of musical training on structural brain development: a longitudinal study’, Annals of the New York Academy of Sciences, 1169, 182–186. Hyde, K.L., et al. (2009), ‘Musical Training Shapes Structural Brain Development’, Journal of Neuroscience, 29 (10), 3019–3025.
6. Schlaug, G., Jancke, L., Huang, Y., and Staiger, J.F. (1995), ‘Increased corpus callosum size in musicians’, Neuropsychologia, 33 (8), 1047–1055.
7. Westerhausen, R., et al. (2006), ‘Interhemispheric transfer time and structural properties of the corpus callosum’, Neuroscience Letters, 409 (2), 140–145. Patston, L.L.M, et al. (2007), ‘The unusual symmetry of musicians: Musicians have equilateral interhemispheric transfer for visual information’, Neuropsychologia, 45 (9), 2059–2065.
8. Ridding, M.C., Brouwer, B., and Nordstrom, M.A. (2000), ‘Reduced interhemispheric inhibition in musicians’, Experimental Brain Research, 133, 249–253.
9. Bengtsson, S.L., et al. (2005), ‘Extensive piano practicing has regionally specific effects on white matter development’, Nature Neurosciences, 8, 1148–1150.
10.Halwani, G.F., Loui, P., Rueber, T, and Schlaug, G. (2011), ‘Effects of practice and experience on the arcuate fasciculus: comparing singers, instrumentalists, and non-musicians’, Frontiers in Psychology, 2, 156.
11.Stewart, L. (2008), ‘Do musicians have different brains?’, Clinical medicine, 8 (3), 304–308.
12.Ragert, P., Schmidt, A., Altenmüller, E, and Dinse, H.R. (2004), ‘Superior tactile performance and learning in professional pianists: evidence for meta-plasticity in musicians’, European Journal of Neuroscience, 19 (2), 473–478.
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13.Watanabe, D., Savion-Lemieux, T., and Penhune, V.B. (2007), ‘The effect of early musical training on adult motor performance: Evidence for a sensitive period in motor learning’, Experimental Brain Research, 176 (2), 332–340.
14.Amunts, K., et al. (1997), ‘Motor cortex and hand motor skills: Structural compliance in the human brain’, Human Brain Mapping, 5 (3), 206–215.
15.Bangert, M., and Schlaug, G. (2006), ‘Specialization of the specialized in features of external human brain morphology’, European Journal of Neuroscience, 24 (6), 1832–1834.
16.Pantev, C., Engelien, A., Candia, V., and Elbert, T. (2001), ‘Representational Cortex in Musicians: Plastic Alterations in Response to Musical Practice’, Annals of the New York Academy of Sciences, 930 (1), 300–314.
17.Elbert, T., et al. (1995), ‘Increased cortical representation of the fingers of the left hand in string players’, Science, 270 (5234), 305– 307.
18.Schneider, P., et al. (2002), ‘Morphology of Heschl’s gyrus reflects enhanced activation in the auditory cortex of musicians’, Nature Neuroscience, 5 (7), 688–694.
19.Gaab, N., et al. (2005), ‘Neural correlates of rapid spectrotemporal processing in musicians and nonmusicians’, Annals of the New York Academy of Sciences, 1060, 82–88. Musacchia, G., Strait, D., and Kraus,
N. (2008), ‘Relationships between behavior, brainstem and cortical encoding of seen and heard speech in musicians and nonmusicians’, Hearing Research, 241 (1–2), 34–42.
20.Strait, D., and Kraus, N. (2011), ‘Playing music for a smarter ear: cognitive, perceptual and neurobiological evidence’, Music Perception, 29 (2), 133–146.
21.Pantev, C., et al. (1998), ‘Increased auditory cortical representation in musicians’, Nature, 392 (6678), 811–814.
22.Pantev, C., et al. (2001), ‘Timbre-specific enhancement of auditory cortical representations in musicians’, Neuroreport, 12 (1), 169–174.
23.Strait, D.L., et al. (2012), ‘Specialization among the specialized: auditory brainstem function is tuned in to timbre’, Cortex, 48 (3), 360–362.
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24.Wong, P.C.M., et al. (2007), ‘Musical Experience Shapes Human Brainstem Encoding of Linguistic Pitch Patterns’, Nature Neuroscience, 10 (4), 420–422.
25.Slevc, L.R., and Miyake, A. (2006), ‘Individual differences in second language proficiency: Does musical ability matter?’, Psychological Science, 17 (8), 675–681.
26.Parbery-Clark, A., Strait, D.L., and Kraus, N. (2011), ‘Context- dependent encoding in the auditory brainstem subserves enhanced speech-in-noise perception in musicians’, Neuropsychologia, 49 (12), 3338–3345.
27.Parbery-Clark, A., Tierney, A., Strait, D.L., and Kraus, N. (2012), ‘Musicians have fine-tuned neural distinction of speech syllables’,
Neuroscience, 219, 111–119.
28.White-Schwoch, T., et al. (2013), ‘Older adults benefit from music training early in life: biological evidence for long-term training- driven plasticity’, Journal of Neuroscience, 33 (45), 17667–17674.
29.Haueisen, J., and Knösche, T.R. (2001), ‘Involuntary Motor Activation in Pianists Evoked by Music Perception’, Journal of Cognitive Neuroscience, 13 (6), 786–792.
30.Jakobson, L.S., Lewycky, S.T., Kilgour, A.R., and Stoesz, B.M. (2008), ‘Memory for verbal and visual material in highly trained musicians’, Music Perception, 26 (1), 41–55. Ho, Y., Cheung, M., and Chan, A.S. (2003), ‘Music Training Improves Verbal but Not Visual Memory: Cross-Sectional and Longitudinal Explorations in Children’, Neuropsychology, 17 (3), 439–450. Franklin, M.S., et al. (2008), ‘The effects of musical training on verbal memory’, Psychology of Music, 36 (3), 353–365.
31.Watanabe, D., Savion-Lemieux, T., and Penhune, V.B. (2007), ‘The effect of early musical training on adult motor performance: evidence for a sensitive period in motor learning’, Experimental Brain Research, 176 (2), 332–340. Meister et al. (2005), ‘Effects of long-term practice and task complexity in musicians and nonmusicians performing simple and complex motor tasks: Implications for cortical motor organization’, Human Brain Mapping, 25 (3), 345–352.
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32.Zatorre, R.J. (2013), ‘Predispositions and Plasticity in Music and Speech Learning: Neural Correlates and Implications’, Science, 342 (6158), 585–589.
33.Stewart, L. (2011), ‘Characterizing Congenital Amusia’, Quarterly Journal of Experimental Psychology, 64 (4), 625–638.
34.Cuddy, L.L., Balkwill, L.-L., Peretz, I., and Holden, R.R. (2005), ‘Musical difficulties are rare: A study of “tone deafness” among university students’, Annals of the New York Academy of Science, 1060, 311–324.
35.Sloboda, J.A., Wise, K.J., and Peretz, I. (2005), ‘Quantifying tone deafness in the general population’, The Neurosciences and Music II: From Perception to Performance (Annals of the New York Academy of Sciences), 1060, 255–261.
36.Wise, K.J., and Sloboda, J.A. (2008), ‘Establishing an empirical profile of self-defined “tone deafness”: Perception, singing performance and self-assessment’, Musicae Scientiae, 12, 3–23.
37.Anderson, S., et al. (2012), ‘Congenital amusia: is there potential for learning? A study of the effects of singing interventions on pitch perception and production of those with congenital amusia’, Annals of the New York Academy of Sciences. 1252, 345–353.
38.Loui, P., Guenther, F.H., Mathys, C, and Schlaug, G. (2008), ‘Action-perception mismatch in tone-deafness’, Current Biology, 18 (8), R331-R332. Williamson, V.J., et al. (2012), ‘Perception and action de-coupling in congenital amusia: Sensitivity to task demands’, Neuropsychologia, 50 (1), 172–180.
39.Peretz, I., et al. (2002), ‘Congenital Amusia: a disorder of fine- grained pitch discrimination’, Neuron, 33 (2), 185–191.
40.Lebrun, M.-A., et al. (2012), ‘Congenital amusia in childhood: A case study’, Cortex, 48 (6), 683–688.
41.Kalmus, H., and Fry, D.B. (1980), ‘On tune deafness (dysmelodia): frequency, development, genetics and musical background’, Annals of Human Genetics, 43 (4), 369–382.
42.Henry, M.J., and McAuley, J.D. (2010), ‘On the Prevalence of Congenital Amusia’, Music Perception, 27 (5), 413–418.
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43.Omigie, D., Müllensiefen, D., and Stewart, L., (2013) ‘The experience of music in congenital amusia’, Music Perception, 30 (1), 1–18.
44.McDonald, C., and Stewart, L. (2008), ‘Uses and functions of music in congenital amusia’, Music Perception, 25 (4), 345–355.
45.Williamson, V.J., and Stewart, L. (2010), ‘Memory for pitch in Congenital Amusia: Beyond a fine-grained pitch perception problem’, Memory, 18 (6), 657–669.
46.Loui, P., Alsop, D., and Schlaug, G. (2009), ‘Tone-Deafness: a Disconnection Syndrome?’, Journal of Neuroscience, 29 (33), 10215– 10220.
47.Peretz, I., Brattico, E., Järvenpää, M., and Tervaniemi, M. (2009), ‘The amusic brain: in tune, out of key, and unaware’, Brain, 132 (5), 1277–1286. Omigie, D., Pearce, M., Williamson, V.J., and Stewart, L. (2013), ‘Electrophysiological correlates of melodic processing in congenital amusia’, Neuropsychologia, 51 (9),1749–1762.
48.Moreau, P., Jolicoeur, P., and Peretz, I. (2009), Automatic brain responses to pitch changes in congenital amusia’, Annals of the New York Academy of Sciences, 1169, 191–194.
49.Omigie, D., Pearce, M.T., and Stewart, L. (2012), ‘Tracking of pitch probabilities in congenital amusia’, Neuropsychologia, 50 (7), 1483– 1493.
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http://faculty.washington.edu/losterho/DemorestXOsterhout_2012.pd
51.Egermann, H., Fernando, N., Chuen, L., and McAdams, S. (in preparation), ‘Universal psychophysiological response to music — Comparing Western listeners to Congolese Pygmies’.
52.Demorest, S.M., Morrison, S.J., Beken, M.N., and Jungbluth, D. (2008), ‘Lost in translation: an enculturation effect in music memory performance’, Music Perception, 25, 213–223. Morrison, S.J., Demorest, S.M., and Stambaugh, L.A. (2008), ‘Enculturation effects in music cognition: the role of age and music complexity’, Journal of Research in Music Education, 56 (2), 118–129.
53.Demorest, S.M., et al. (2010), ‘Music comprehension among Western and Turkish listeners: FMRI investigation of an enculturation effect’, Social, Cognitive and Affective Neuroscience, 5 (2–
3), 282–291. Demorest, S.M., and Osterhout, L.L. (2012), ‘ERP responses to cross-cultural melodic expectancy violations’, Annals of the New York Academy of Sciences, 1252, 152–157.
54.Wong, E.C., Chan, A.H., Roy, A., and Margulis, E.H. (2011), ‘The bimusical brain is not two monomusical brains in one: evidence from musical affective processing’, Journal of Cognitive Neuroscience, 23 (12), 4082–4093.
55.http://www.guardian.co.uk/lifeandstyle/2012/oct/12/experience- head-injury-musical-prodigy?INTCMP=SRCH.
56.Marcus, G. (2011), Guitar Zero: The new musician and the science of learning. New York: Penguin Press.
57.Mithen, S.J. (2005), The Singing Neanderthals: the Origins of Music, Language, Mind and Body. Cambridge, Massachusetts: Harvard University Press.
58.Mithen, S., and Parsons, L. (2008), ‘The Brain as a Cultural Artefact’, Cambridge Archaeological Journal, 18 (3), 415–422.
59.Zatorre, R.J., Delhommeau, K., and Zarate, J.M. (2012), ‘Modulation of auditory cortex response to pitch variation following training with microtonal melodies’, Frontiers in Psychology, 3, 544. Lappe, C., Trainor, L.J., Herholz, S.C., and Pantev, C. (2011), ‘Cortical Plasticity Induced by Short-Term Multimodal Musical Rhythm Training’, PLOS ONE, 6 (6): e21493.
60.Herholz, S.C., and Zatorre, R.J. (2012), ‘Musical Training as a Framework for Brain Plasticity: Behavior, Function, and Structure’, Neuron, 76 (3), 486–502.
Глава 5. Музыка на работе
1. Моя коллега и подруга Аннели Берониус Хааке много лет изучает музыку и работу, и я благодарю ее за вдохновение, во многом определившее первую часть этой главы.
2. Antrim, D.K. (1943), ‘Music in industry’, The Musical Quarterly, XXIX (3), 275–290. Kirkpatrick, E.H. (1943), ‘Music Takes the Mind Away’, Personnel Journal, 22, 225–228.
3. Wyatt, S., and Langdon, J.N. (1937), ‘Fatigue and boredom in repetitive work’, Industrial Health Research Board report No. 77. London: Her Majesty’s Stationery Office.
4. Fox, J.G., and Embrey, E.D. (1972), ‘Music — an aid to productivity’, Applied Ergonomics, 3 (4), 202–205. Newman Jr, R.I, Hunt, D.L., and Rhodes, F. (1966), ‘Effect of music on employee attitude and productivity in a skateboard factory’, Journal of Applied Psychology, 50 (6), 493–496.
5. Uhrbrock, R.S. (1961), ‘Music on the job: its influence on worker morale and production’, Personnel Psychology, 14 (1), 9–38.
6. Smith, W.A.S. (1961), ‘Effects of industrial music in a work situation requiring complex mental activity’, Psychological Reports, 8, 159–162.
7. Oldham, G.R., et al. (1995), ‘Listen while you work? Quasi- experimental relations between personal-stereo headset use and employee work response’, Journal of Applied Psychology, 80 (5), 547– 564.
8. Lesiuk, T. (2005), ‘The effect of music listening on work performance’, Psychology of Music, 33 (2), 173–191.
9. Haake, A.B. (2011), ‘Individual music listening in workplace settings: an exploratory survey of offices in the UK’, Musicae Scientiae, 15 (1), 107–129.
10.Kämpfe, J., Sedlmeier, P., and Renkewitz, F. (2010), ‘The impact of background music on adult listeners: A meta-analysis’, Psychology of
Music, 39 (4), 424–448.
11.Berlyne, D.E. (1971), Aesthetics and psychobiology. New York: Meredith. Kahneman, D. (1973), ‘Arousal and attention’, in D. Kahneman (ed.), Attention and effort (pp. 28–49). Englewood Cliffs, NJ: Prentice Hall. Yerkes, R.M., and Dodson, J.D. (1908), ‘The relation of strength of stimulus to rapidity of habit-formation’, Journal of Comparative Neurology and Psychology, 18 (5), 459–482.
12.Thompson, W.F., Schellenberg, E.G., and Letnic, A.K. (2012), ‘Fast and loud music disrupts reading comprehension’, Psychology of Music, 40, 698–706.
13.Csikszentmihalyi, M. (1990), Flow: The Psychology of Optimal Experience. New York: Harper & Row.
14.Thompson, W.F., Schellenberg, E.G., and Husain, G. (2001), ‘Mood, arousal, and the Mozart effect’, Psychological Science, 12 (3), 248–251.
15.Furnham, A., and Bradley, A. (1997), ‘Music While You Work: The Differential Distraction of Background Music on the Cognitive Test Performance of Introverts and Extraverts’, Applied Cognitive Psychology, 11 (5), 445–455.
16.Eysenck, H. (1967), The biological basis of personality. Springfield, IL: Thomas.
17.Cassidy, G., and MacDonald, R.A.R. (2007), ‘The effect of background music and background noise on the task performance of introverts and extraverts’, Psychology of Music, 35 (3), 517–537.
18.Chamorro-Premuzic, T., and Furnham, A. (2007), ‘Personality and music: Can traits explain how people use music in everyday life?’, Journal of British Psychology, 98 (2), 175–185.
19.Martí Pérez, J. (1997), ‘When music becomes noise: Sound and music that people in Barcelona hear but don’t want to listen to’, World of Music, 39 (2), 9–17.
20.Parente, J.A. (1976), ‘Musical preference as a factor of music distraction’, Perceptual and Motor Skills, 43, 337–338.
21.Greasley, A.E. (2008), ‘Engagement with music in everyday life: An in-depth study of adults’ musical preferences and listening behaviours’ (Unpublished doctoral thesis, Keele University, Stoke-on- Trent, UK).
22.Cassidy G.G., and MacDonald, R.A.R. (2010), ‘The effects of music on time perception and performance of a driving game’, Scandinavian Journal of Psychology, 51 (6), 455–464.
23.Hartley, L.R., and Williams, T. (1977), ‘Steady state noise and music and vigilance’, Ergonomics, 20 (3), 277–285.
24.Oakes, S., and North, A.C. (2006), ‘The impact of background musical tempo and timbre congruity upon ad content recall and affective response’, Applied Cognitive Psychology, 20 (4), 505–520.
25.Ransdell, S.E., and Gilroy, L. (2001), ‘The effects of background music on word processed writing’, Computers in Human Behavior, 17 (2), 141–148.
26.Kämpfe, J., Sedlmeier, P., and Renkewitz, F. (2011), ‘The impact of background music on adult listeners: A meta-analysis’, Psychology of Music, 39 (4), 424–448.
27.Lanza, J. (1994), Elevator music: A surreal history of Muzak, easy- listening and other moodsong. New York: St Martin’s Press.
28.Frith, S. (2002), ‘Music and everyday life’, Critical Quarterly, 44 (1), 35–48.
29.Wearden, J.H., and Penton-Voak, I.S. (1995), ‘Feeling the heat: body temperature and the rate of subjective time, revisited’, Quarterly Journal of Experimental Psychology, 48 (2), 129–41.
30.Hammond, C. (2012), Time warped. Edinburgh: Canongate Books Ltd.
31.Yalch, R.F., and Spangenberg, E.R. (2000), ‘The effects of music in a retail setting on real and perceived shopping times’, Journal of Business Research, 42 (2), 139–147.
32.Yalch, R.F., and Spangenberg, E. R. (1990), ‘Effects of store music on shopping behavior’, Journal of Consumer Marketing, 7 (2), 55–63.
33.Kellaris, J.J., and Kent, R.J. (1992), ‘The influence of music on consumers’ temporal perceptions: Does time fly when you’re having fun?’, Journal of Consumer Psychology, 1 (4), 365–376.
34.North, A.C, and Hargreaves, D.J. (2008), The social and applied psychology of music. Oxford: Oxford University Press.
35.Smith, E.C., and Curnow, R. (1966), “Arousal Hypothesis” and the Effects of Music on Purchase Behavior’, Journal of Applied Psychology, 50, 255–256.
36.Milliman, R.E. (1982), ‘Using Background Music to Affect Behavior of Supermarket Shoppers’, Journal of Marketing, 46 (Summer), 86–91.
37.Caldwell, C., and Hibbert, S.A. (1999), ‘Play That One Again: The effect of music tempo on consumer behaviour in a Restaurant’, in European Advances in Consumer Research, Volume 4 (eds. Bernard Dubois, Tina M. Lowrey, L.J. Shrum, and Marc Vanhuele), pp. 58–62.
38.Guêguen, N., Jacob, C., Lourle, M., and Le Guellec, H. (2007), ‘Effect of background music on consumer’s behavior: A field experiment in an open-air market’, European Journal of Scientific Research, 16 (2), 268–272.
39.North, A.C., Hargreaves, D.J., and McKendrick, J. (1999), ‘Music and on-hold waiting time’, British Journal of Psychology, 90, 161–164.
40.Lai, C.-J., et al. (2011), ‘Effect of Background Music Tempo and Playing Method on Shopping Website Browsing’, Smart Innovation, Systems and Technologies, 10, 439–447.
41.Areni, C.S., and Kim, D. (1993), ‘The influence of background music on shopping behaviour: Classical versus Top Forty music in a
wine store’, in Advances in Consumer Research, Volume 20 (eds. L. McAlister and M.L. Rothschild), pp. 336–340.
42.North, A.C., Shilcock, A., and Hargreaves, D.J. (2003), ‘The effect of musical style on restaurant customers’ spending’, Environment and Behavior, 35, 712–718.
43.Wilson, S. (2003), ‘The effect of music on perceived atmosphere and purchase intentions in a restaurant’, Psychology of Music, 31 (1), 93–112.
44.North, A.C., Hargreaves, D.J., and McKendrick, J. (1999), ‘The effect of music on instore wine selections’, Journal of Applied Psychology, 84 (2), 271–276.
45.Jacob, C., Guéguen, N., Boulbry, G., and Sami, S. (2009), ‘“Love is in the air“: congruence between background music and goods in a florist’, The International Review of Retail, Distribution and Consumer Research, 19 (1), 75–79.
46.MacInnis, D.J., and Park, C.W. (1991), ‘The Differential Role of Characteristics of Music on High- and Low-involvement Consumers’ Processing of Ads’, Journal of Consumer Research, 18, 161–173.
47.Oakes, S. (2007), ‘Evaluating Empirical Research into Music in Advertising: A Congruity Perspective’, Journal of Advertising Research, 47 (1), 38–50.
48.Beverland, M., Lim, E.A.C., Morrison, M., and Terziovski, M. (2006), ‘In-store music and consumer-brand relationships: relational transformation following experiences of (mis)fit’, Journal of Business Research, 59 (9), 982–989.
49.Zander, M.F. (2006), ‘Musical influences in advertising: how music modifies first impressions of product endorsers and brands’, Psychology of Music, 34 (4), 465–480.
Глава 6. Музыка на досуге
1. North, A.C., Hargreaves, D.J., and Hargreaves, J.J. (2004), ‘Uses of music in everyday life’, Music Perception, 22 (1), 41–77.
2. Krause, A.E., North, A.C., and Hewitt, L.Y. (2013), ‘Music listening in everyday life: Devices and choice’. Psychology of Music, DOI: 10.1177/0305735613496860.
3. Besson, M., and Schön, D. (2001), ‘Comparison between language and music’, Annals of the New York Academy of Sciences, 930, 232–258.
4. Camurri, A., et al. (2004), ‘Multimodal Analysis of Expressive Gesture in Music and Dance Performances’, Gesture-Based Communication in Human-Computer Interaction, 2915, 20–39. Marin, M.M., and Bhattacharya, J. (2010), ‘Music induced emotions: Some current issues and crossmodal comparisons’, in J. Hermida and M. Ferrero (eds.), Music Education (pp. 1–38). Hauppauge, NY: Nova Science Publishers.
5. Hagen, E.H., and Bryant, G.A. (2003), ‘Music and dance as a coalition signalling system’, Human Nature, 14 (1), 21–51.
6. Witek, M.A.G. (2009), ‘Groove Experience: Emotional and Physiological Responses to Groove-Based Music’, Proceedings of the 7th Triennial Conference of the European Society for the Cognitive Sciences of Music, ESCOM, University of Jyväskylä. Senn, O., and Kilchenmann, L. (2011), ‘The secret ingredient — State of affairs and future directions in groove studies’, in Antonio Baldassarre (ed.), Musik, Raum, Akkord, Bild — Festschrift for Dorothea Baumann’s 65th Birthday, Bern: pp. 799–810.
7. Winkler, I., et al. (2009), ‘Newborn infants detect the beat in music’,
Proceedings of the National Academy of Sciences, 106, 2468–2471.
8. Honing, H., et al. (2012). ‘Rhesus monkeys (Macaca mulatta) detect rhythmic groups in music, but not the beat’, PLOS ONE, 7 (12), e51369.
9. Patel, A.D., Iversen, J.R., Bregman, M.R., and Schulz, I. (2009), ‘Experimental evidence for synchronization to a musical beat in a nonhuman animal’, Current Biology, 19, 827–830.
10.Fitch, W.T. (2013), ‘Rhythmic cognition in humans and animals: distinguishing meter and pulse perception’, Frontiers in Systems Neuroscience, 31, 7:68.
11.Schachner, A., Brady, T.F., Pepperberg, I.M., and Hauser, M.D. (2009), ‘Spontaneous motor entrainment to music in multiple vocal mimicking species’, Current Biology, 19 (10), 831–836.
12.Hattori, Y., Tomonaga, M., and Matsuzawa, T. (2013), ‘Spontaneous synchronized tapping to an auditory rhythm in a chimpanzee’, Scientific Reports 3, 1566. Cook, P., Rouse, A., Wilson, M., and Reichmuth, C. (2013), ‘A California Sea Lion (Zalophus californianus) Can Keep the Beat: Motor Entrainment to Rhythmic Auditory Stimuli in a Non Vocal Mimic’, Journal of Comparative Psychology..
13. Luck, G., Saarikallio, S., Thompson, M., Burger, B., and Toiviainen,
P. (2012), ‘Hips don’t lie: Multi-dimensional ratings of opposite-sex dancers’ perceived attractiveness’, in E. Cambouropoulos, C. Tsougras, P. Mavromatis and K. Pastiadis (eds.), Proceedings of 12th International Conference on Music Perception and Cognition (Thessaloniki, Greece).
14.Zillmann, D., and Bhatia, A. (1989), ‘Effects of associating with musical genres on heterosexual attraction’, Communication Research, 16 (2), 263–288.
15.Guéguen, N., Jacob, C., and Lamy, L. (2010), ‘“Love is in the air”: Effects of songs with romantic lyrics on compliance with a courtship request’, Psychology of Music, 38 (3), 303–307.
16.Guéguen, N., Meineri, S., and Fischer-Lokou, J. (2013), ‘Men’s music ability and attractiveness to women in a real-life courtship context’, Psychology of Music, published online 1 May 2013.
17.North, A.C., Tarrant, M., and Hargreaves, D.J. (2004), ‘The effects of music on helping behaviour: a field study’, Environment and Behaviour, 36 (2), 266–275.
18.Lamy, L., Fischer-Lokou, J., and Guéguen, N. (2009), ‘Induced reminiscence of love and chivalrous helping’, Current Psychology, 28 (3), 202–209.
19.LeDoux, J.E. (2000), ‘Emotion circuits in the brain’, Annual Review of Neuroscience, 23, 155–184.
20.Koelsch, S., et al. (2006), ‘Investigating emotion with music: an fMRI study’, Human Brain Mapping, 27 (3), 239–250. Blood, A.J., and Zatorre, R.J. (2001), ‘Intensely pleasurable responses to music correlate with activity in brain regions implicated in reward and emotion’, Proceedings of the National Academy of Sciences, 98 (2), 11818–11823.
21.Griffiths, T.D., Warren, J.D., Dean, J.L., and Howard, D. (2004), ‘“When the feeling’s gone”: a selective loss of musical emotion’, Journal of Neurology, Neurosurgery & Psychiatry, 75, 344–345.
22.Gosselin, N., et al. (2005), ‘Impaired recognition of scary music following unilateral temporal lobe excision’, Brain, 128 (3), 628–640.
23.Eldar, E., et al. (2007), ‘Feeling the real world: limbic response to music depends on related content’, Cerebral Cortex, 17 (12), 2828– 2840.
24.Boltz, M.G. (2001), ‘Musical soundtracks as a schematic influence on the cognitive processing of filmed events’, Music Perception, 18:427–454.
25.Phan, K.L., Wager, T.D., Taylor, S.F., and Liberzon, I. (2002), ‘Functional neuroanatomy of emotion: a meta-analysis of emotion activation studies in PET and fMRI’, Neuroimage, 16 (2), 331–348.
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