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List of Contributors | |
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Preface | |
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The Perception of Musical Tones | |
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Introduction | |
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Perception of Single Tones | |
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Perception of Sound Combinations | |
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Conclusions and Outlook | |
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Acknowledgments | |
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References | |
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Musical Timbre Perception | |
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Psychophysics of Timbre | |
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Timbre as a Vehicle for Source Identity | |
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Timbre as a Structuring Force in Music Perception | |
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Concluding Remarks | |
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Acknowledgments | |
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References | |
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Perception of Singing | |
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Introduction | |
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Voice Function | |
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Phonation | |
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Resonance | |
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Intensity and Masking | |
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Aspects of Voice Timbre | |
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Vibrato | |
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Intonation in Practice | |
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Expression | |
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Concluding Remarks | |
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References | |
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Intervals and Scales | |
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Introduction | |
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Pitch Intervals | |
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Scales and Tuning Systems | |
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Overview | |
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Acknowledgments | |
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References | |
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Absolute Pitch | |
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Introduction | |
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Implicit AP | |
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Genesis of AP | |
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AP and Speech Processing | |
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AP and Pitch Processing | |
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Neuroanatomical Substrates of AP | |
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AP Accuracy and Stimulus Characteristics | |
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Pitch Shifts in AP Possessors | |
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AP in Special Populations | |
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Conclusion | |
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Acknowledgments | |
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References | |
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Grouping Mechanisms in Music | |
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Introduction | |
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Fusion and Separation of Spectral Components | |
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Larger-Scale Groupings | |
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Auditory Streaming and Implied Polyphony | |
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Grouping and Phrase Structure | |
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Grouping of Simultaneous Tone Sequences | |
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Grouping of Equal-Interval Tone Complexes | |
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Relationships to Music Theory and Practice | |
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Acknowledgments | |
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References | |
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The Processing of Pitch Combinations | |
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Introduction | |
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Feature Abstraction | |
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Abstraction of Higher-Order Shapes | |
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The Organization of Short-Term Memory for Tones | |
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Paradoxes Based on Pitch Class | |
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Illusory Transformation from Speech to Song | |
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Conclusion | |
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Acknowledgments | |
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References | |
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Computational Models of Music Cognition | |
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Introduction | |
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Models of Key-Finding | |
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Models of Meter-Finding | |
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Other Aspects of Perception | |
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Models of Musical Experience | |
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Models of Performance | |
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Models of Composition | |
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Conclusions | |
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Acknowledgment | |
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References | |
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Structure and Interpretation of Rhythm in Music | |
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Introduction | |
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Overview: Decomposing the Rhythmic Signal | |
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Structure and Interpretation: Visualizing Rhythm Space | |
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Rhythmic Pattern: Representation | |
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Rhythmic Pattern and Timing: Categorization | |
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Metrical Structure | |
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Tempo and Timing: Perceptual Invariance | |
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Rhythm and Movement: Embodied Cognition | |
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Acknowledgments | |
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References | |
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Bibliography | |
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Music Performance: Movement and Coordination | |
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Introduction | |
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Movement in Performance | |
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Ensemble Performance | |
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Summary | |
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Acknowledgments | |
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References | |
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Musical Development | |
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Origins of Music | |
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Musical Development in a Social Context | |
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Musical Enculturation and Critical Periods for Musical Acquisition | |
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Music Production: Development of Singing | |
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Effects of Formal Music Training on Musical Development | |
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Interactions between Music Experience and Nonmusical Abilities | |
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General Conclusions | |
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Acknowledgments | |
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References | |
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Music and Cognitive Abilities | |
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Introduction | |
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Music Aptitude and Cognitive Abilities | |
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Cognitive Abilities after Listening to Music | |
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Background Music and Cognitive Abilities | |
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Music Training and Cognitive Abilities | |
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Conclusions | |
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Acknowledgments | |
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References | |
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The Biological Foundations of Music: Insights from Congenital Amusia | |
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Congenital Amusia | |
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Pitch Is Special | |
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Right Frontotemporal Connectivity Is Key | |
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Music Genes | |
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Limited Plasticity | |
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Conclusions | |
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Acknowledgments | |
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References | |
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Brain Plasticity Induced by Musical Training | |
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Introduction | |
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Behavioral Studies: The Effects of Musical Training on Cognitive Performance | |
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Imaging Studies: The Effects of Musical Training on Brain Organization | |
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Auditory-Motor Interactions Underlie Music and Language Learning | |
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Music-based Treatments to Modulate Brain Plasticity: Melodic Intonation Therapy and Auditory-Motor Mapping Training | |
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Concluding Remarks | |
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Acknowledgments | |
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References | |
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Music and Emotion | |
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History | |
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Emotion Theory | |
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Perception of Emotion | |
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Arousal of Emotion | |
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Themes in Current Research | |
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Implications and Outlook | |
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References | |
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Comparative Music Cognition: Cross-Species and Cross-Cultural Studies | |
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Introduction | |
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Cross-Species Studies | |
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Cross-Cultural Studies | |
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Conclusion | |
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Acknowledgments | |
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References | |
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Psychologists and Musicians: Then and Now | |
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Helmholtz and Basevi in the 1860s | |
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Seashore and Kurth in the 1920s | |
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Franc�s and Meyer in the 1950s | |
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Psychologists and Musicians Today | |
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A Continuing Challenge | |
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References | |
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Author Index | |
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Subject Index | |