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  1. Stephanie M. Stalinski & E. Glenn Schellenberg (2012). Music Cognition: A Developmental Perspective. Topics in Cognitive Science 4 (4):485-497.
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  2. Patrick G. Hunter, E. Glenn Schellenberg & Ulrich Schimmack (2008). Mixed Affective Responses to Music with Conflicting Cues. Cognition and Emotion 22 (2):327-352.
  3. E. Glenn Schellenberg (2008). The Role of Exposure in Emotional Responses to Music. Behavioral and Brain Sciences 31 (5):594-595.
    A basic aspect of emotional responding to music involves the liking for specific pieces. Juslin & Vll (J&V) fail to acknowledge that simple exposure plays a fundamental role in this regard. Listeners like what they have heard but not what they have heard too often. Exposure represents an additional mechanism, ignored by the authors, that helps to explain emotional responses to music.
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  4. E. Glenn Schellenberg & Isabelle Peretz (2008). Music, Language and Cognition: Unresolved Issues. Trends in Cognitive Sciences 12 (2):45-46.
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  5. E. Glenn Schellenberg, Isabelle Peretz & Sandrine Vieillard (2008). Liking for Happy- and Sad-Sounding Music: Effects of Exposure. Cognition and Emotion 22 (2):218-237.
  6. Sandra E. Trehub & E. Glenn Schellenberg (1998). Cultural Determinism is No Better Than Biological Determinism. Behavioral and Brain Sciences 21 (3):427-428.
    Deliberate practice and experience may suffice as predictors of expertise, but they cannot account for spectacular achievements. Highly variable environmental and biological factors provide facilitating as well as constraining conditions for development, generating relative plasticity rather than absolute plasticity. The skills of virtuosos and idiots savants are more consistent with the talent account than with the deliberate-practice account.
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