8 found
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  1.  31
    Mixed affective responses to music with conflicting cues.Patrick G. Hunter, E. Glenn Schellenberg & Ulrich Schimmack - 2008 - Cognition and Emotion 22 (2):327-352.
  2.  31
    Liking for happy- and sad-sounding music: Effects of exposure.E. Glenn Schellenberg, Isabelle Peretz & Sandrine Vieillard - 2008 - Cognition and Emotion 22 (2):218-237.
    We examined liking for happy- and sad-sounding music as a function of exposure, which varied both in quantity (number of exposures) and in quality (focused or incidental listening). Liking ratings were higher for happy than for sad music after focused listening, but similar after incidental listening. In the incidental condition, liking ratings increased linearly as a function of exposure. In the focused condition, liking ratings were an inverted U-shaped function of exposure, with initial increases in liking (after 2 exposures) followed (...)
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  3.  39
    Current Emotion Research in Music Psychology.Swathi Swaminathan & E. Glenn Schellenberg - 2015 - Emotion Review 7 (2):189-197.
    Music is universal at least partly because it expresses emotion and regulates affect. Associations between music and emotion have been examined regularly by music psychologists. Here, we review recent findings in three areas: the communication and perception of emotion in music, the emotional consequences of music listening, and predictors of music preferences.
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  4.  38
    Predicting who takes music lessons: parent and child characteristics.Kathleen A. Corrigall & E. Glenn Schellenberg - 2015 - Frontiers in Psychology 6.
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  5. Music cognition: a developmental perspective.Stephanie M. Stalinski & E. Glenn Schellenberg - 2012 - Topics in Cognitive Science 4 (4):485-497.
    Although music is universal, there is a great deal of cultural variability in music structures. Nevertheless, some aspects of music processing generalize across cultures, whereas others rely heavily on the listening environment. Here, we discuss the development of musical knowledge, focusing on four themes: (a) capabilities that are present early in development; (b) culture-general and culture-specific aspects of pitch and rhythm processing; (c) age-related changes in pitch perception; and (d) developmental changes in how listeners perceive emotion in music.
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  6. Changing the Tune: Listeners Like Music that Expresses a Contrasting Emotion.E. Glenn Schellenberg, Kathleen A. Corrigall, Olivia Ladinig & David Huron - 2012 - Frontiers in Psychology 3.
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  7.  54
    The role of exposure in emotional responses to music.E. Glenn Schellenberg - 2008 - 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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  8.  41
    Cultural determinism is no better than biological determinism.Sandra E. Trehub & E. Glenn Schellenberg - 1998 - 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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