11 found
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  1.  9
    Implicit Learning of Tonality: A Self-Organizing Approach.Barbara Tillmann, Jamshed J. Bharucha & Emmanuel Bigand - 2000 - Psychological Review 107 (4):885-913.
  2.  37
    Music, Emotion, and Time Perception: The Influence of Subjective Emotional Valence and Arousal?Sylvie Droit-Volet, Danilo Ramos, José L. O. Bueno & Emmanuel Bigand - 2013 - Frontiers in Psychology 4.
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  3.  94
    The Relative Importance of Local and Global Structures in Music Perception.Barbara Tillmann & Emmanuel Bigand - 2004 - Journal of Aesthetics and Art Criticism 62 (2):211–222.
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  4.  34
    Musical Structure Modulates Semantic Priming in Vocal Music.Bénédicte Poulin-Charronnat, Emmanuel Bigand, François Madurell & Ronald Peereman - 2005 - Cognition 94 (3):B67-B78.
  5.  10
    Response: A Commentary On: “Neural Overlap in Processing Music and Speech”.Barbara Tillmann & Emmanuel Bigand - 2015 - Frontiers in Human Neuroscience 9.
  6.  30
    Play Along: Effects of Music and Social Interaction on Word Learning.Laura Verga, Emmanuel Bigand & Sonja A. Kotz - 2015 - Frontiers in Psychology 6.
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  7.  28
    The Impact of the Perception of Rhythmic Music on Self-Paced Oscillatory Movements.Mathieu Peckel, Thierry Pozzo & Emmanuel Bigand - 2014 - Frontiers in Psychology 5.
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  8.  15
    Escala multidimensional aplicada aos estudos de apreciação musical1.Raquel Cocenas da Silva, José Lino Oliveira Bueno, Emmanuel Bigand & Paul Molin - 2009 - Paideia (Misc) 19 (43):153-158.
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  9.  7
    THEterm Tonal Music Can Be Applied to a Large Variety of Musical Styles in the West. This Includes That of the Four Periods (Baroque, Classical, Romantic, and Modern) Into Which Western Art-Music is Commonly Divided, as Well as Other Musical Styles From Popular.Emmanuel Bigand & Bénédicte Poulin-Charronnat - 2008 - In Susan Hallam, Ian Cross & Michael Thaut (eds.), Oxford Handbook of Music Psychology. Oxford University Press.
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  10.  3
    Individual Differences in Granularity of the Affective Responses to Music.Emmanuel Bigand & Joanna Kantor-Martynuska - 2013 - Polish Psychological Bulletin 44 (4):399-408.
    The main focus of the paper is the role of listeners’ emotion-relevant characteristics and musical expertise in the granularity of affective responses to music. Another objective of the study is to test the consistency of the granularity of affect that is perceived in music and/or experienced in response to it. In Experiment 1, 91 musicians and nonmusicians listened to musical excerpts and grouped them according to the similarity of the affects they experienced while listening. Finer grouping granularity was found in (...)
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  11.  1
    Positive and Detached Reappraisal of Threatening Music in Younger and Older Adults.Sandrine Vieillard, Charlotte Pinabiaux & Emmanuel Bigand - 2020 - Frontiers in Human Neuroscience 14.