Switch to: References

Add citations

You must login to add citations.
  1. (1 other version)Music, neuroscience, and the psychology of wellbeing: A précis.Adam M. Croom - 2012 - Frontiers in Theoretical and Philosophical Psychology 2 (393):393.
    In Flourish, the positive psychologist Martin Seligman (2011) identifies five commonly recognized factors that are characteristic of human flourishing or wellbeing: (1) “positive emotion,” (2) “relationships,” (3) “engagement,” (4) “achievement,” and (5) “meaning” (p. 24). Although there is no settled set of necessary and sufficient conditions neatly circumscribing the bounds of human flourishing (Seligman, 2011), we would mostly likely consider a person that possessed high levels of these five factors as paradigmatic or prototypical of human flourishing. Accordingly, if we wanted (...)
    Download  
     
    Export citation  
     
    Bookmark   11 citations  
  • From The Firebird to The Rite of Spring: Meter and Alignment in Stravinsky’s Russian-Period Works.Pieter van den Toorn - 2013 - Avant: Trends in Interdisciplinary Studies 4 (3).
    Addressed here is the psychological complexity of meter, notated and heard, in The Firebird and Part II of The Rite of Spring. Of concern from the standpoint of the listener are the competing forces of meter, displacement, and parallelism; how these forces take precedence, with melody and harmony falling into place accordingly. Duly supplanted is the motivicism of the Classical style, as Theodor Adorno observed some time ago. Also of consequence here are octatonic harmony and the strict performance style favored (...)
    Download  
     
    Export citation  
     
    Bookmark  
  • The influence of modality on input, visuo-motor coordination, and execution in the advanced pianist's sight-reading processes.Jing Qi & Mayumi Adachi - 2022 - Frontiers in Psychology 13.
    In this study, we explored how the modality would affect the input, visuo-motor coordination, and execution in the advanced pianist's sight-reading processes, as well as relations among these three phases. Thirty-two advanced pianists with 5–54 years of piano training participated in the study. All participants sight-read three two-voice pieces in either major or minor mode while their eye movements were measured by an eye-tracking device. All pieces were 20-measure long written in 4/4 m, adapted from unfamiliar Baroque pieces. Results showed (...)
    Download  
     
    Export citation  
     
    Bookmark  
  • Sad Songs Say So Much: The Paradoxical Pleasures of Sad Music.Laura Sizer - 2019 - Journal of Aesthetics and Art Criticism 77 (3):255-266.
    Listening to music can be an intensely moving experience. Many people love music in part because of its power to alter or amplify their moods, and turn to music for inspiration, comfort, or therapy. It is a puzzle, then, why many of us spend so much time listening to sad music. If music can influence our moods, and assuming that most people would prefer to be happy not sad, why would we choose to listen to sad music? I revisit the (...)
    Download  
     
    Export citation  
     
    Bookmark   4 citations  
  • The Triadic Roots of Human Cognition: “Mind” Is the Ability to go Beyond Dyadic Associations.Norman D. Cook - 2018 - Frontiers in Psychology 9:293649.
    Empirical evidence is reviewed indicating that the extraordinary aspects of the human mind are due to our species’ ability to go beyond simple “dyadic associations” and to process the relations among three items of information simultaneously. Classic explanations of the “triadic” nature of human skills have been advocated by various scholars in the context of the evolution of human cognition. Here I summarize the core processes as found in (i) the syntax of language, (ii) tool-usage, and (iii) joint attention. I (...)
    Download  
     
    Export citation  
     
    Bookmark   1 citation  
  • Prolegomena to Music Semantics.Philippe Schlenker - 2019 - Review of Philosophy and Psychology 10 (1):35-111.
    We argue that a formal semantics for music can be developed, although it will be based on very different principles from linguistic semantics and will yield less precise inferences. Our framework has the following tenets: Music cognition is continuous with normal auditory cognition. In both cases, the semantic content derived from an auditory percept can be identified with the set of inferences it licenses on its causal sources, analyzed in appropriately abstract ways. What is special about music semantics is that (...)
    Download  
     
    Export citation  
     
    Bookmark   12 citations  
  • Modeling Music Emotion Judgments Using Machine Learning Methods.Naresh N. Vempala & Frank A. Russo - 2018 - Frontiers in Psychology 8:259022.
    Emotion judgments and five channels of physiological data were obtained from 60 participants listening to 60 music excerpts. Various machine learning (ML) methods were used to model the emotion judgments inclusive of neural networks, linear regression, and random forests. Input for models of perceived emotion consisted of audio features extracted from the music recordings. Input for models of felt emotion consisted of physiological features extracted from the physiological recordings. Models were trained and interpreted with consideration of the classic debate in (...)
    Download  
     
    Export citation  
     
    Bookmark   1 citation  
  • The Recognition of Emotions in Music and Landscapes: Extending Contour Theory.Marta Benenti & Cristina Meini - 2018 - Philosophia 46 (3):647-664.
    While inanimate objects can neither experience nor express emotions, in principle they can be expressive of emotions. In particular, music is a paradigmatic example of something expressive of emotions that surely cannot feel anything at all. The Contour theory accounts for music expressiveness in terms of those resemblances that hold between its external and perceivable properties and the typical contour of human emotional behavior. Provided that some critical aspects are emended – notably, the stress on the perception of similarity instead (...)
    Download  
     
    Export citation  
     
    Bookmark   4 citations  
  • Three laws of qualia: what neurology tells us about the biological functions of consciousness.Vilayanur S. Ramachandran & William Hirstein - 1997 - Journal of Consciousness Studies 4 (5-6):429-457.
    Neurological syndromes in which consciousness seems to malfunction, such as temporal lobe epilepsy, visual scotomas, Charles Bonnet syndrome, and synesthesia offer valuable clues about the normal functions of consciousness and ‘qualia’. An investigation into these syndromes reveals, we argue, that qualia are different from other brain states in that they possess three functional characteristics, which we state in the form of ‘three laws of qualia’. First, they are irrevocable: I cannot simply decide to start seeing the sunset as green, or (...)
    Download  
     
    Export citation  
     
    Bookmark   17 citations  
  • Musical Meaning and Social Reproduction: A case for retrieving autonomy.Lucy Green - 2005 - Educational Philosophy and Theory 37 (1):77-92.
    In this article I propose a theory of musical meaning and experience which takes into consideration the dialectical relationship between musical text and context, and which is flexible enough to apply to a range of musical styles. Through this theory I examine the roles played by the school music classroom which, despite the multiplicity of musical styles now incorporated into schooling, continues to contribute to the reproduction of existing social relations in the wider society. I consider how music itself can (...)
    Download  
     
    Export citation  
     
    Bookmark   2 citations  
  • Incidental Learning of Melodic Structure of North Indian Music.Martin Rohrmeier & Richard Widdess - 2017 - Cognitive Science 41 (5):1299-1327.
    Musical knowledge is largely implicit. It is acquired without awareness of its complex rules, through interaction with a large number of samples during musical enculturation. Whereas several studies explored implicit learning of mostly abstract and less ecologically valid features of Western music, very little work has been done with respect to ecologically valid stimuli as well as non-Western music. The present study investigated implicit learning of modal melodic features in North Indian classical music in a realistic and ecologically valid way. (...)
    Download  
     
    Export citation  
     
    Bookmark   4 citations  
  • Thrills, chills, frissons, and skin orgasms: toward an integrative model of transcendent psychophysiological experiences in music.Luke Harrison & Psyche Loui - 2014 - Frontiers in Psychology 5.
    Download  
     
    Export citation  
     
    Bookmark   20 citations  
  • What can music tell us about the nature of the mind? A Platonic Model.Brian D. Josephson & Tethys Carpenter - 1996 - In Stuart R. Hameroff, Alfred W. Kaszniak & Alwyn Scott (eds.), Toward a Science of Consciousness: The First Tucson Discussions and Debates. MIT Press.
    We present an account of the phenomenon of music based upon the hypothesis that there is a close parallel between the mechanics of life and the mechanics of mind, a key factor in the correspondence proposed being the existence of close parallels between the concepts of gene and musical idea. The hypothesis accounts for the specificity, complexity, functionality and apparent arbitrariness of musical structures. An implication of the model is that music should be seen as a phenomenon of transcendental character, (...)
    Download  
     
    Export citation  
     
    Bookmark   4 citations  
  • Musical expression and performance.Carl Humphries - unknown
    This study examines the philosophical question of how it is possible to appreciate music aesthetically as an expressive art form. First it examines a number of general theories that seek to make sense of expressiveness as a characteristic of music that can be considered relevant to our aesthetic appreciation of the latter. These include accounts that focus on resemblances between music and human behaviour or human feelings, on music's powers of emotional arousal, and on various ways in which music may (...)
    Download  
     
    Export citation  
     
    Bookmark  
  • Moving Ourselves, Moving Others: Motion and Emotion in Intersubjectivity, Consciousness, and Language.Andrea Schiavio - 2015 - Philosophical Psychology 28 (5):735-739.
    Download  
     
    Export citation  
     
    Bookmark  
  • Emotions in the Listener: A Criterion of Artistic Relevance.Matteo Ravasio - 2017 - American Society for Aesthetics Graduate E-Journal 9 (1).
    Philosophers of music and psychologists have examined the various ways in which music is capable of arousing emotions in a listener. Among philosophers, opinions diverge as to the different types of music-induced emotions and as to their relevance to music listening. A somewhat neglected question concerns the possibility of developing a general criterion for the artistic relevance of music-induced emotions. In this paper, I will try to formulate such a criterion. In whatever way music may induce emotions and regardless of (...)
    Download  
     
    Export citation  
     
    Bookmark   2 citations  
  • Listening to the Shepard-Risset Glissando: the Relationship between Emotional Response, Disruption of Equilibrium, and Personality.Eveline Vernooij, Angelo Orcalli, Franco Fabbro & Cristiano Crescentini - 2016 - Frontiers in Psychology 7.
    Download  
     
    Export citation  
     
    Bookmark  
  • El ritmo y la métrica en los textos literarios.Aníbal Zorrilla - forthcoming - Rhuthmos.
    Ponencia inédita presentada en el II Congreso Internacional de Teatro, Buenos Aires 12 al 15 de octubre 2011. Instituto de Investigación en Teatro Departamento de Artes Dramáticas, Universidad Nacional de las Artes. Ritmo y lenguaje Muchos autores estudian el ritmo en el lenguaje en general, y especialmente en textos literarios. La mayor parte de ellos, especialmente quienes tratan sobre la poesía, discrimina particularmente el aspecto métrico por un lado, en el cual el número de sílabas y la - Poétique et (...)
    Download  
     
    Export citation  
     
    Bookmark  
  • Some speculative hypotheses about the nature and perception of dance and choreography.Ivar Hagendoorn - 2004 - Journal of Consciousness Studies 11 (3-4):3-4.
    Ever since I first saw a dance performance I have wondered why it is that I am sometimes fascinated and touched by some people moving about on a stage, while at other times it leaves me completely indifferent. I will argue that an answer to this question has to be searched for in the way sensory stimuli are processed in the brain. After all, all our actions, perceptions and feelings are mediated and controlled by the brain. The thoughts and feelings (...)
    Download  
     
    Export citation  
     
    Bookmark   8 citations  
  • (2 other versions)The capacity for music: What is it, and what’s special about it?Ray Jackendoff & Fred Lerdahl - 2006 - Cognition 100 (1):33-72.
    Download  
     
    Export citation  
     
    Bookmark   39 citations  
  • Are we predictive engines? Perils, prospects, and the puzzle of the porous perceiver.Andy Clark - 2013 - Behavioral and Brain Sciences 36 (3):233-253.
    The target article sketched and explored a mechanism (action-oriented predictive processing) most plausibly associated with core forms of cortical processing. In assessing the attractions and pitfalls of the proposal we should keep that element distinct from larger, though interlocking, issues concerning the nature of adaptive organization in general.
    Download  
     
    Export citation  
     
    Bookmark   41 citations  
  • Why does music move us?Björn Vickhoff & Helge Malmgren - 2004 - Philosophical Communications.
    The communication of emotion in music has with few exceptions, as L. B. Meyer´s Emotion and Meaning in Music (1956) and the contour theory (Kivy 1989, 2002), focused on music structure as representations of emotions. This implies a semiotic approach - the assumption that music is a kind of language that could be read and decoded. Such an approach is largely restricted to the conscious level of knowing, understanding and communication. We suggest an understanding of music and emotion based on (...)
    Download  
     
    Export citation  
     
    Bookmark   2 citations  
  • Expectations without content.Michael Luntley - 2010 - Mind and Language 25 (2):217-236.
    In this paper I show how the way experience presents things to us can be treated without attributing a representational content to experience. The basic claim that experience can present us with more things than the range of things available to us in thought is neutral with respect to the choice between a content account of experience and a naïve content-free account. I show how Meyer's theory of expectations in accounting for our experience of music supports the naïve account. Expectations (...)
    Download  
     
    Export citation  
     
    Bookmark   6 citations  
  • Music evoked emotions are different–more often aesthetic than utilitarian.Klaus Scherer & Marcel Zentner - 2008 - Behavioral and Brain Sciences 31 (5):595-596.
    We disagree with Juslin & Vll's (J&V's) thesis that music-evoked emotions are indistinguishable from other emotions in both their nature and underlying mechanisms and that music just induces some emotions more frequently than others. Empirical evidence suggests that frequency differences reflect the specific nature of music-evoked emotions: aesthetic and reactive rather than utilitarian and proactive. Additional mechanisms and determinants are suggested as predictors of emotions triggered by music.
    Download  
     
    Export citation  
     
    Bookmark   10 citations  
  • Reviews. [REVIEW]Franklin Scott, Jonathan Y. Tsou, Mark A. Schmuckler & Richard Brown - 2008 - Philosophical Psychology 21 (1):129 – 147.
    Seeing, Doing, and Knowing: A Philosophical Theory of Sense Perception MOHAN MATTHEN New York, Oxford University Press, 2007384 pages, ISBN: 0199204284 (pbk); $35.00Mohan Matthen's Seeing, Doing an...
    Download  
     
    Export citation  
     
    Bookmark   2 citations  
  • The call of the disaster at the borderland of silence.Leslie Anne Boldt - 2018 - Angelaki 23 (3):125-143.
    Blanchot’s Thomas the Obscure and Death Sentence are marked by the imperative to hear the call of night, of darkness, and death. In each work, the ear is enlisted to undermine the prominence accorded to the eye. If sight is essential to measure and confirm the space separating subjects from objects or subjects from other subjects, Blanchot introduces hearing as a way to collapse this protective distance. The border between inside and outside becomes porous, and the subject is no longer (...)
    Download  
     
    Export citation  
     
    Bookmark   1 citation  
  • Calculating entropy at different scales among diverse communication systems.Gerardo Febres & Klaus Jaffé - 2016 - Complexity 21 (S1):330-353.
    Download  
     
    Export citation  
     
    Bookmark  
  • Non-expert listeners show decreased heart rate and increased blood pressure in response to atonal music.Alice M. Proverbio, Luigi Manfrin, Laura A. Arcari, Francesco De Benedetto, Martina Gazzola, Matteo Guardamagna, Valentina Lozano Nasi & Alberto Zani - 2015 - Frontiers in Psychology 6.
    Download  
     
    Export citation  
     
    Bookmark   1 citation  
  • Music and literature: are there shared empathy and predictive mechanisms underlying their affective impact?Diana Omigie - 2015 - Frontiers in Psychology 6.
    Download  
     
    Export citation  
     
    Bookmark  
  • (2 other versions)Speed, Accuracy, and Serial Order in Sequence Production.Peter Q. Pfordresher, Caroline Palmer & Melissa K. Jungers - 2007 - Cognitive Science 31 (1):63-98.
    The production of complex sequences like music or speech requires the rapid and temporally precise production of events (e.g., notes and chords), often at fast rates. Memory retrieval in these circumstances may rely on the simultaneous activation of both the current event and the surrounding context (Lashley, 1951). We describe an extension to a model of incremental retrieval in sequence production (Palmer & Pfordresher, 2003) that incorporates this logic to predict overall error rates and speed—accuracy trade-offs, as well as types (...)
    Download  
     
    Export citation  
     
    Bookmark  
  • Educating the design stance: Issues of coherence and transgression.Norman H. Freeman & Melissa L. Allen - 2013 - Behavioral and Brain Sciences 36 (2):141 - 142.
    Bullot & Reber (B&R) put forth a design stance to fuse psychological and art historical accounts of visual thinking into a single theory. We argue that this aspect of their proposal needs further fine-tuning. Issues of transgression and coherence are necessary to provide stability to the design stance. We advocate looking to Art Education for such fundamentals of picture understanding.
    Download  
     
    Export citation  
     
    Bookmark   1 citation  
  • (1 other version)A gray matter of taste: Sound perception, music cognition, and Baumgarten's aesthetics.Alessia Pannese - 2012 - Studies in History and Philosophy of Science Part C: Studies in History and Philosophy of Biological and Biomedical Sciences 43 (3):594-601.
    Music is an ancient and ubiquitous form of human expression. One important component for which music is sought after is its aesthetic value, whose appreciation has typically been associated with largely learned, culturally determined factors, such as education, exposure, and social pressure. However, neuroscientific evidence shows that the aesthetic response to music is often associated with automatic, physically- and biologically-grounded events, such as shivers, chills, increased heart rate, and motor synchronization, suggesting the existence of an underlying biological platform upon which (...)
    Download  
     
    Export citation  
     
    Bookmark  
  • Beauty in mathematics.Ulianov Montano Juarez - unknown
    The aim of this work is to account for expressions like “Cantor’s diagonal proof is elegant” or “Euler identity is the most beautiful formula of mathematics”. This type of expressions is common among mathematicians; however, they may result in two kinds of puzzled reactions: first, the non mathematician may find the use of the word ‘beautiful’ strange in this context. Second, the mathematician may try to reinterpret mathematical beauty in terms of the principles and precepts of mathematics itself. I present (...)
    Download  
     
    Export citation  
     
    Bookmark  
  • A frame of analysis for collective free improvisation on the bridge between Husserl’s phenomenology of time and some recent readings of the predictive coding model.Lucia Angelino - 2020 - Phenomenology and the Cognitive Sciences 19 (2):349-369.
    The kind of collective improvisation attained by the “free jazz” at the beginning of the sixties sets a challenge to analytic theories of collective intentionality, that emphasize the role played by future-directed plans in the interlocking and interdependent intentions of the individual participants, because in the free jazz case the performers’ interdependence or [interplay] stems from an intuitive understanding between musicians. Otherwise said: what happens musically is not planned in advance, but arises from spontaneous interactions in the group. By looking (...)
    Download  
     
    Export citation  
     
    Bookmark  
  • A Statistical Analysis of the Relationship between Harmonic Surprise and Preference in Popular Music.Scott A. Miles, David S. Rosen & Norberto M. Grzywacz - 2017 - Frontiers in Human Neuroscience 11.
    Download  
     
    Export citation  
     
    Bookmark   1 citation  
  • The Eye is Listening: Music-Induced Arousal and Individual Differences Predict Pupillary Responses.Bruno Gingras, Manuela M. Marin, Estela Puig-Waldmüller & W. T. Fitch - 2015 - Frontiers in Human Neuroscience 9.
    Download  
     
    Export citation  
     
    Bookmark   4 citations  
  • Toward a Neural Basis of Music Perception – A Review and Updated Model.Stefan Koelsch - 2011 - Frontier in Psychology 2.
    Download  
     
    Export citation  
     
    Bookmark   22 citations  
  • The role of expectation in the constitution of subjective musical experience.Elisa Negretto - unknown
    The present study is a theoretical discussion concerning some of the important processes that characterize human perception, which is understood as a fundamental structure of consciousness. The aim is to acquire new insights for a better comprehension of the human experience in the world and the way individual subjects become familiar with their environment. To accomplish this task, the experience of listening to music is analysed due to the widespread acceptance of music as an important aspect of human life. With (...)
    Download  
     
    Export citation  
     
    Bookmark  
  • (1 other version)A Hermeneutics of Sport.Andrew Edgar - 2013 - Sport, Ethics and Philosophy 7 (1):140 - 167.
    (2013). A Hermeneutics of Sport. Sport, Ethics and Philosophy: Vol. 7, Sport and Art: An Essay in the Hermeneutics of Sport, pp. 140-167. doi: 10.1080/17511321.2012.761893.
    Download  
     
    Export citation  
     
    Bookmark   5 citations  
  • (2 other versions)Speed, Accuracy, and Serial Order in Sequence Production.Peter Q. Pfordresher, Caroline Palmer & Melissa K. Jungers - 2007 - Cognitive Science: A Multidisciplinary Journal 30 (1):63-98.
    Download  
     
    Export citation  
     
    Bookmark  
  • Tuning the mind: Exploring the connections between musical ability and executive functions.L. Robert Slevc, Nicholas S. Davey, Martin Buschkuehl & Susanne M. Jaeggi - 2016 - Cognition 152:199-211.
    Download  
     
    Export citation  
     
    Bookmark   7 citations  
  • 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.
    Download  
     
    Export citation  
     
    Bookmark   7 citations  
  • Enacting musical emotions. sense-making, dynamic systems, and the embodied mind.Andrea Schiavio, Dylan van der Schyff, Julian Cespedes-Guevara & Mark Reybrouck - 2017 - Phenomenology and the Cognitive Sciences 16 (5):785-809.
    The subject of musical emotions has emerged only recently as a major area of research. While much work in this area offers fascinating insights to musicological research, assumptions about the nature of emotional experience seem to remain committed to appraisal, representations, and a rule-based or information-processing model of cognition. Over the past three decades alternative ‘embodied’ and ‘enactive’ models of mind have challenged this approach by emphasising the self-organising aspects of cognition, often describing it as an ongoing process of dynamic (...)
    Download  
     
    Export citation  
     
    Bookmark   22 citations  
  • Three ways of watching a sports video.Andrew Edgar - 2016 - Sport, Ethics and Philosophy 10 (4):403-415.
    It does not typically seem to be worthwhile rewatching a sport match, for example, in a video recording, once the result is known. Sports matches are like detective stories. Once one knows ‘whodunit’, there seems little point in revisiting the tale. By drawing on an argument from musicologist Edward T. Cone, this paper argues that certain sports matches may be revisited with profit. The initial experience of a game may be of a series of events that are often ambiguous or (...)
    Download  
     
    Export citation  
     
    Bookmark   2 citations  
  • Gender and Music Composition: A Study of Music, and the Gendering of Meanings.Desmond C. Sergeant & Evangelos Himonides - 2016 - Frontiers in Psychology 7.
    Download  
     
    Export citation  
     
    Bookmark  
  • Phrase-Level Modeling of Expression in Violin Performances.Fábio J. M. Ortega, Sergio I. Giraldo, Alfonso Perez & Rafael Ramírez - 2019 - Frontiers in Psychology 10.
    Download  
     
    Export citation  
     
    Bookmark   1 citation  
  • “The Two Brothers”: Reconciling Perceptual-Cognitive and Statistical Models of Musical Evolution.Steven Jan - 2018 - Frontiers in Psychology 9.
    Download  
     
    Export citation  
     
    Bookmark   1 citation  
  • The Rite Signs: Semiotic Readings One Hundred Years On.Nicholas P. McKay - 2016 - Avant: Trends in Interdisciplinary Studies 7 (1):15-35.
    One hundred years on from the infamous premiere of The Rite of Spring, Stravinsky’s epoch-defining ballet continues to evoke controversy and contention in both musicological and performance circles. Even to call it a ballet is to overlook, or compound, its problematic identity. Throughout its life span, most audiences will have encountered, valorised and identified the work as a landmark of orchestral musical modernism heard primarily, perhaps even exclusively, in concert halls and on audio recordings with not a dancer, theatre stage (...)
    Download  
     
    Export citation  
     
    Bookmark  
  • Music evokes vicarious emotions in listeners.Ai Kawakami, Kiyoshi Furukawa & Kazuo Okanoya - 2014 - Frontiers in Psychology 5.
    Download  
     
    Export citation  
     
    Bookmark   4 citations  
  • Affect and non-uniform characteristics of predictive processing in musical behaviour.Rebecca S. Schaefer, Katie Overy & Peter Nelson - 2013 - Behavioral and Brain Sciences 36 (3):226-227.
    The important roles of prediction and prior experience are well established in music research and fit well with Clark's concept of unified perception, cognition, and action arising from hierarchical, bidirectional predictive processing. However, in order to fully account for human musical intelligence, Clark needs to further consider the powerful and variable role of affect in relation to prediction error.
    Download  
     
    Export citation  
     
    Bookmark   3 citations