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  1. How Classical Music is Better than Popular Music.James O. Young - 2016 - Philosophy 91 (4):523-540.
    In at least one respect, classical music is superior to popular music. Classical music has greater potential for expressiveness and, consequently, has more potential for psychological insight and profundity. The greater potential for expressiveness in classical music is due, in large part, to it greater harmonic resources. The harmonies in classical music are more likely to be functional, more contrary motion is employed, and modulation is more common. Although popular music employs rhythms not found in classical music, on the whole (...)
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  • The artful mind meets art history: Toward a psycho-historical framework for the science of art appreciation.Nicolas J. Bullot & Rolf Reber - 2013 - Behavioral and Brain Sciences 36 (2):123-137.
    Research seeking a scientific foundation for the theory of art appreciation has raised controversies at the intersection of the social and cognitive sciences. Though equally relevant to a scientific inquiry into art appreciation, psychological and historical approaches to art developed independently and lack a common core of theoretical principles. Historicists argue that psychological and brain sciences ignore the fact that artworks are artifacts produced and appreciated in the context of unique historical situations and artistic intentions. After revealing flaws in the (...)
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  • 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.
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  • Bibliometrical and Visualized Analysis of Neuroaesthetics Research: A Review Based on CiteSpace.Zhou Wenjie & Wang Xiaoyu - 2019 - Philosophy Study 9 (5).
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  • Art expertise modulates the emotional response to modern art, especially abstract: an ERP investigation.Jane E. Else, Jason Ellis & Elizabeth Orme - 2015 - Frontiers in Human Neuroscience 9.
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  • Learning Harmony: The Role of Serial Statistics.Erin McMullen Jonaitis & Jenny R. Saffran - 2009 - Cognitive Science 33 (5):951-968.
    How do listeners learn about the statistical regularities underlying musical harmony? In traditional Western music, certain chords predict the occurrence of other chords: Given a particular chord, not all chords are equally likely to follow. In Experiments 1 and 2, we investigated whether adults make use of statistical information when learning new musical structures. Listeners were exposed to a novel musical system containing phrases generated using an artificial grammar. This new system contained statistical structure quite different from Western tonal music. (...)
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  • Faces differing in attractiveness elicit corresponding affective responses.Connor P. Principe & Judith H. Langlois - 2011 - Cognition and Emotion 25 (1):140-148.
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  • What child is this? What interval was that? Familiar tunes and music perception in novice listeners.J. David Smith, Deborah G. Kemler Nelson, Lisa A. Grohskopf & Terry Appleton - 1994 - Cognition 52 (1):23-54.
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  • Music and Cephalic Capability.Jay Schulkin - 2021 - European Journal of Pragmatism and American Philosophy 13 (1).
    Pragmatists views, like those of John Dewey’s about music, emphasize the social nature of musical sensibility, instrumental expressions and adaptation to changing circumstances. Indeed, expectancy and violations of those expectations in music are tied to memory and human development. Cephalic (mind/brain/body) factors that underlie what we expect, and variation on the expected, inhere in musical experiences. Music is a piece of nature and is tied to movement and dance and rooted in social contact. Music of course serves many functions in (...)
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  • Learning to like it: Aesthetic perception of bodies, movements and choreographic structure.Guido Orgs, Nobuhiro Hagura & Patrick Haggard - 2013 - Consciousness and Cognition 22 (2):603-612.
    Appreciating human movement can be a powerful aesthetic experience. We have used apparent biological motion to investigate the aesthetic effects of three levels of movement representation: body postures, movement transitions and choreographic structure. Symmetrical and asymmetrical sequences of apparent movement were created from static postures, and were presented in an artificial grammar learning paradigm. Additionally, “good” continuation of apparent movements was manipulated by changing the number of movement path reversals within a sequence. In an initial exposure phase, one group of (...)
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  • Stability and Variability in Aesthetic Experience: A Review.Thomas Jacobsen & Susan Beudt - 2017 - Frontiers in Psychology 8.
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  • Inferring Master Painters' Esthetic Biases from the Statistics of Portraits.Hassan Aleem, Ivan Correa-Herran & Norberto M. Grzywacz - 2017 - Frontiers in Human Neuroscience 11.
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