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  1. Music in the moment.Jerrold Levinson - 1997 - Ithaca, N.Y.: Cornell University Press.
    Does aural understanding depend upon reflective awareness of musical architecture or large-scale musical structure? Jerrold Levinson thinks not.
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  • Music, imagination, and culture.Nicholas Cook - 1990 - New York: Oxford University Press.
    Drawing on psychological and philosophical materials as well as the analysis of specific musical examples, Cook here defines the difference between music...
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  • A spreading-activation theory of retrieval in sentence production.Gary S. Dell - 1986 - Psychological Review 93 (3):283-321.
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  • Music, Imagination and Culture.Peter Kivy - 1992 - Journal of Aesthetics and Art Criticism 50 (1):76-79.
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  • Recognition-by-components: A theory of human image understanding.Irving Biederman - 1987 - Psychological Review 94 (2):115-147.
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  • The representation of harmonic structure in music: Hierarchies of stability as a function of context.J. Bharucha - 1983 - Cognition 13 (1):63-102.
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  • Emotion and meaning in music.Leonard B. Meyer - 1956 - [Chicago]: University of Chicago Press.
    Analyzes the meaning expressed in music, the social and psychological sources of meaning, and the methods of musical communication This is a book meant for ...
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  • Feature discovery by competitive learning.David E. Rumelhart & David Zipser - 1985 - Cognitive Science 9 (1):75-112.
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  • Implicit learning and tacit knowledge.Arthur S. Reber - 1989 - Journal of Experimental Psychology: General 118 (3):219-235.
    I examine the phenomenon of implicit learning, the process by which knowledge about the rule-governed complexities of the stimulus environment is acquired independently of conscious attempts to do so. Our research with the two seemingly disparate experimental paradigms of synthetic grammar learning and probability learning, is reviewed and integrated with other approaches to the general problem of unconscious cognition. The conclusions reached are as follows: Implicit learning produces a tacit knowledge base that is abstract and representative of the structure of (...)
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  • Implicit learning out of the lab: the case of orthographic regularities.Sébastien Pacton, Pierre Perruchet, Michel Fayol & Axel Cleeremans - 2001 - Journal of Experimental Psychology: General 130 (3):401.
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  • Explaining Music: Essays and Explorations.Leonard B. Meyer - 1975 - Journal of Aesthetics and Art Criticism 33 (3):351-354.
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  • Emotion and Meaning in Music.Julius Portnoy - 1957 - Journal of Aesthetics and Art Criticism 16 (2):285-286.
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  • A Generative Theory of Tonal Music.Fred Lerdahl & Ray Jackendoff - 1987 - Journal of Aesthetics and Art Criticism 46 (1):94-98.
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  • Tracing the dynamic changes in perceived tonal organization in a spatial representation of musical keys.Carol L. Krumhansl & Edward J. Kessler - 1982 - Psychological Review 89 (4):334-368.
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  • Time, our lost dimension: Toward a new theory of perception, attention, and memory.Mari R. Jones - 1976 - Psychological Review 83 (5):323-355.
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  • Dynamic attending and responses to time.Mari Riess Jones & Marilyn Boltz - 1989 - Psychological Review 96 (3):459-491.
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  • Competitive Learning: From Interactive Activation to Adaptive Resonance.Stephen Grossberg - 1987 - Cognitive Science 11 (1):23-63.
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  • Scale and contour: Two components of a theory of memory for melodies.W. Jay Dowling - 1978 - Psychological Review 85 (4):341-354.
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  • Connectionist and Memory‐Array Models of Artificial Grammar Learning.Zoltan Dienes - 1992 - Cognitive Science 16 (1):41-79.
    Subjects exposed to strings of letters generated by a finite state grammar can later classify grammatical and nongrammatical test strings, even though they cannot adequately say what the rules of the grammar are (e.g., Reber, 1989). The MINERVA 2 (Hintzman, 1986) and Medin and Schaffer (1978) memory‐array models and a number of connectionist outoassociator models are tested against experimental data by deriving mainly parameter‐free predictions from the models of the rank order of classification difficulty of test strings. The importance of (...)
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  • The internal representation of pitch sequences in tonal music.Diana Deutsch & John Feroe - 1981 - Psychological Review 88 (6):503-522.
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  • Effect of repetition of standard and of comparison tones on recognition memory for pitch.Diana Deutsch - 1972 - Journal of Experimental Psychology 93 (1):156.
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  • Mechanisms of Implicit Learning: Connectionist Models of Sequence Processing.Axel Cleeremans - 1993 - MIT Press.
    What do people learn when they do not know that they are learning? Until recently, all of the work in the area of implicit learning focused on empirical questions and methods. In this book, Axel Cleeremans explores unintentional learning from an information-processing perspective. He introduces a theoretical framework that unifies existing data and models on implicit learning, along with a detailed computational model of human performance in sequence-learning situations.
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  • Music in the Moment.Jerrold Levinson - 1999 - Philosophical Quarterly 49 (196):403-405.
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  • La perception de la musique.R. Francès - 1961 - Revue Philosophique de la France Et de l'Etranger 151:387-388.
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  • Neural nets, temporal composites, and tonality.Jamshed J. Bharucha - 2002 - In Daniel Levitin (ed.), Foundations of Cognitive Psychology: Core Readings. MIT Press. pp. 455.
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  • Implicit learning of artificial grammars.Arthur S. Reber - 1967 - Journal of Verbal Learning and Verbal Behavior 6:855-863.
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  • Implicit learning and tacit knowledge.Arthur S. Reber - 1989 - Journal of Experimental Psychology 118:219-35.
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