English version

FONCTIONS

• Professeur de psychologie cognitive
• Directeur du LEAD
• Co directeur du DESS Ingénierie des Apprentissages en Formation Professionnelle

THEMES DE RECHERCHES

Lorsque l'on est familier avec un environnement sonore, le type d'organisation que l'on confère aux scènes auditives obéit à des contraintes cognitives spécifiques. L'objectif des recherches est de mettre en évidence ces contraintes et de les relier aux règles générales de fonctionnement du cerveau humain. Les études s’organisent en 5 sous thèmes

• Traitement cognitif de la musique
• Cognition et émotion musicale
• Apprentissage implicite en audition
• Analyse des scènes de l’environnement sonore
• Ingénierie des apprentissages auditifs et musicaux

Principales références bibliographiques des 5 dernières années

Bigand, E, Filipic, S, & Lalitte, P. (in press) ; The Time course of emotionnal response to music, Annals of the New York Academy of Sciences (demonstration)(extraits Filipic)

Bigand, Poulin, Tillmann, Madurell & D’Adamo, (2003), Sensory versus cognitive components in harmonic priming, Journal of Experimental Psychology: Human Perception and Performance. 29, 159-171. (Demonstration).
Bigand, E. (in press), More about the musical expertise of musically untrained listeners, Annals of the New York Academy of Sciences.
Bigand, E., Traveling through Lerdahl’s Tonal Pitch Space Theory : A psychological perspective, Musicae Scientae, (in press). (Demonstration).
Tillmann, B & Bigand, E. (2001). Global context effects in normal and scrambled musical sequences, Journal of Experimental Psychology: Human Perception and Performance, 27, 1185-1196.
Bigand. E, Tillmann, B., Poulin, B., D'Adamo, D & Madurell, F. (2001). The effect of harmonic context on phoneme monitoring in vocal music, Cognition, 81, 11-20. (Demonstration)
Regnault, P., Bigand, E. & Besson, M. (2001). Different brain mechanisms mediate sensitivity to sensory consonance and harmonic context : Evidence from auditory Event Related brain Potentials, Journal of Cognitive Neurosciences, 13, 1-17,
Bigand E., McAdams, & Forêt, S. (2000). Divided attention in the listening of polyphonic music, International Journal of Psychology, 35, 270-278.
Tillmann, B., Bharucha, J., & Bigand, E. (2000). Implicit learning of tonality : A self-organizing approach. Psychological Review. 107, 885-913.
Drake, C.; Penel, A., Bigand, E. (2000) .Taping in time with mechanically and expressively performed music, Music Perception, 18, 1-25.
Bigand, E., & Parncutt, R. (1999). Perception of musical tension in long chord sequences. Psychological Research.62, 237-254.
Bigand, E., Madurell, F., Tillmann B., & Pineau, M. (1999). Effect of global structure and temporal organization on chord processing. Journal of Experimental Psychology: Human Perception and Performance. 25, 184-197.
Tillmann, B., Bigand, E., & Pineau, M. (1998). Effect of local and global contexts on harmonic expectancy, Music Perception, 16,99-118.
Bigand, E., Perruchet, P., & Boyer, M. (1998). Implicit learning of artificial grammar of musical timbres. Current Psychology of Cognition. 17, 577-600,
Tillmann, B., Bigand, E., & Madurell, F. (1998). Influence of Global and Local Structures on Solution of Musical Puzzles. Psychological Research. 61, 157-174,
Tillmann, B., & Bigand, E. (1998). Influence of global structure on musical target detection and recognition. International Journal of Psychology. 33, 107-122.