RESEARCH

For someone who is familiar with a musical system, the type of organization he or she perceives when listening to works that are within this system is

far from arbitrary. Indeed, this perception depends on specific cognitive constraints. Research in musical cognition aims at showing what these constraints are and at understanding how they are similiar to or different from the general processes by which the human brain functions.

Research on musical cognition contributes to the advancement of cognitive science by shedding an original light on the workings of the human mind.

This research also contributes to the development of contemporary musical systems and of new methods for teaching music.

LEAD carries out research in the following areas:

• the constraints involved in the perception of melodic structures
• the constraints involved in the perception of harmonic structures
• the perception of large musical structures
• the implicit ways in which musical systems are learned
• Travelling through tonal pitch space

Since 1999, the research on auditory cognition has been extented to

• the auditory scene analysis of environmental sounds

RESEARCH IN PROGRESS

1999-2002 : " Do musicians and nonmusicians perceive music differently?". Granded by the International Foundation for Music Research .

2000. Composition et cognition musicales : Création, perception, appréciation. En co-responsabilité scientifique avec S. McAdams, (Equipe Perception et Cognition Musicales, Ircam-CNRS, 1 place Igor Stravinsky, 75004 Paris,) Roger Reynolds et Gerald Balzano, (Dept. of Music B-026, University of California at San Diego, La Jolla, CA, 92093 USA)

BIBLIOGRAPHY

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)

Tillmann, B & Bigand, E. (in press). Global context effects in normal and scrambled musical seuquences, Journal of Experimental Psychology: Human Perception and Performance.

Bigand. E, Tillmann, B., Poulin, B., D'Adamo, D & Madurell, F. (in press). The effect of harmonic context on phoneme monitoring in vocal music, Cognition.

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.

Bigand E., McAdams, & For?t, S. (2000). Divided attention in the listening of polyphonic music, International Journal of Psychology.

Tillmann, B., Bharucha, J., & Bigand, E. (2000). Implicit learning of tonality : A self-organizing approach. PsychologicalReview, 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.

Bigand, E. (1997). Perceiving Musical Stability: The effect of tonal structure, rhythm and musical expertise. Journal of Experimental Psychology, Human Perception and Performance. 23, 808-812.

Bigand, E., & Pineau, M. (1997). Context Effects on Musical Expectancy. Perception and Psychophysics., 59, 1098-1107.

Pineau, M., & Bigand, E. (1997). Influence du context global sur l'amorçage harmonique. L'Année Psychologique, 97, 385-408.

Perruchet, P., Bigand, E., & Benoit-Gonin, F. (1997). The emergence of explicit knowledge during the early phase of learning in serial reaction time tasks. Psychological Research, 60, 4-13.

Bigand, E., & Pineau, M. (1996). Context effects on melody recognition: a dynamic interpretation. Current Psychology of Cognition, 15, 121-134.

Tillmann, B., & Bigand, E. (1996). Does formal musical structure affect perception of musical expressiveness? Psychology of Music, 24, 3 - 17.

Bigand, E., Parncutt, R., & Lerdahl, F. (1996). Perception of musical tension in short chord sequences: The influence of harmonic function, sensory dissonance, horizontal motion, and musical training. Perception & Psychophysics, 58, 125-141.

Bigand, E. (1994). Les sciences de la cognition musicale. Bulletin de Psychologie, Numéro Spécial, 411, 449-458.

Bigand, E. (1993). The influence of implicit harmony, rhythm and musical training on the abstraction of "tension-relaxation schemas "in a tonal musical phrase". Contemporary Music Review, 9, 128-139.

Bigand, E. (1990). Abstraction of Two Forms of Underlying Structure in a tonal melody. Psychology of Music, 18, 45-59.

Ouvrages et éditions scientifiques d'ouvrage

McAdams, S., & Bigand, E. (Eds.) (1993). Thinking in sound: The cognitive psychology of human audition. Oxford:Oxford University Press. Version Française publiée au P.U.F. (1994). Penser les sons : la psychologie cognitive de
l'audition.

Bigand, E. (1993). L'organisation perceptive d'oeuvres musicales tonales. Paris: Maison des Sciences de l'Homme.

Articles didactiques

Bigand, E., Madurell, F., McAdams, S. (1998). Considérations psychologiques sur le commentaire d'écoute, Musurgia: Analyse et Pratique Musicales.

Bigand, E., (1997), The musical time space: A theory of music listening, Book review, Music perception, 15, 112-119.

Bigand, E., & Barrouillet, P. (1996). Processi di classificazione degli stili nei bambini e negli adulti. Quaderni della SIEM, 10, 81-93.

Tillmann, B., & Bigand, E. (1995). Formale Struktur and musikalische Expressivität. Jahrbuch der Musikpsychologie, Florian Noetzel, 66-74.

Bigand, E. (1995). Postface in L'élaboration des stimuli dans la recherche sur la perception musicale, F. Madurell (1995), Document Observatoire Musical Français, 1, Université de Paris Sorbonne.

Bigand, E. (1993). Contribution of music to research on human auditory cognition. In S. McAdams & E. Bigand (Eds.). Thinking in sound: The cognitive psychology of human audition, (pp. 231-273), Oxford: Oxford University Press.

McAdams, S., & Bigand, E. (1993). Introduction to auditory cognition. In S. McAdams & E. Bigand (Eds.) (1993). Thinking in sound: The cognitive psychology of human audition. (pp. 1-9), Oxford: Oxford University Press.

Bigand, E. (1992). De la perception du son musical à la perception de la musique. Les cahiers de l'audition, 5, 37-43.

Bigand, E. (1991). Perception des schémas de tensions et détentes dans une phrase musicale. Analyse Musicale, Hors Série, 144-146.

Bigand, E. (1991). Hacia une formalizacion de los procesos implicados en la comprension musical. Comunicacion, Lenguaje y Educacion, 9, 71-88.

Bigand, E. (1990). Vers la formalisation des processus impliqués dans la compréhension musicale. Les Sciences de l'Education, 3-4, 85-107.

Bigand, E. (1988). Perception et compréhension des phrases musicales : étude de psychologie expérimentale. Les Sciences de l'Education, 1-2, 153- 156.