@article {17761,
	title = {Brain responses to regular and octave-scrambled melodies: A case of predictive-coding?},
	journal = {J Exp Psychol Hum Percept Perform},
	volume = {43},
	number = {3},
	year = {2017},
	month = {2017 Mar},
	pages = {487-498},
	abstract = {Melody recognition is an online process of evaluating incoming information and comparing this information to an existing internal corpus, thereby reducing prediction error. The predictive-coding model postulates top-down control on sensory processing accompanying reduction in prediction error. To investigate the relevancy of this model to melody processing, the current study examined early magnetoencephalogram (MEG) auditory responses to familiar and unfamiliar melodies in 25 participants. The familiar melodies followed and primed an octave-scrambled version of the same melody. The retrograde version of theses melodies served as the unfamiliar control condition. Octave-transposed melodies were included to examine the influence of pitch representation (pitch-height/pitch-chroma representation) on brain responses to melody recognition. Results demonstrate a reduction of the M100 auditory response to familiar, as compared with unfamiliar, melodies regardless of their form of presentation (condensed vs. octave-scrambled). This trend appeared to begin after the third tone of the melody. An additional behavioral study with the same melody corpus showed a similar trend-namely, a significant difference between familiarity rating for familiar and unfamiliar melodies, beginning with the third tone of the melody. These results may indicate a top-down inhibition of early auditory responses to melodies that is influenced by pitch representation. (PsycINFO Database Record},
	issn = {1939-1277},
	doi = {10.1037/xhp0000340},
	author = {Globerson, Eitan and Granot, Roni and Tal, Idan and Harpaz, Yuval and Zeev-Wolf, Maor and Golstein, Abraham}
}
@article {17762,
	title = {Common modulation of limbic network activation underlies musical emotions as they unfold},
	journal = {Neuroimage},
	volume = {141},
	year = {2016},
	month = {2016 Nov 01},
	pages = {517-29},
	abstract = {Music is a powerful means for communicating emotions among individuals. Here we reveal that this continuous stream of affective information is commonly represented in the brains of different listeners and that particular musical attributes mediate this link. We examined participants{\textquoteright} brain responses to two naturalistic musical pieces using functional Magnetic Resonance imaging (fMRI). Following scanning, as participants listened to the musical pieces for a second time, they continuously indicated their emotional experience on scales of valence and arousal. These continuous reports were used along with a detailed annotation of the musical features, to predict a novel index of Dynamic Common Activation (DCA) derived from ten large-scale data-driven functional networks. We found an association between the unfolding music-induced emotionality and the DCA modulation within a vast network of limbic regions. The limbic-DCA modulation further corresponded with continuous changes in two temporal musical features: beat-strength and tempo. Remarkably, this "collective limbic sensitivity" to temporal features was found to mediate the link between limbic-DCA and the reported emotionality. An additional association with the emotional experience was found in a left fronto-parietal network, but only among a sub-group of participants with a high level of musical experience (>5years). These findings may indicate two processing-levels underlying the unfolding of common music emotionality; (1) a widely shared core-affective process that is confined to a limbic network and mediated by temporal regularities in music and (2) an experience based process that is rooted in a left fronto-parietal network that may involve functioning of the {\textquoteright}mirror-neuron system{\textquoteright}.},
	issn = {1095-9572},
	doi = {10.1016/j.neuroimage.2016.07.002},
	author = {Singer, Neomi and Jacoby, Nori and Lin, Tamar and Raz, Gal and Shpigelman, Lavi and Gilam, Gadi and Granot, Roni Y and Hendler, Talma}
}
@article {17908,
	title = {From auditory focus, to auditory influence, to multimodal experience in psychomusicological research.},
	volume = {26},
	number = {2},
	year = {2016},
	month = {2016},
	pages = {99},
	publisher = {US : Illinois State UniversityUS : Music and Arts PublicationsUS : Stephen F. Austin State UniversityUS : The Florida State University},
	url = {http://search.ebscohost.com/login.aspx?direct=true\&site=eds-live\&db=edspdh\&AN=2016-28611-001},
	author = {Cohen, Annabel J.}
}
@article {17907,
	title = {Letter of the guest editors of the special issue on {\textquoteright}Music as a multimodal experience{\textquoteright}.},
	volume = {26},
	number = {2},
	year = {2016},
	month = {2016},
	pages = {101},
	publisher = {US : Illinois State UniversityUS : Music and Arts PublicationsUS : Stephen F. Austin State UniversityUS : The Florida State University},
	url = {http://search.ebscohost.com/login.aspx?direct=true\&site=eds-live\&db=edspdh\&AN=2016-28611-002},
	author = {Timmers, Renee and Granot, Roni Y.}
}
@article {17915,
	title = {Automatic extraction and categorization of Faenza Codex figurations.},
	volume = {42},
	number = {4},
	year = {2014},
	month = {2014},
	pages = {559},
	abstract = {The Faenza Codex contains highly diverse instrumental figurations in the Ars Nova style and is unique in its sharp jump from simple melodic skeleton lines to extremely elaborate figurations (a diminution can accommodate up to 20 notes per one melodic note). This makes the manuscript an interesting candidate on which to build a figuration dictionary, here extracted through computer-aided analysis. The dictionary was based on the diminution part only using statistical considerations, without any presuppositions about the compositional origins of the pieces (French/Italian, secular/sacred, one or many scribes). We hope that it will serve as a point of reference for the talented performer-improviser of early 15th-century music. The final section of the article makes use of the extracted figurations as a way to assess the homogeneity of the Faenza Codex pieces based on hierarchical clustering. [ABSTRACT FROM PUBLISHER]Copyright of Early Music is the property of Oxford University Press / USA and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder{\textquoteright}s express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)
},
	keywords = {15TH century music, ARS nova (Musical style), CODEX Faenza (Music), EMBELLISHMENT (Music performance), MUSICAL notation},
	isbn = {03061078},
	url = {http://search.ebscohost.com/login.aspx?direct=true\&site=eds-live\&db=edb\&AN=99383201},
	author = {Sela, Sarig and Granot, Roni Y.}
}
@article {17764,
	title = {The enigma of dyslexic musicians},
	journal = {Neuropsychologia},
	volume = {54},
	year = {2014},
	month = {2014 Feb},
	pages = {28-40},
	abstract = {Musicians are known to have exceptional sensitivity to sounds, whereas poor phonological representations (or access to these representations) are considered a main characteristic of dyslexic individuals. Though these two characteristics refer to different abilities that are related to non-verbal and verbal skills respectively, the recent literature suggests that they are tightly related. However, there are informal reports of dyslexic musicians. To better understand this enigma, two groups of musicians were recruited, with and without a history of reading difficulties. The pattern of reading difficulties found among musicians was similar to that reported for non-musician dyslexics, though its magnitude was less severe. In contrast to non-musician dyslexics, their performance in pitch and interval discrimination, synchronous tapping and speech perception tasks, did not differ from the performance of their musician peers, and was superior to that of the general population. However, the auditory working memory scores of dyslexic musicians were consistently poor, including memory for rhythm, melody and speech sounds. Moreover, these abilities were inter-correlated, and highly correlated with their reading accuracy. These results point to a discrepancy between their perceptual and working memory skills rather than between sensitivity to speech and non-speech sounds. The results further suggest that in spite of intensive musical training, auditory working memory remains a bottleneck to the reading accuracy of dyslexic musicians.},
	keywords = {Auditory Perception, Cognition, Dyslexia, Female, Humans, Male, Memory, Short-Term, Music, Neuropsychological Tests, Phonetics, Professional Competence, Psychoacoustics, Psychomotor Performance, Reading, Severity of Illness Index, Task Performance and Analysis, Young Adult},
	issn = {1873-3514},
	doi = {10.1016/j.neuropsychologia.2013.12.009},
	author = {Weiss, Atalia H and Granot, Roni Y and Ahissar, Merav}
}
@article {17763,
	title = {Spatial vision is superior in musicians when memory plays a role},
	journal = {J Vis},
	volume = {14},
	number = {9},
	year = {2014},
	month = {2014 Aug 21},
	abstract = {Musicians{\textquoteright} perceptual advantage in the acoustic domain is well established. Recent studies show that musicians{\textquoteright} verbal working memory is also superior. Additionally, some studies report that musicians{\textquoteright} visuospatial skills are enhanced although others failed to find this enhancement. We now examined whether musicians{\textquoteright} spatial vision is superior, and if so, whether this superiority reflects refined visual skills or a general superiority of working memory. We examined spatial frequency discrimination among musicians and nonmusician university students using two presentation conditions: simultaneous (spatial forced choice) and sequential (temporal forced choice). Musicians{\textquoteright} performance was similar to that of nonmusicians in the simultaneous condition. However, their performance in the sequential condition was superior, suggesting an advantage only when stimuli need to be retained, i.e., working memory. Moreover, the two groups showed a different pattern of correlations: Musicians{\textquoteright} visual thresholds were correlated, and neither was correlated with their verbal memory. By contrast, among nonmusicians, the visual thresholds were not correlated, but sequential thresholds were correlated with verbal memory scores, suggesting that a general working memory component limits their performance in this condition. We propose that musicians{\textquoteright} superiority in spatial frequency discrimination reflects an advantage in a domain-general aspect of working memory rather than a general enhancement in spatial-visual skills.},
	keywords = {Adult, Cognition, Female, Humans, Male, Memory, Short-Term, Music, Space Perception, Visual Perception, Young Adult},
	issn = {1534-7362},
	doi = {10.1167/14.9.18},
	author = {Weiss, Atalia H and Biron, Tali and Lieder, Itay and Granot, Roni Y and Ahissar, Merav}
}
@article {17766,
	title = {Accuracy of pitch matching significantly improved by live voice model},
	journal = {J Voice},
	volume = {27},
	number = {3},
	year = {2013},
	month = {2013 May},
	pages = {390.e13-20},
	abstract = {Singing is, undoubtedly, the most fundamental expression of our musical capacity, yet an estimated 10-15\% of Western population sings "out-of-tune (OOT)." Previous research in children and adults suggests, albeit inconsistently, that imitating a human voice can improve pitch matching. In the present study, we focus on the potentially beneficial effects of the human voice and especially the live human voice. Eighteen participants varying in their singing abilities were required to imitate in singing a set of nine ascending and descending intervals presented to them in five different randomized blocked conditions: live piano, recorded piano, live voice using optimal voice production, recorded voice using optimal voice production, and recorded voice using artificial forced voice production. Pitch and interval matching in singing were much more accurate when participants repeated sung intervals as compared with intervals played to them on the piano. The advantage of the vocal over the piano stimuli was robust and emerged clearly regardless of whether piano tones were played live and in full view or were presented via recording. Live vocal stimuli elicited higher accuracy than recorded vocal stimuli, especially when the recorded vocal stimuli were produced in a forced vocal production. Remarkably, even those who would be considered OOT singers on the basis of their performance when repeating piano tones were able to pitch match live vocal sounds, with deviations well within the range of what is considered accurate singing (M=46.0, standard deviation=39.2 cents). In fact, those participants who were most OOT gained the most from the live voice model. Results are discussed in light of the dual auditory-motor encoding of pitch analogous to that found in speech.},
	keywords = {Acoustics, Adolescent, Adult, Auditory Perceptual Disorders, Cognition, Female, Humans, Imitative Behavior, Male, Middle Aged, Pitch Perception, Singing, Task Performance and Analysis, Time Factors, Voice Quality, Young Adult},
	issn = {1873-4588},
	doi = {10.1016/j.jvoice.2013.01.001},
	author = {Granot, Roni Y and Israel-Kolatt, Rona and Gilboa, Avi and Kolatt, Tsafrir}
}
@article {17765,
	title = {Effects of arginine vasopressin on musical working memory},
	journal = {Front Psychol},
	volume = {4},
	year = {2013},
	month = {2013},
	pages = {712},
	abstract = {Previous genetic studies showed an association between variations in the gene coding for the 1a receptor of the neuro-hormone arginine vasopressin (AVP) and musical working memory (WM). The current study set out to test the influence of intranasal administration (INA) of AVP on musical as compared to verbal WM using a double blind crossover (AVP-placebo) design. Two groups of 25 males were exposed to 20 IU of AVP in one session, and 20 IU of saline water (placebo) in a second session, 1 week apart. In each session subjects completed the tonal subtest from Gordon{\textquoteright}s "Musical Aptitude Profile," the interval subtest from the "Montreal Battery for Evaluation of Amusias (MBEA)," and the forward and backward digit span tests. Scores in the digit span tests were not influenced by AVP. In contrast, in the music tests there was an AVP effect. In the MBEA test, scores for the group receiving placebo in the first session (PV) were higher than for the group receiving vasopressin in the first session (VP) (p < 0.05) with no main Session effect nor Group {\texttimes} Session interaction. In the Gordon test there was a main Session effect (p < 0.05) with scores higher in the second as compared to the first session, a marginal main Group effect (p = 0.093) and a marginal Group {\texttimes} Session interaction (p = 0.88). In addition we found that the group that received AVP in the first session scored higher on scales indicative of happiness, and alertness on the positive and negative affect scale, (PANAS). Only in this group and only in the music test these scores were significantly correlated with memory scores. Together the results reflect a complex interaction between AVP, musical memory, arousal, and contextual effects such as session, and base levels of memory. The results are interpreted in light of music{\textquoteright}s universal use as a means to modulate arousal on the one hand, and AVP{\textquoteright}s influence on mood, arousal, and social interactions on the other.},
	issn = {1664-1078},
	doi = {10.3389/fpsyg.2013.00712},
	author = {Granot, Roni Y and Uzefovsky, Florina and Bogopolsky, Helena and Ebstein, Richard P}
}
@report {17911,
	title = {MODELING DYNAMIC PATTERNS FOR EMOTIONAL CONTENT IN MUSIC},
	year = {2013},
	month = {2013},
	abstract = {Emotional content is a major component in music. It has long been a research topic of interest to discover the acoustic patterns in the music that carry that emotional information, and enable performers to communicate emotional messages to listeners. Previous works looked in the audio signal for local cues, most of which assume monophonic music, and their statistics over time. Here, we used generic audio features, that can be calculated for any audio signal, and focused on the progression of these features through time, investigating how informative the dynamics of the audio is for emotional content. Our data is comprised [...]},
	url = {http://search.ebscohost.com/login.aspx?direct=true\&site=eds-live\&db=edsbas\&AN=edsbas.ftciteseerx.oai.CiteSeerX.psu.10.1.1.297.433},
	author = {Yonatan Vaizman and Granot, Roni Y. and Gert Lanckriet and The Pennsylvania State University CiteSeerX Archives}
}
@article {17906,
	title = {Listening in the dark: Congenital and early blindness and cross-domain mappings in music.},
	volume = {22},
	number = {1},
	year = {2012},
	month = {2012},
	pages = {33},
	publisher = {US : Illinois State UniversityUS : Music and Arts PublicationsUS : Stephen F. Austin State UniversityUS : The Florida State University},
	url = {http://search.ebscohost.com/login.aspx?direct=true\&site=eds-live\&db=edspdh\&AN=2012-18267-002},
	author = {Eitan, Zohar and Ornoy, Eitan and Granot, Roni Y.}
}
@article {17910,
	title = {Musically puzzling II: Sensitivity to overall structure in a Haydn E-minor sonata.},
	volume = {16},
	number = {1},
	year = {2012},
	month = {2012},
	pages = {67},
	isbn = {10298649},
	url = {http://search.ebscohost.com/login.aspx?direct=true\&site=eds-live\&db=mah\&AN=90085785},
	author = {Granot, Roni Y. and Jacoby, Nori}
}
@article {17916,
	title = {Musically puzzling I: Sensitivity to overall structure in the sonata form?},
	volume = {15},
	number = {3},
	year = {2011},
	month = {2011},
	pages = {365},
	isbn = {10298649},
	url = {http://search.ebscohost.com/login.aspx?direct=true\&site=eds-live\&db=mah\&AN=90085778},
	author = {Granot, Roni Y. and Jacoby, Nori}
}
@article {17917,
	title = {Musical Tension and the Interaction of Dynamic Auditory Parameters},
	volume = {28},
	number = {3},
	year = {2011},
	month = {2011},
	pages = {219},
	isbn = {15338312},
	url = {http://search.ebscohost.com/login.aspx?direct=true\&site=eds-live\&db=edsjsr\&AN=edsjsr.10.1525.mp.2011.28.3.219},
	author = {Granot, Roni Y. and Eitan, Zohar}
}
@article {17768,
	title = {Electrophysiological evidence for a two-stage process underlying single chord priming},
	journal = {Neuroreport},
	volume = {20},
	number = {9},
	year = {2009},
	month = {2009 Jun 17},
	pages = {855-9},
	abstract = {In this study, we examine through electrophysiological measures three alternative mechanisms underlying musical chord priming: psychoacoustic distance, common parent-key, and distance along the circle of fifths. In contrast with previous behavioral studies, we present complex tones which do not blur the melodic component, we present various chord arrangements, and we focus on nonmusicians. Target major chords, in three different harmonic conditions (1, 2, and 4 steps along the circle of fifths between prime and target chords), elicited two centro-anterior negativities labeled N5E (early) and N5L (late) suggesting a dissociation between an earlier psychoacoustic process based on pitch commonality and proximity and a later cognitive process based on a common parent-key.},
	keywords = {Acoustic Stimulation, Adult, Association Learning, Cerebral Cortex, Cognition, electrodes, Electroencephalography, Evoked Potentials, Evoked Potentials, Auditory, Female, Humans, Male, Mental Processes, Music, Neuropsychological Tests, Perceptual Masking, Pitch Perception, Psychoacoustics, Reaction Time, Recognition (Psychology), Time Factors, Time Perception, Young Adult},
	issn = {1473-558X},
	doi = {10.1097/WNR.0b013e32832bfcaf},
	author = {Granot, Roni Y and Hai, Atalia}
}
@article {17767,
	title = {Memory for tonal pitches: a music-length effect hypothesis},
	journal = {Ann N Y Acad Sci},
	volume = {1169},
	year = {2009},
	month = {2009 Jul},
	pages = {266-9},
	abstract = {One of the most studied effects of verbal working memory (WM) is the influence of the length of the words that compose the list to be remembered. This work aims to investigate the nature of musical WM by replicating the word length effect in the musical domain. Length and rate of presentation were manipulated in a recognition task of tone sequences. Results showed significant effects for both factors (length and presentation rate) as well as their interaction, suggesting the existence of different strategies (e.g., chunking and rehearsal) for the immediate memory of musical information, depending upon the length of the sequences.},
	keywords = {Adult, Female, Humans, Male, memory, Memory, Short-Term, Music, Pitch Perception, Young Adult},
	issn = {1749-6632},
	doi = {10.1111/j.1749-6632.2009.04787.x},
	author = {Akiva-Kabiri, Lilach and Vecchi, Tomaso and Granot, Roni and Basso, Demis and Sch{\"o}n, Daniele}
}
@article {17918,
	title = {Primary versus secondary musical parameters and the classification of melodic motives.},
	year = {2009},
	month = {2009},
	pages = {139},
	isbn = {10298649},
	url = {http://search.ebscohost.com/login.aspx?direct=true\&site=eds-live\&db=mah\&AN=48353021},
	author = {Eitan, Zohar and Granot, Roni Y.}
}
@article {17914,
	title = {THE CALL OF THE SRI LANKAN GOLDEN GECKO CALODACTYLODES ILLINGWORTHORUM, ECOLOGICAL PARALLEL OF THE FAN-TOED GECKOS, GENUS PTYODACTYLUS (REPTILIA: SAURIA: GEKKONIDAE).},
	volume = {18},
	number = {1},
	year = {2008},
	month = {2008},
	pages = {35},
	abstract = {Based on nine calls of Calodactylodes illingworthorum recorded in the wild in Sri Lanka, the {\textquoteright}spontaneous{\textquoteright} call of the species is a very rapid series of 4-7 roughly similar chirps. Call parameters are compared to those of Ptyodactylus guttatus of Israel because the species are similar in morphology (size, proportions, digit shape, scutellation, coloration), ecology (rupicolous, nocturnal), and reproductive biology (clutches of two eggs, stuck to rock, in {\textquoteright}rookeries{\textquoteright}). The calls of the two species, despite similarity in basic structure, greatly differ in the number of chirps, chirp repetition rate, total duration, dominant frequency, and relative intensity level. The functional implications of these differences are briefly considered. [ABSTRACT FROM AUTHOR]Copyright of Bioacoustics is the property of Taylor \& Francis Ltd and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder{\textquoteright}s express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)
},
	keywords = {ANIMAL calls, ANIMAL sounds, GECKOS, Israel, MORPHOLOGY, REPTILES, SRI Lanka},
	isbn = {09524622},
	url = {http://search.ebscohost.com/login.aspx?direct=true\&site=eds-live\&db=aph\&AN=34392786},
	author = {Werner, Yehudah L. and Chernis, Evgeny and Granot, Roni}
}
@article {17769,
	title = {Molecular genetic studies of the arginine vasopressin 1a receptor (AVPR1a) and the oxytocin receptor (OXTR) in human behaviour: from autism to altruism with some notes in between},
	journal = {Prog Brain Res},
	volume = {170},
	year = {2008},
	month = {2008},
	pages = {435-49},
	abstract = {Converging evidence from both human and animal studies has highlighted the pervasive role of two neuropeptides, oxytocin (OXT) and arginine vasopressin (AVP), in mammalian social behaviours. Recent molecular genetic studies of the human arginine vasopressin 1a (AVPR1a) and oxytocin (OXTR) receptors have strengthened the evidence regarding the role of these two neuropeptides in a range of normal and pathological behaviours. Significant association between both AVPR1a repeat regions and OXTR single nucleotide polymorphisms (SNPs) with risk for autism has been provisionally shown which was mediated by socialization skills in our study. AVPR1a has also been linked to eating behaviour in both clinical and non-clinical groups, perhaps reflecting the social and ritualistic side of eating behaviour. Evidence also suggests that repeat variations in AVPR1a are associated with two other social domains in Homo sapiens: music and altruism. AVPR1a was associated with dance and musical cognition which we theorize as reflecting the ancient role of this hormone in social interactions executed by vocalization, ritual movement and dyadic (mother-offspring) and group communication. Finally, we have shown that individual differences in allocation of funds in the dictator game, a laboratory game of pure altruism, is predicted by length of the AVPR1a RS3 promoter-region repeat echoing the mechanism of this hormone{\textquoteright}s action in the vole model of affiliative behaviours and facilitation of positive group interactions. While still in its infancy, the current outlook for molecular genetic investigations of AVP-OXT continues to be fascinating. Future studies should profitably focus on pharmacogenomic and genomic imaging strategies facilitated by the ease and efficacy of manipulating AVP-OXT neurotransmission by intranasal administration. Importantly, physiological measures, behavioural paradigms and brain activation can be informed by considering between-group and also within-group individual differences defined by common polymorphisms. Ultimately, investigators should strive to develop a cohesive model explaining how genomic variations are translated into individual and group differences in higher-order social behaviours.},
	keywords = {Altruism, Animals, Arvicolinae, Autistic Disorder, Brain, Chromosome Mapping, Chromosomes, Human, Pair 3, Feeding Behavior, Gene Expression, Genetics, Behavioral, Humans, Infant, memory, Motor Activity, Music, Promoter Regions, Genetic, Receptors, Oxytocin, Receptors, Vasopressin, RNA, Messenger, Social Behavior, Species Specificity, Speech},
	issn = {1875-7855},
	doi = {10.1016/S0079-6123(08)00434-2},
	author = {Israel, Salomon and Lerer, Elad and Shalev, Idan and Uzefovsky, Florina and Reibold, Mathias and Bachner-Melman, Rachel and Granot, Roni and Bornstein, Gary and Knafo, Ariel and Yirmiya, Nurit and Ebstein, Richard P}
}
@article {17919,
	title = {Growing Oranges on Mozart\&$\#$39;s Apple Tree: \&quot;Inner Form\&quot; and Aesthetic Judgment},
	volume = {25},
	number = {5},
	year = {2008},
	month = {2008},
	pages = {397},
	abstract = {Music theorists often presume that the sections of a musical masterwork match organically, enhancing unity and value. This "inner form" should be distinguished from coherence associated with inter-opus constraints, such as conventional forms. Studies indicate that violating inter-opus constraints hardly affects listeners{\textquoteright} aesthetic judgments. Here we examine how violating inner form affects such judgments. Musically trained and untrained listeners heard the intact opening movements of Mozart{\textquoteright}s piano sonatas, K. 280 and 332, as well as hybrids mixing sections from these two movements while maintaining overall form and tonal structure. Participants rated originals and hybrids on aesthetically relevant scales (e.g., liking, coherence, interest), after a single hearing and following extended exposure. Results show no significant preference for originals, even after repeated hearings. Music training tended to enhance preference for hybrid over original. Thus, inner form and its supposed organic unity, presumed tenets of musical genius, may not affect listeners{\textquoteright} evaluation.},
	keywords = {aesthetic evaluation, concatenationism, inner unity, music theory, musical form},
	isbn = {15338312},
	url = {http://search.ebscohost.com/login.aspx?direct=true\&site=eds-live\&db=edsjsr\&AN=edsjsr.10.1525.mp.2008.25.5.397},
	author = {Eitan, Zohar and Granot, Roni Y.}
}
@article {17913,
	title = {Intensity changes and perceived similarity: Inter-parametric analogies.},
	year = {2007},
	month = {2007},
	pages = {39},
	isbn = {10298649},
	url = {http://search.ebscohost.com/login.aspx?direct=true\&site=eds-live\&db=mah\&AN=25950005},
	author = {Eitan, Zohar and Granot, Roni Y.}
}
@article {17920,
	title = {Original Article: Provisional evidence that the arginine vasopressin 1a receptor gene is associated with musical memory},
	volume = {28},
	number = {5},
	year = {2007},
	month = {2007},
	pages = {313},
	abstract = {In a preliminary pilot study, 82 university students were administered an extensive battery of musical and phonological memory tasks; their scores were examined for an association with promoter repeats in the arginine vasopressin 1a receptor and serotonin transporter genes. We previously showed that these genes were associated with another music-related phenotype, creative dance. Highly significant Gene{\texttimes}Gene epistatic interactions were observed between promoter region polymorphisms and musical as well as phonological memory using family-based and population-based tests. Given the prominent role of vasopressin in social behavior, the preliminary association found in our study between musical memory and vasopressin could serve to support evolutionary accounts postulating a social adaptive role in music, such as mother{\textendash}infant communication, sexual selection, group cohesion, and even early protolanguage.},
	isbn = {10905138},
	url = {http://search.ebscohost.com/login.aspx?direct=true\&site=eds-live\&db=edselp\&AN=S1090513807000475},
	author = {Granot, Roni Y. and Frankel, Yoav and Gritsenko, Vladimir and Lerer, Elad and Gritsenko, Inga and Bachner-Melman, Rachel and Israel, Salomon and Ebstein, Richard P.}
}
@article {17921,
	title = {How music moves: Musical parameters and listeners{\textquoteright} images of motion},
	volume = {23},
	number = {3},
	year = {2006},
	month = {2006},
	pages = {221},
	abstract = {An empirical investigation of the ways listeners associate changes in musical parameters with physical space and bodily motion is presented. Results shows that most musical parameters significantly affect several dimensions of motion imagery, wherein musical abatements are strongly associated with spatial descents, while musical intensifications are generally associated with increasing speed rather than ascent.},
	keywords = {Auditory perception -- Analysis, Music -- Analysis, Music -- Theory, Musical analysis},
	isbn = {07307829},
	url = {http://search.ebscohost.com/login.aspx?direct=true\&site=eds-live\&db=edsgao\&AN=edsgcl.145995817},
	author = {Eitan, Zohar and Granot, Roni Y.}
}
@article {17770,
	title = {AVPR1a and SLC6A4 gene polymorphisms are associated with creative dance performance},
	journal = {PLoS Genet},
	volume = {1},
	number = {3},
	year = {2005},
	month = {2005 Sep},
	pages = {e42},
	abstract = {Dancing, which is integrally related to music, likely has its origins close to the birth of Homo sapiens, and throughout our history, dancing has been universally practiced in all societies. We hypothesized that there are differences among individuals in aptitude, propensity, and need for dancing that may partially be based on differences in common genetic polymorphisms. Identifying such differences may lead to an understanding of the neurobiological basis of one of mankind{\textquoteright}s most universal and appealing behavioral traits--dancing. In the current study, 85 current performing dancers and their parents were genotyped for the serotonin transporter (SLC6A4: promoter region HTTLPR and intron 2 VNTR) and the arginine vasopressin receptor 1a (AVPR1a: promoter microsatellites RS1 and RS3). We also genotyped 91 competitive athletes and a group of nondancers/nonathletes (n = 872 subjects from 414 families). Dancers scored higher on the Tellegen Absorption Scale, a questionnaire that correlates positively with spirituality and altered states of consciousness, as well as the Reward Dependence factor in Cloninger{\textquoteright}s Tridimensional Personality Questionnaire, a measure of need for social contact and openness to communication. Highly significant differences in AVPR1a haplotype frequencies (RS1 and RS3), especially when conditional on both SLC6A4 polymorphisms (HTTLPR and VNTR), were observed between dancers and athletes using the UNPHASED program package (Cocaphase: likelihood ratio test [LRS] = 89.23, p = 0.000044). Similar results were obtained when dancers were compared to nondancers/nonathletes (Cocaphase: LRS = 92.76, p = 0.000024). These results were confirmed using a robust family-based test (Tdtphase: LRS = 46.64, p = 0.010). Association was also observed between Tellegen Absorption Scale scores and AVPR1a (Qtdtphase: global chi-square = 26.53, p = 0.047), SLC6A4 haplotypes (Qtdtphase: chi-square = 2.363, p = 0.018), and AVPR1a conditional on SCL6A4 (Tdtphase: LRS = 250.44, p = 0.011). Similarly, significant association was observed between Tridimensional Personality Questionnaire Reward Dependence scores and AVPR1a RS1 (chi-square = 20.16, p = 0.01). Two-locus analysis (RS1 and RS3 conditional on HTTLPR and VNTR) was highly significant (LRS = 162.95, p = 0.001). Promoter repeat regions in the AVPR1a gene have been robustly demonstrated to play a role in molding a range of social behaviors in many vertebrates and, more recently, in humans. Additionally, serotonergic neurotransmission in some human studies appears to mediate human religious and spiritual experiences. We therefore hypothesize that the association between AVPR1a and SLC6A4 reflects the social communication, courtship, and spiritual facets of the dancing phenotype rather than other aspects of this complex phenotype, such as sensorimotor integration.},
	keywords = {Adult, Chromosome Mapping, Creativity, Dancing, Female, Humans, Introns, Israel, Male, Minisatellite Repeats, Polymorphism, Genetic, Receptors, Vasopressin, Reward, Serotonin Plasma Membrane Transport Proteins, Sports},
	issn = {1553-7404},
	doi = {10.1371/journal.pgen.0010042},
	author = {Bachner-Melman, Rachel and Dina, Christian and Zohar, Ada H and Constantini, Naama and Lerer, Elad and Hoch, Sarah and Sella, Sarah and Nemanov, Lubov and Gritsenko, Inga and Lichtenberg, Pesach and Granot, Roni and Ebstein, Richard P}
}
@article {17922,
	title = {Differential brain response to metrical accents in isochronous auditory sequences},
	volume = {22},
	number = {3},
	year = {2005},
	month = {2005},
	pages = {549},
	abstract = {A study hypothesized that the pattern of event-related potentials (ERP) responses in the binary condition would be similar to the pattern obtained with no physical cues and would differ from the responses to the ternary structure. The differences were mainly observed in a late, attention-dependant component of the ERPs, corresponding to rather high-level processing.},
	keywords = {Brain stimulation -- Influence, Brain stimulation -- Spectra, Sequences (Music) -- Influence, Sequences (Music) -- Psychological aspects, United States},
	isbn = {07307829},
	url = {http://search.ebscohost.com/login.aspx?direct=true\&site=eds-live\&db=edsgao\&AN=edsgcl.132752804},
	author = {Abecasis, Donna and Brochard, Renaud and Granot, Roni and Drake, Carolyn}
}
@article {17771,
	title = {Neural sensitivity to human voices: ERP evidence of task and attentional influences},
	journal = {Psychophysiology},
	volume = {40},
	number = {2},
	year = {2003},
	month = {2003 Mar},
	pages = {291-305},
	abstract = {In an earlier study, we found that human voices evoked a positive event-related potential (ERP) peaking at approximately 320 ms after stimulus onset, distinctive from those elicited by instrumental tones. Here we show that though similar in latency to the Novelty P3, this Voice-Sensitive Response (VSR) differs in antecedent conditions and scalp distribution. Furthermore, when participants were not attending to stimuli, the response to voices was undistinguished from other harmonic stimuli (strings, winds, and brass). During a task requiring attending to a feature other than timbre, voices were not distinguished from voicelike stimuli (strings), but were distinguished from other harmonic stimuli. We suggest that the component elicited by voices and similar sounds reflects the allocation of attention on the basis of stimulus significance (as opposed to novelty), and propose an explanation of the task and attentional factors that contribute to the effect.},
	keywords = {Acoustic Stimulation, Adult, Attention, Auditory Perception, Electroencephalography, Event-Related Potentials, P300, Evoked Potentials, Female, Humans, Male, Psychomotor Performance, VOICE},
	issn = {0048-5772},
	author = {Levy, Daniel A and Granot, Roni and Shlomo Bentin}
}
@article {17923,
	title = {Absolute Pitch and the P300 Component of the Event-Related Potential: An Exploration of Variables That May Account for Individual Differences},
	volume = {20},
	number = {4},
	year = {2003},
	month = {2003},
	pages = {357},
	isbn = {15338312},
	url = {http://search.ebscohost.com/login.aspx?direct=true\&site=eds-live\&db=edsjsr\&AN=edsjsr.10.1525.mp.2003.20.4.357},
	author = {Laura Bischoff Renninger and Roni I. Granot and Emanuel Donchin}
}
@article {17912,
	title = {Do Re Mi Fa Sol La Ti\&mdash;Constraints, Congruity, and Musical Training: An Event-Related Brain Potentials Study of Musical Expectancies},
	volume = {19},
	number = {4},
	year = {2002},
	month = {2002},
	pages = {487},
	isbn = {15338312},
	url = {http://search.ebscohost.com/login.aspx?direct=true\&site=eds-live\&db=edsjsr\&AN=edsjsr.10.1525.mp.2002.19.4.487},
	author = {Granot, Roni and Emanuel Donchin}
}
@article {17924,
	title = {Processing specificity for human voice stimuli: electrophysiological evidence.},
	volume = {12},
	number = {12},
	year = {2001},
	month = {2001},
	pages = {2653},
	isbn = {09594965},
	url = {http://search.ebscohost.com/login.aspx?direct=true\&site=eds-live\&db=edb\&AN=114777620},
	author = {Levy, Daniel A. and Granot, Roni and Shlomo Bentin}
}
@article {17928,
	title = {Durational units in the responsorial singing of the Karaite Jews: A natural or learned phenomenon? },
	journal = {Peamim},
	volume = {77},
	year = {1999},
	pages = {70-89},
	author = {Hirshberg, J and Granot, R.}
}
@article {17926,
	title = { Constant and variable influences on stages of musical activities: Research based on experiments using behavioral and electrophysiological indices.},
	journal = {Journal of New Music Research},
	volume = {24},
	year = {1995},
	pages = {197-229},
	author = {COHEN DALIAH and Granot, R.}
}
@article {17925,
	title = { Absolute pitch - electrophysiological evidence. International Journal of Psychophysiology, },
	journal = {International Journal of Psychophysiology, },
	volume = {16},
	year = {1994},
	pages = {29-38},
	author = {BARNEA ANAT and GRANOT RONI and PRATT HILLEL}
}
@article {17927,
	title = {Cognitive meanings of musical elements as disclosed by ERP and verbal experiments.},
	journal = {Music Perception},
	volume = {12},
	number = {2},
	year = {1993},
	pages = {153-184},
	author = {COHEN DALIAH and Granot, Roni and PRATT HILLEL}
}
