EBRAMUS Dissemination activities

Publications
International Conferences:
*Alonso, I., & Samson, S. (2010) “Cortical structures for music processing and language” in the
24th European Federation of Psychology Students Association Congress (EFPSA)
*Alonso, I., Sammler, D., Valabrègue, R., Dupont, S., Belin, P. & Samson, S. (2011, June) The
role of the medial temporal lobe in encoding unfamiliar songs: An fMR-Adaptation Study.
Poster session at The Neurosciences and Music IV conference, Edinburgh, Scotland, UK
*Altenmuller, E. (2011) Symposium in the frame of the Neurosciences of Music meeting in
Edinburgh on "Effects on Music on Brain Plasticity", June 25, Edinburgh, Scotland.
*Berkowska, M., & Dalla Bella, S. (2010). Vocal imitation in the general population. Poster,
“PAS-5, The 5th International Conference on the Physiology and Acoustics of Singing”,
Stockholm (Sweden), August 10-13.
*Berkowska, M., Sowinski, J., Farrugia, N., Laskowska, I., & Dalla Bella, S. (2011). Learning
of strong and weak metrical patterns in a child drummer drummer prodigy. Poster
presentation, “The Neurosciences and Music IV – Learning and memory”, Edinburgh
(UK), June 9-12.
*Bigand, E, (2011), Key note “music: from ear to brain”, 12e scientific symposium Entendre,
Istanbul, Turquie, 23th September
*Bigand, E. (2010), Academie Royale des Sciences, des Lettres et des Beaux-Arts de Belgique,
Bruxelles, « Music and the sciences of the Mind », 19th November.
*Bigand, E. (2010), Cognitive Pychology Unit,Klangenfurt, Austria, « The power of music »,
10th March.
*Bigand, E. (2010), Festival Contrechamps, Conférence à la Radio Suisse Romande, Genève.
Suisse,« La musique de GF Haas », 14th February.
*Bigand, E. (2010). Leipziger Neuromusic Gesprächkreis,Max Plank Institut, Leipzig, Germany,
Cognitive and emotional responses to extremely short musical excerpts, 2nd June.
*Bigand, E. (2010). Music Department, GhentUniversity, Belgium, « Time course of emotional
and cognitive response to music », 21th April.
*Bigand, E. (2010); Inaugural key note of the Tagung experimental arbeitender psychologen,
Halle Germany, «The power of music », 13th March.
*Bigand, E. (2011), Key note, 7e Simposio internacional de cognicao de artes musicais, Brasilia,
« A musica e o ser humano », 24 May.
*Dalla Bella, S. et al. (2011). Memory disorders and vocal performance, Oral presentation, "The
Neurosciences and music – IV, Learning and memory, Edinburgh (UK), June 9-12.
*Dalla Bella, S., & Sowinski, J. (2010). IF – a 5-year-old drummer prodigy. Oral
communication, “11th International Conference on Music Perception and Cognition”,
Seattle (USA), August 23-27.
*Dalla Bella, S., Sowinski, J., & Farrugia, N. (2011). Lack of beat isochrony disrupts motor
performance in a child drummer prodigy. Oral Presentation, "The international conference
of the european SKILLS project", Montpellier (France), December 15-16.
*David-Kelly, K., Hong, S., Dhinakaran, J., Sanders, J., Gray, C., van Beek, EJ., Roberts, N., &
Overy, K. (2011). Middle frontal gyrus as a potential neural indicator for musical imagery,
19th Annual meeting of the International Society for Magnetic Resonance in Medicine,
Montreal, Canada, 7-13 May 2011.
*Farrugia, N., Sowinski, J., Berkowska, M., Benoit, C-E., Laskowska, I., & Dalla Bella, S.
(2011). Phase correction response in a child drummer prodigy when synchronizing with
music. Poster, “The Neurosciences and Music IV – Learning and memory”, Edinburgh
(UK), June 9-12.
*Hong, S., Davergne, M., Kennedy, P., Overy, K., Franz, L., & Roberts, N. (2011). fMRI study
of the observation and imagination of right-handed, left-handed and bilateral hand actions.
17th Annual meeting of the Organization for Human Brain Mapping, Quebec city, Canada,
26-30 June 2011.
*Karas, A. (2011). Musicians’ memory for the strong experiences of music during performance
(similarities and differences between instrumentalists and vocalists) The Neurosciences and
Music, Edinburgh, Scotland, UK, 9 - 12 June 2011.
*Keller, P. (2011). Interpersonal coordination in musical contexts: An individual differences
based approach. Paper presented at the workshop on Timing and Temporal Processing In
Perception and Production. Max Planck Institute for Cognitive and Brain Sciences.
Leipzig, Germany. Leipzig, 10-12 January 2011.
*Keller, P. (2011). Mental imagery in music performance. Paper presented at The Neurosciences
and Music - IV. Edinburgh, UK, 9-12 June, 2011.
*Keller, P. (2011). Why do musicians differ in their ability to coordinate with others in
ensembles? The Erasmus Mundus Symposium on Auditory Cognitive Neuroscience.
Leipzig, 20-21 April 2011.
*Leman, M. (2010) Lecture ‘User-oriented studies in embodied music cognition - Going beyond
“mind sciences”?’ in the Colloquium Musique et Sciences de l’Esprit, Académie royale de
Belgique, invited by dr. I. Deliège
*Leman, M. (2011) Colloque International Sensorialité et Handicap. Lecture on ‘Nouvelle
technologie musicale “incarnée” ‘. INS HEA Paris
*Overy, K. (2011). Group music making with children, Oral presentation, "The Neurosciences
and music – IV, Learning and memory, Edinburgh (UK), June 9-12.
*Penninger, Leman (2011). Improving music perception in Cochlear Implant patients with
direct electrical stimulation of the implant: The Neurosciences and Music, Edinburgh,
Scotland, UK, 9 - 12 June 2011
*Penninger, Raes, Lesaffre, Demey, Vermeire,Dhooge, Leman (2011). Using music to train
pitch discrimination in children by direct electrical stimulation of the CI: 13th Symposium
on Cochlear Implants in Children, Chicago, IL, USA, 14-16 July 2011
*Samson, S. (2011). A la recherche du cerveau musical », Journée sur le thème Musique,
émotions musicales et psychiatrie, Académie Royale de Médecine de Belgique, Bruxelles,
Belgique
*Samson, S. (2011). Cerveau et émotions musicales, 34ème Journées de la Société de
Neuropsychologie de Langue Française, Lille
*Schön, D. (2010) Language and music: a cognitive artefact? Pavia University, May 2010
*Schön, D. (2010) Musical expertise and speech segmentation. British Psychological Society,
London
*Schön, D. (2011) Music training facilitates speech segmentation. Neurosciences of Music IV,
Edimbourgh, June 2011.
*Sowinski, Farrugia & Dalla Bella (2011). Cost and benefits of beat entrainment in drum
performance : a single case : The Neurosciences and Music, Edinburgh, Scotland, UK, 9 12 June 2011
*Sowinski, Farrugia & Dalla Bella (2011). Effect of beat isochrony and motor entrainment on
music performance in a child drummer prodigy : 13th International Rhythm Perception and
Production Workshop. Leipzig, Germany,13 - 15 July 2011
*Sowinski, J., Farrugia, N., & Dalla Bella, S. (2011). Costs and benefits of beat entrainment in
drum performance: A single case. Poster presentation, “The Neurosciences and Music IV –
Learning and memory”, Edinburgh (UK), June 9-12.
*Sowinski, J., Farrugia, N., & Dalla Bella, S. (2011). Effect of beat isochrony and motor
entrainment on music performance in a child drummer prodigy. Poster presentation, “13th
International Rhythm Perception and Production Workshop”, Leipzig, (Germany), July 1315.
*van Vugt, Cheng, Jabusch & Altenmüller (2011). Fine temporal deviations in scale playing
reveal motor program chunking: The Neurosciences and Music, Edinburgh, Scotland, UK,
9 - 12 June 2011
*van Vugt, Hälbig, Schüpbach, Buttkus & Altenmüller (2011). The musician doctor: A musical
evaluation of treatments for movement disorders. International Symposium on
Performance Science: ISPS 2011, 24-27 August, Toronto, Canada.
National Conferences:
*Alonso, I., & Samson, S. (2011). Memory for music and words by manipulating emotional
dimensions, JJCAAS, Rennes.
*Altenmüller, E. (2011) Presentation on Music supported training in the conference of the German
Society for Psychology of Music, September 24, Germany.
*Bigand, E & Viallefond, M.(Novembre 2011), Colloque international Sensorialité et Handicap,
Ecouter, agir, Paris,« Le pouvoir de la musique, mythe ou réalité »
*Bigand, E, (Novembre-2011), Approches non médicamenteuses de la maladie d’Alzheimer,
Palais des congrès, Versailles,La musique est-elle un neuro-protecteur ?
*Bigand, E. (Janvier 2010), La semaine du son, Palais de la découverte,Paris.« Cerveau et
Musique »
*Bigand, E., (Décembre 2010). Journée de formation ARIAM, Paris, « Penser l’apprentissage
musical aujourd’hui».
*Bigand, E., (Mai, 2011), NeuroSpin center, CEA Gif/Yvette. « Musique et syntaxe »,
*Keller, P. (2010). Interpersonal coordination in musical contexts: An individual differences
based approach. The Language of Music, The Music of Language Seminar Series.
Cambridge University, UK. 14 December 2010.
*Kotz, S. A. (2011) "Effects of timing and rhythm in auditory and speech processing", January
2011: UCL, London, UK
*Kotz, S. A. (2011) "On common ground: Timing, rhythm, and syntax in tonal and sentential
sequences"Mindlab conference on Music and Language in the Brain, May 2011
*Overy, K. (2010) "Music, the Brain and the MAP: a Musical Activities Programme for the
Language Classroom", 25th March 2010, British Dyslexia Association Conference on
Music and Dyslexia: What's the Score? London, UK.
*Samson, S. (2010) La musique est-elle spéciale ?, Forum des Sciences Cognitives, Paris.
*Samson, S. (2010) Le cerveau émotionnel et la musique : un modèle neuropsychologique,
Symposium de Neuropsychologie, Amiens, France
*Schön, D. (2011) Singing, from modularity of language to the mirror system. PEVOC,
Marseille
*Selchenkova, T. & Tillmann, B. (2011). “Boosting implicit learning and language processing
with temporal regularities”, JJCASS, Centre Pompidou et IRCAM, Paris
*Selchenkova, T. & Tillmann, B. (2011). “Boosting implicit learning with temporal
regularities”, JJCAAS, Rennes.
*Tillmann, B. (2010). „The Power of Music – Einsichten aus den Kognitions- und
Neurowissen-schaften", Stipendiatentreffen der Studienstiftung des Deutschen Volkes, Aixen-Provence.
*Tillmann, B. (2010). Percevoir la musique: une activité cognitive. Forum des Sciences
Cognitives, Paris.
*Tillmann, B. (2011). “Cerveau et Musique: Recherches fondamentales et perspectives de
rehabilitation” Congrès PSYRENE – Psychologie, Recherche et Neurosciences, Lyon.
*Tillmann, B. (2011). Influence of rhythmic auditory stimulation on syntactic and syllabic
processing in children with developmental language disorder, Research seminar,
Université de Grenoble, Département de Psychologie.
*van Vugt, F.T., Jabusch, H.C., and Altenmueller, E. Der pianistische Fingerabdruck: individuelle
systematische zeitliche Abweichungen beim Tonleiterspiel. 10. Symposium der Deutschen
Gesellschaft fuer Musikphysiologie und Musikermedizin DGfMM.
*Westner, B., van Vugt, F.T., and Altenmueller, E. (2011) Die Rolle des auditorischen Feedbacks
im musikunterstuetzten Training - Eine Pilot-Studie. Jahreskongress der Deutsche
Gesellschaft fuer Musikpsychologie. Osnabrueck, Germany
Workshop/Institution presentations:
*Dalla Bella, S. (2010) Perception-action mismatches in sensorimotor synchronization, BPS
Seminar“, BPS Seminar II “Music of language, language of music”, Cambridge University,
Cambridge (UK)
*Dalla Bella, S. (2010) Quand la perception et l‟action ne sont pas en phase: donnees normales
et pathologiques, Laboratoire des neurosciences fonctionnelles et pathologies, CNRS-UMR
8160, Lille (France)
*Dalla Bella, S. (2010) Vocal performance during development”, BPS Seminar “Music of
language, language of music”, Middlesex University, London (UK)
*Dalla Bella, S. (2010) When perception and action do not go together in music performance,
Goldsmiths, University of London, London (UK)
*Dalla Bella, S. (2011) Bienfaits et méfaits du couplage sensorimoteur, EuroMov, University of
Montpellier 1, Montpellier (France)
*Dalla Bella, S. (2011) Capturer le mouvement en musique – la musique comme outil pour la
rééducation motrice“, EuroMov, University of Montpellier 1, Montpellier (France)
*Dalla Bella, S. (2011) Capturer le mouvement en musique – utiliser la musique pour la
rehabilitation motrice“, Workshop on “Musique, Mouvement et Sante : Nouvelles
technologies“, LEAD-CNRS, University of Dijon (France)
*Dalla Bella, S. (2011) Le mouvement qui crée la musique – la musique qui soigne le
mouvement, Université de Lyon 1, Lyon (France)
*Keller, P. (2010). Anticipatory cognitive processes in music performance. Institute for
Cognitive Science, Osnabrück, Germany. 10 November, 2010.
*Keller, P. (2010). Anticipatory cognitive/motor processes in music performance. Center of
Functionally Integrative Neuroscience, Aarhus University, Denmark. 25 June, 2010.
*Keller, P. (2010). Listening before leaping: Anticipatory cognitive processes in music
performance. Karolinska Institutet, Stockholm, Sweden. 3 December, 2010.
*Keller, P. (2011). Action simulation and imagery in musical behaviour. Department of
Neurology & Neuropsychology, University of Geneva. 25 January 2011.
*Kotz, S. A. "Timing and prediction in audition" PIRE PICCS Summer School, September 2011
Kotz, S. A. "Wenn Sprachverstehen ein Zeitverarbeitungsproblem ist": GAB Tagung
Konstanz, November 2011
*Leman, M. (2010) Key Note Lecture on ‘The future of interactive sound and time-based mediaA perspective from embodied music cognition’ at the workshop ‘Incubator 2010: Beyond
the instrument metaphor: new paradigms for interactive media’, at Arizona State University,
Tempe, invited by Prof. Ir. T. Rikakis
*Leman, M. (2010) Lecture ‘Music for creative engineering’, Symposium for the 175th
Anniversary of the Engineering Faculty Ghent University, invited by Prof. dr. ir.Rik van
De Walle
*Leman, M. (2010) Lecture for the ‘KoninklijkeWetenschappelijke KNO Vereniging’, on
‘Music and Embodiment - the coupling of action and perception’, invited by dr. Benoite
Millet
*Leman, M. (2010) Lecture on ‘An embodied approach to musical signification’ at ‘Music,
Sound and Film: a meeting of discipline’, at The University of Texas, Austin, invited by
Prof. M. J. Butler
*Leman, M. (2010) Lecture on ‘Entrainment/meaning - Music-Language’, 2nd BPS seminar on
Language and Music, Centre for Music and Science, Cambridge, invited by Prof. Dr. I.
Cross
*Leman, M. (2010) Lecture on ‘Interactive Multimedia installations – a viewpoint from social
embodied
music
cognition’
at
the
workshop
Conservazione
e
fruizionedellaliuteriaelettronicafratradizione e innovazione, Fondazione G.E. Ghirardi,
Padua, invited by Prof. S. Canazza
*Leman, M. (2010) Lecture on ‘Interactive Music Systems and SensorTechnologies’ (see
http://www.specknet.org/publications/Workshop_9) at the workshop in Speckled
Computing, Edingburgh University, invited by Prof. Dr. ir.Arvind
*Leman, M. (2010) Lecture on ‘The future of systematic musicology. Does beauty has a place?’.
International Summer School on Systematic Musicology (ISSSM 2010), Jyväskylä, Finland
*Leman, M. (2010) Teaching: Tonality perception and its challenge to cognitive science (focus
on audio). Guqin playing - musical gestures, and the study of expressiveness (focus on
body movement).Embodiment theory - coupling perception and action. Spatiotemporal
reference frames in Samba and Charleston (how to combine audio and body movement).
The meaning of music, ‘Seminar at the Computer Music PhD program of the School of
Arts of the UCP, Porto, invited by dr. Luis Martins
*Leman, M. (2011) International Summer School on Systematic Musicology (2011) Jyväskylä,
Finland, Lecture on ‘Empirical Study of Musicality’, August 2011
*Leman, M. (2011) Lecture on ‘Musical gestures as spatiotemporal references frames – a
viewpoint from embodied music cognition’ at the Lecture series on Expressive
Performance in Human Interactions’, invited by E. Vatikiotis-Bateson, director UBC
Cognitive Systems Program, Vancouver
*Overy, K. (2010) Music of Language, Language of Music, British Psychology Society
workshop, Middlesex University, Hendon (London), 20th July 2010
*Samson, S. (2010) L’apprentissage des langues par la musique : les bases neurobiologiques
impliquées dans le traitement des paroles et des airs de chanson, Journée d’étude, Université
Catholique de Louvain la Neuve, Belgique
*Samson, S. (2010) Le Cerveau Émotionnel et la Musique » réunion sur Art et Pathologies
Neurologiques : Cerveau et Musicothérapie organisée par le laboratoire Lundbeck en
partenariat avec l’Association des Neurologues Libéraux de Langue Française et la Société
Septentrionale de Gérontologie, Verlinghen, France.
*Samson, S. (2010) Les émotions et la mémoire musicale, CHRU Reims, France
*Samson, S. (2010) Musique, Émotion et Mémoire, Journée de Neurologie de Langue Française,
Lyon
*Samson, S. (2011) Le pouvoir des émotions : Implications cliniques des neurosciences, Journée
Airdame sur Perception auditive, cognition et émotions, Paris
*Samson, S. (2011) Presentation of a course « Neuropsychological Method » at the EBRAMUS
Spring School, Germany, Delmenhorst
*Schön, D. (2010) Language and music: a cognitive artefact? Pavia University, May 2010
*Schön, D. (2010) Musical expertise and speech segmentation. British Psychological Society,
London
*Schön, D. (2011) Attentional oscillations induced by musical rhythm. Workshop Time
processing in perception and production. Leipzig
*Schön, D. (2011) Music and language: defining the fuctions, GIPSA, Grenoble
*Tillmann, B., Selchenkova, T. (2011) "/Time processing in perception and production/",
Workshop held at the Max-Planck Institute Leipzig, Germany.
*van der Steen, M.C. & Keller, P.E. (2011). Simulations of sensorimotor synchronization. Talk
presented at Doktorandenkolloquium 2011. Leipzig, Germany. 2011-11-14 - 2011-11-15.
*van der Steen, M.C. (2011). ADAM and simulations of sensorymotor synchronization. Talk
presented at MCA-symposium. Leipzig, Germany. 2011-11-23
*van der Steen, M.C. (2011). Meet ADAM and learn more about how we stay in sync. Talk
presented at Science Slam 2011. Leipzig, Germany. 2011-12-05
*van der Steen, M.C. (2011). Sensorimotor synchronization and ADAM. Talk presented during
research visit Music Dynamics Lab, Center for Complex Systems and Brain Sciences,
Florida Atlantic University. Boca Raton, USA. 2011-09-28
*van der Steen, M.C. (2011). Sensorimotor synchronization, ADAM, and other stuff. Talk
presented at EBRAMUS motor meeting. Leipzig, Germany. 2011-12-15
*Altenmüller, E. (2011) Invited lecture on Music supported training in stroke patients: General
Hospial of Celle/Germany, 7th April
*Altenmüller, E. (2011) Implementation of Music supported fine motor training in the
Rehabilitation Center of Hessisch/Oldendorf / Germany, May
*Altenmüller, E. (2010) Invited lecture: Introduction of the Music supported training in Bad
Bevensen, October, Germany.
Papers:
*Alonso, I., Sammler, D., Valabrègue, R., Dupont, S., Belin, P. & Samson, S. (in preparation)
The Role of medial temporal lobe in songs repetition
*Bialunska, A., Dalla Bella, S., & Jaskowski, P. (2011). Increasing stimulus intensity does not
affect sensorimotor synchronization. Psychological Research, 75(1), 43-53.
*Bigand, E., Delbé, C., Gérard, Y., & Tillmann, B. (2011), Categorization of Extremely Brief
Auditory Stimuli: Domain-specific or Domain-general Processes? PlosOne
*Bigand, E., Lalitte, P., Lerdahl, F., Boucheix, J.-M., Gérard, Y & Pozzo, T. (2010). Looking
into the eyes of the conductor. Musicae Scientiae. 275-295.
*Bigand, E.,& Moussard, A. (2011). La musique est-elle un « neuro-protecteur » ? , La revue
francophone de gériatrie et de gérontologie, 178, p-p. 399-401
*Cocenas-Silva, R., Bueno, J.L.O., Bigand, E., & Molin, P. (2011). Multidimensional scaling of
musical time estimations, Perceptual & Motor Skills, 112, 737-748.
*Cornelis, O., Lesaffre, M., Moelants, D. & Leman, M. (2010). Access to ethnic music: advances and
perspectives in content-based music information retrieval. Signal Processing, 90, 1008 – 1031,
Elsevier
*Dalla Bella, S., & Palmer, C. (2011). Rate Effects on Timing, Key Velocity, and Finger
Kinematics in Piano Performance. PLOS One, 6(6), e20518.
*Dalla Bella, S., Berkowska, M., & Sowinski, J. (2011). Disorders of pitch production in tone
deafness. Frontiers in Psychology, 2: 164.
*Dalla Bella, S., Tremblay-Champoux, A., Berkowska, M., & Peretz, I. (2012 – in press).
Memory disorders and vocal performance. Annals of the New York Academy of Sciences.
*De Bruyn, L., Moelants, D., & Leman, M. (2011)An embodied approach to testing musical empathy
in subjects with an autism spectrum disorder. Music and Medicine.
*Dellacherie, S., Bigand, E., Samson, S. (2011), Emotional response in Epileptic patients,
Cortex., 47 (1107- 1115).
*Deweppe, A., Correia Da Silva Diniz, N., Coussement, P., & Leman, M. (2011).A methodological
framework for the development and evaluation of user-centered art installations.Journal of
Interdisciplinary Music Studies, 5(1), 19-39.
*Drai-Zerbib, V., Baccino, T., &Bigand, E. (2011). Sight-reading expertise: Cross-modality
integration investigated using eye tracking. Psychology of music. 39, (3)
*Droit-Volet S., Bigand, E., Ramos, D., Bueno, JL. (2010), Time flies with music whatever its
emotional valence, Acta Psychologica.135, 226–232
*Filipic, S., Tillmann, B., Bigand, E. (2010). Judging familiarity and emotion from very brief
musical excerpts, Psychonomic Bulletin & Review, 17 (3), 335-341.
*Keller, P.E. (in press). Mental imagery in music performance. Annals of the New York
Academy of Sciences.
*Keller, P.E., Dalla Bella, S., & Koch, I. (2010). Auditory imagery shapes movement timing
and kinematics: Evidence from a musical task. Journal of Experimental Psychology:
Human Perception and Performance, 36, 508-513.
*Kochman, K., Demey, M., Moelants, D., & Leman, M (2011). A case-study investigation of
respiration in operatic singing : an implementation of research design and applications. Journal
of Interdisciplinary Music Studies, 5(1), 41-55.
*Kotz S.A. & Schwartze, M. (2011). Differential input of the supplementary motor area to a
dedicated temporal processing network: Functional and clinical implications. Frontiers in
Integrative Neuroscience. 5, 86, doi: 10.3389/fnint.2011.00086.
*Leman, M. (2010) “An embodied approach to music semantics”. Musicae Scientiae, Discussion
Forum 5, 2010, pp 43-67.
*Leman, M. (2010).An embodied approach to music semantics.Musicae Scientiae, Discussion Forum 5,
2010, pp 43-67.
*Leman, M., and Naveda, L. A. (2010)."Basic gestures as spatiotemporal reference frames for repetitive
dance/music patterns in Samba and Charleston," Music Perception 28, 71-91.
*Leman, M., Lesaffre, M., Nijs, L., Deweppe, A. (2010).User-oriented studies in Embodied Music
cognition Musicae Scientiae, Special Issue pp 203-223.
*Maes, P.-J., Leman, M., Kochman, K., Lesaffre, M., and Demey, M. (2011). "The 'one-person choir' : a
multidisciplinary approach to the development of an embodied human-computer interface,"
Computer Music Journal 35, 22-35.
*Maes, P.-J., Leman, M., Lesaffre, M., and Demey, M. (2010). "From expressive gesture to sound: The
development of an embodied mapping trajectory inside a musical interface," Journal on
Multimodal User Interfaces 3, 67-78.
*Moussard, A., Bigand E., Belleville,S.,& Peretz, I. (In Press). Music as an Aid to Learn New
Verbal Information in Alzheimer’s Disease, Music Perception.
*Nather F.C., Bueno J.L., Bigand E., & Droit-Volet S. (2011). Time Changes with the
Embodiment of Another’s Body Posture. PlosOne. 6, e19818
*Naveda, L. A., and Leman, M. (2010)."The spatiotemporal representation of dance and music gestures
using topological gesture analysis (TGA)," Music Perception 28, 93-111.
*Penninger, R., Tavassolie, T.S. & Carey, J.P. (2011). Cone-beam volumetric tomography for
applications in the temporal bone. OTOLOGY & NEUROTOLOGY, 32(3) 453-460.
*Pfordresher, P., & Dalla Bella, S. (2011). Delayed auditory feedback and movement. Journal of
Experimental Psychology: Human Perception and Performance, 37(2), 566-79.
*Ramos, D., Bueno, J.L.O., & Bigand, E. (2011). Manipulating Greek musical modes and tempo
affects perceived musical emotion in musicians and nonmusicians. Brazilian Journal of
Medical and Biological Research. vol.44, no.2, p.165-17
*Rothermich, K., Schmidt-Kassow, M., & Kotz, S.A. (in press). Rhythm’s gonna get you:
Regular speech rhythm facilitates semantic sentence processing. Neuropsychologia.
*Schmidt-Kassow, M., Roncaglia-Dennison, M.P., & Kotz, S.A. (2011). Why pitch sensitivity
matters: Event-related potential evidence of metric and syntactic violation detection among
Spanish
late
learners
of
German.
Frontiers
in
Psychology,
2,
131;doi:10.3389/fpsyg.2011.00131.
*Schmidt-Kassow, M., Rothermich, M., Schwartze, M., & Kotz, S.A. (2011). Did you get the
beat? Late French-German bilinguals extract strong-weak patterns in tonal but not in
linguistic sequences. NeuroImage, 54 (1), 568-576.
*Schwartze, M., Keller P.E., Patel A.D., & Kotz, S.A. (2011). The impact of basal ganglia
lesions of sensorimotor synchronization, detection of tempo change, and spontaneous
motor tempo and the detection of tempo changes. Behavioural Brain Research, 216 (2),
685-691.
*Schwartze, M., Rothermich, & Kotz, S.A. (in press).Functional dissociation of the pre-SMA
and SMA-proper in temporal processing. NeuroImage.
*Schwartze, M., Rothermich, K., Schmidt-Kassow, M., & Kotz, S.A. (2011). Temporal
regularity on pre-attentive and attentive processing of deviance. Biological Psychology, 87
(1), 146-151.
*Schwartze, M., Tavano A., Schröger E. & Kotz, S.A. (in press). Timing and prediction in the
auditory domain: Cortical and subcortial neural mechanisms. International Journal of
Psychophysiology.
*Stahl, B., Kotz, S.A., Henseler, I., Turner, R., & Geyer, S. (2011). Rhythm in disguise: Why
singing may not hold the key to recovery from aphasia. Brain, 134, 3083-3093.
*Tillmann, B. (in press) Music and language perception: Expectations, structural integration and
cognitive sequencing. Topics in Cognitive Science.
*Tillmann, B., &Bigand, E.,(2010)Musical structure processing after repeated
listening:schematic expectations resist veridical expectations, Musicae Scientiae, 33-48.
*Tillmann, B., Gosselin, N., Bigand, E. & Peretz, I (in press). Priming paradigm reveals
harmonic structure processing in congenital amusia, Cortex.
*Tremblay-Champoux, A., Dalla Bella, S., Phillips-Silver, J., Lebrun, M-A., & Peretz, I. (2010).
Singing proficiency in congenital amusia: Imitation helps. Cognitive Neuropsychology,
27(6), 463-476.
Books
*Bigand, E., Habib, M., & Brun V.,(Eds)Musique et cerveau, Sauramps médical.
*Desmet, F., Leman, M., Lesaffre, M., De Bruyn, L. (2010). “Statistical analysis of Human Body
Movement and Group interactions in Response to Music.”, Advances in Data Handling and
Business Intelligence, Springer-Verlag, pp 399-408
*Didier, J.-P., Bigand, E., (Eds) (2010) Rethinking Physical and Rehabilitation Medecine,
Springer Verlag, Paris.
*Godoy, R.I. and Leman, M. (2010).Musical Gestures Sound, Movement, and Meaning (Routledge).
*Leman, M. (2010). Music research at the cross-roads of innovation: tendencies, perspectives and
opportunities of a transdisciplinary approach. Editora UFMG, 978-85-7041-843-2
*Nijs, L., Lesaffre, M., and Leman, M. (2010). "Music performance and the mediality of the
musical instrument: an Activity Theory perspective," edited by J. H. Kim.
Book chapters
*Bigand, E, (2010).Musique, empathie, et cohésion sociale, in"Les Actes du Colloque de
l'Institut universitaire de France". Vol 1 (Ed, Mathevon), Presses Universitaires de
l'Université de Saint-Etienne (PUSE)
*Bigand, E. & Delbé, C. (2010). Introducing implicit learning: from the laboratory to the real
life. In J.-P. Didier, E. Bigand (Eds.), Rethinking physical and rehabilitation medicine.
Paris: Springer Verlag.
*Bigand, E. (2010), La « Perception de la Musique » (Francès, 1958) et ses prolongations...in
Guirard, L.50 ans de psychologie de la musique l’école de Robert Francès, pp59-68, Paris,
aleXitère, Editions
*Leman, M. (2010) "Music research at the cross-roads of innovation : tendencies, perspectives and
opportunities of a transdisciplinary approach," in Themes in transdisciplinary research (Editora
UFMG, ed. S.D.J. Pena), pp. 64-89.
*Leman, M. (2011). “Waarom is muziekechtietsvooringenieurs?” in ’40 vragenvoor 2020’, eds. L.
taerwe, H. Romaen, K. Van Geem, K. Verbeken (Lannoo Campus), pp 38-44
*Leman, M., (2010). "Some reflections on systematic musicology as proactive science," in Bader, R.,
Neuhaus, C., and Morgenstern, U. (Eds.) Concepts, Experiments, and Fieldwork: Studies in
Systematic Musicology and Ethnomusicology (Peter Lang), pp. 21-34.
*McGuiness A. & Overy K. (2011). Music, Consciousness and the Brain: Music as Shared
Experience of an Embodied Present. In: Clarke E. F. & Clarke D. (Eds), Music and
Consciousness: Philosophical, Psychological and Cultural Perspectives, Oxford University
Press.
*McGuiness A. & Overy K. (2011). Music, Consciousness and the Brain: Music as Shared
Experience of an Embodied Present. In: Clarke E. F. & Clarke D. (Eds), Music and
Consciousness: Philosophical, Psychological and Cultural Perspectives, Oxford University
Press.
*Molnar-Szakacs, I., Green, V. & Overy, K. (2011). Shared Affective Motion Experience
(SAME) and Creative, Interactive Music Therapy. In: Hargreaves, D. MacDonald, R. and
Miell, D. (eds). Musical Imaginations: Multidisciplinary Perspectives on Creativity,
Performance and Perception. Oxford University Press.
*Molnar-Szakacs, I., Green, V. & Overy, K. (2011). Shared Affective Motion Experience
(SAME) and Creative, Interactive Music Therapy. In: Hargreaves, D. MacDonald, R. and
Miell, D. (eds). Musical Imaginations: Multidisciplinary Perspectives on Creativity,
Performance and Perception. Oxford University Press.
*Moussard, A., & Bigand, E. (2010). Implicit learning and implicit memory in moderate to
severe memory disorders. In J.-P. Didier, E. Bigand (Eds), Rethinking physical and
rehabilitation medicine. Springer Verlag.
*RefsumJensenius, A., Wanderley, M. M., Godoy, R. I., and Leman, M. (2010) "Musical Gestures:
Concepts and Methods in Research," in Music, Gesture, and the Formation of Embodied Meaning
(Routledge), Eds. R.I. Godoy, M. Leman pp. 12-35.
*Rochette, F. & Bigand, E., (2010) Auditory training in Deaf Children. In J.-P. Didier, E.
Bigand (Eds), Rethinking Physical and Rehabilitation Medecine, Springer Verlag
Popularization :
*Bigand E. (2010), La musique rend elle intelligent ? Cerveau& Psycho.
*Bigand E. (2010), Penser la musique aujourd’hui, Cerveau& Psycho.
*Dalla Bella, S. (2010). La musique qui soigne. Numero special sur ”Musique et Cerveau”.
Cerveau & Psycho (Pour la Science), 58-62.
Prizes and Awards: Cochlear Implant Music (Penninger)
2011: SWIFT award for the project: ‘CIM – Cochlear Implant Music: bringing music back into
the life of cochlear implant users and fostering their rehabilitation and social integration
through musical interaction.’
The SWIFT Fund, established in 1997, awards an annual prize to projects that make innovative
use of communications technology to bring people closer together.
updated in January 2012