2000
DOI: 10.1016/s0301-0511(99)00042-3
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Event-related potentials elicited by wrong terminal notes: effects of temporal disruption

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Cited by 27 publications
(23 citation statements)
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References 38 publications
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“…Thus, successive negativities, elicited by the successive individual notes of the segment, added into the broad negativity we observed. The enhanced positivity after the first note of the intruder segment is consistent with studies on harmonic (Koelsch et al, 2005Maess et al, 2002;Patel et al, 1998) and melodic violations (Besson and Macar, 1987;Besson and Faita, 1995;Nittono et al, 2000;Paller et al, 1992), in which late positivities have been reported in response to the violating event.…”
Section: Notes On the Response To Melodic Violationssupporting
confidence: 89%
See 1 more Smart Citation
“…Thus, successive negativities, elicited by the successive individual notes of the segment, added into the broad negativity we observed. The enhanced positivity after the first note of the intruder segment is consistent with studies on harmonic (Koelsch et al, 2005Maess et al, 2002;Patel et al, 1998) and melodic violations (Besson and Macar, 1987;Besson and Faita, 1995;Nittono et al, 2000;Paller et al, 1992), in which late positivities have been reported in response to the violating event.…”
Section: Notes On the Response To Melodic Violationssupporting
confidence: 89%
“…The topographies of our early negativity seem more compatible with the widespread distribution of the N1/N2 components in studies on melodic violations (Besson and Macar, 1987;Nittono et al, 2000;Paller et al, 1992), than with the right anterior negativities (ERAN/RATN) found in response to harmonic violations (Koelsch et al, 2005Patel et al, 1998). This finding does not look surprising, although the reason why harmonic and melodic violations should lead to different topographies is not well-understood.…”
Section: Notes On the Response To Melodic Violationssupporting
confidence: 73%
“…There is also some neuroimaging evidence that points toward interactive relations between musical pitch and time (Griffiths, Johnsrude, Dean, & Green, 1999;Nittono, Bito, Hayashi, Sakata, & Hori, 2000). According to Jones (Krumhansl & Kessler, 1982;Palmer & Krumhansl, 1990).…”
Section: The Combination Of Pitch and Timementioning
confidence: 99%
“…Moreover, memory recall performance diminishes when pitch and temporal structures are not in phase [7,10,18]. Recently, neuroimaging techniques have demonstrated interactions between the two dimensions [14,27].…”
Section: Introductionmentioning
confidence: 99%