0000000000976742
AUTHOR
Mireille Besson
showing 3 related works from this author
Different Brain Mechanisms Mediate Sensitivity to Sensory Consonance and Harmonic Context: Evidence from Auditory Event-Related Brain Potentials
2001
Abstract The goal of this study was to analyze the time-course of sensory (bottom-up) and cognitive (top-down) processes that govern musical harmonic expectancy. Eight-chord sequences were presented to 12 musicians and 12 nonmusicians. Expectations for the last chord were manipulated both at the sensory level (i.e., the last chord was sensory consonant or dissonant) and at the cognitive level (the harmonic function of the target was varied by manipulating the harmonic context built up by the first six chords of the sequence). Changes in the harmonic function of the target chord mainly modulate the amplitude of a positive component peaking around 300 msec (P3) after target onset, reflecting …
An electrophysiological study of dyslexic and control adults in a sentence reading task.
2002
Event-related potentials and cued-recall performance were used to compare dyslexic and control adult subjects. Sentences that ended either congruously or incongruously were presented visually, one word at a time, at fast (stimulus-onset-asynchrony (SOA)=100 ms) or slow (SOA=700 ms) rates of presentation. Results revealed (1) a large effect of presentation rate that started with the N1-P2 components and lasted for the entire recording period, (2) larger N400 components for dyslexic than control subjects, at slow presentation rates, to both congruous and incongruous endings and (3) a large ERPs difference related to memory (Dm effect) that did not differentiate controls from dyslexics but was…
50 ans de psychologie de la musique
2011
International audience; Il y a cinquante ans paraissait La perception de la musique, ouvrage majeur par lequel Robert Francès instituait une forme novatrice d’approche du fait musical. Son style, sa cohérence scientifique, joints à une assise culturelle et à des intuitions exceptionnelles, lui confèrent une place d’autorité inégalée. Cette oeuvre vaut toujours à Robert Francès un important capital de sympathie et de respect souvent résumé par le titre de « père de la psychologie de la musique française ». L’héritage de La perception de la musiquese doit d’être pensé, débattu et analysé, surtout lorsque cinquante années de recul nous le permettent. C’est là tout le projet de ce recueil. Il r…