Conditions de possibilité d'une forme perçue

International audience; La forme musicale est considérée par les compositeurs et les musicologues,au moins depuis la fin du XVIIIe siècle, comme un aspect majeur de la compositionmusicale. Certaines conceptions théoriques de la forme, voire sa réalité perceptive,sont remises en cause par les psychologues de la musique. Cependant, d’autresrésultats suggèrent qu’une représentation en mémoire des grandes structuresmusicales est envisageable. Cet article se propose d’examiner, à travers une revue desthéories de la forme et de la littérature en psychologie expérimentale, deux questionsfondamentales sur la perception des formes : sur quelles dimensions musicales et queltype de représentation en m…

Dramaturgy and Temporality of the Electroacoustics in Roger Reynolds’s The Angel of Death

1 disque compact audio (version S-D : 33 min 54 s ; version D-S : 34 min 51 s) + 1 brochure ([10] p.). - 1 CD-Rom; International audience

Appalachian Spring d'Aaron Copland ou le don d'être simple

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Influence of expressive versus mechanical musical performance on short-term memory for musical excerpts

Recognition memory for details of musical phrases (discrimination between targets and similar lures) improves for up to 15 s following the presentation of a target, during continuous listening to the ongoing piece. This is attributable to binding of stimulus features during that time interval. The ongoing-listening paradigm is an ecologically valid approach for investigating short-term memory, but previous studies made use of relatively mechanical MIDI-produced stimuli. The present study assessed whether expressive performances would modulate the previously reported finding. Given that expressive performances introduced slight differences between initially presented targets and their target…

Les outils audionumériques d’analyse du son et de la musique dans le cadre de l’analyse d’interprétations enregistrées : objectifs, méthodes et limitations

De nombreux outils audionumériques d’analyse du son et de la musique sont aujourd'hui disponibles pour analyser les enregistrements tant dans le cadre de l’analyse musicologique que dans le domaine des Music Information Retrieval (MIR). Parmi ceux-ci, on dispose d'outils de visualisation et d'annotation du signal audio (forme d’onde, différents types de sonagrammes, coefficients d’énergie dans les bandes critiques, matrice de similarité, etc.) et d'outils d'extraction de données spécifiques (descripteurs audio : RMS, loudness, brightness, spectral roll-off, spectral centroid, noisiness, attack time, chromagramme, courbe de nouveauté, etc.). Cette intervention a pour objectif de mener une ré…

Discrimination of tonal and atonal music in congenital amusia: The advantage of implicit tasks

International audience; Congenital amusia is a neurodevelopmental disorder of music perception and production, which has been attributed to a major deficit in pitch processing. While most studies and diagnosis tests have used explicit investigation methods, recent studies using implicit investigation approaches have revealed some unimpaired pitch structure processing in congenital amusia. The present study investigated amusic individuals' processing of tonal structures (e.g., musical structures respecting the Western tonal system) via three different questions. Amusic participants and their matched controls judged tonal versions (original musical excerpts) and atonal versions (with manipula…

Les principes de l’analyse de scène auditive au regard de l’analyse de l’interprétation

Cette communication se donne pour objectif d’examiner en quoi les principes de l’analyse de scène auditive développés par Albert S. Bregman (1990) peuvent être utiles à l’analyse de l’interprétation. Bregman distingue deux modes principaux impliqués dans la formation d’une scène auditive, d’une part le groupement simultané qui permet d’organiser la surface acoustique en événements distincts (par ex. une note jouée par un instrument ou par un alliage d’instruments bien fusionnés), d’autre part le groupement séquentiel qui intègre en flux auditifs les événements successifs (par ex. les voix d’une polyphonie). Afin de réaliser les processus de groupement, le système auditif utilise de façon he…

Le temps de l'expérimentation et l'expérience du temps chez Richard Pinhas

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Du son au sens : vers une approche sub-symbolique de l’analyse musicale assistée par ordinateur

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Beginners' musical instrument practice at home A survey of music-school teachers

The day-to-day instrumental work of the students of conservatories and music schools seems to be an essential condition for a fulfilling and quality musical practice. This survey, addressed to conservatory and music teachers, attempts to understand how this instrumental practice is organized at home by students and families. It deals with student autonomy, personal time and workload, the management of oral instructions, the use of written materials, the methods used to help students in difficulty as well as the role of reprimand and self-assessment during the instrumental lesson. On the teachers' side, it points to a significant use of reprimand to deal with insufficient work situations and…

Son organisé et spéculation sur les distances chez Varèse

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The Time Course of Emotional Responses to Music

Two empirical studies investigate the time course of emotional responses to music. In the first one, musically trained and untrained listeners were required to listen to 27 musical excerpts and to group those that conveyed a similar emotional meaning. In one condition, the excerpts were 25 seconds long on average. In the other condition, excerpts were as short as 1 second. The groupings were then transformed into a matrix of emotional dissimilarity that was analyzed with multidimensional scaling methods (MDS). We compared the outcome of these analyses for the 25-s and 1-s duration conditions. In the second study, we presented musical excerpts of increasing duration, varying from 250 to 20 s…

Learning music: prospects about implicit knowledge in music, new technologies and music education

International audience; The chapter proposes an overview of musical learning by underlining the force of the cognitive system, which is able to learn and to treat complex information at an implicit level. The first part summarises recent research in cognitive sciences, that studies the processes of implicit learning in music perception. These studies show that the abilities of non-musicians in perceiving music are very often comparable to those of musicians. The second part illustrates by means of some examples the use of multimedia tools for learning tonal and atonal music; these tools take advantage of the interaction between visual and auditive modalities.

Influence of Regular Rhythmic Versus Textural Sound Sequences on Semantic and Conceptual Processing

Conceptual priming studies have shown that listening to musical primes triggers semantic activation. The present study further investigated with a free semantic evocation task, 1) how rhythmic vs. textural structures affect the amount of words evoked after a musical sequence, and 2) whether both features also affect the content of the semantic activation. Rhythmic sequences were composed of various percussion sounds with a strong underlying beat and metrical structure. Textural sound sequences consisted of blended timbres and sound sources evolving over time without identifiable pulse. Participants were asked to verbalize the concepts evoked by the musical sequences. We measured the number …

Music in the moment? Revisiting the effect of large scale structures.

The psychological relevance of large-scale musical structures has been a matter of debate in the music community. This issue was investigated with a method that allows assessing listeners' detection of musical incoherencies in normal and scrambled versions of popular and contemporary music pieces. Musical excerpts were segmented into 28 or 29 chunks. In the scrambled version, the temporal order of these chunks was altered with the constraint that the transitions between two chunks never created local acoustical and musical disruptions. Participants were required (1) to detect on-line incoherent linking of chunks, (2) to rate aesthetic quality of pieces, and (3) to evaluate their overall co…

Rhythmic priming of grammaticality judgments in children: Duration matters

Abstract Research has shown that regular rhythmic primes improve grammaticality judgments of subsequently presented sentences compared with irregular rhythmic primes. In the theoretical framework of dynamic attending, regular rhythmic primes are suggested to act as driving rhythms to entrain neural oscillations. These entrained oscillations then sustain once the prime has finished, engendering a state of global enhanced activation that facilitates the processing of subsequent sentences. Up to now, this global rhythmic priming effect has largely been shown with primes that are approximately 30 s or more. To investigate whether shorter primes also facilitate grammaticality judgments, two expe…

Création musicale et cerveau

International audience; La musique accompagne toute notre vie : elle en rythme les étapes, trompe la solitude ou à l'opposé favorise la convivialité et encore en illumine certains moments. Mais elle ne relève pas seulement d'un simple loisir ou d'un moyen d'expression des sentiments. tue s'enracine profondément dans notre cerveau en coordonnant l'activité de nombreux circuits cérébraux corticaux et sous-corticaux associés à des expériences cognitives, affectives et corporelles. Le pouvoir de la musique sur l'humain fascine aujourd'hui la société. La littérature scientifique s'est enrichie ces dernières décennies de très nombreux travaux précisant les effets de la musique sur le cerveau. L'o…

Boosting syntax training with temporally regular musical primes in children with cochlear implants

International audience; Objectives : Previous research has suggested the use of rhythmic structures (implemented in musical material) to improve linguistic structure processing (i.e., syntax processing), in particular for populations showing deficits in syntax and temporal processing (e.g., children with developmental language disorders). The present study proposes a long-term training program to improve syntax processing in children with cochlear implants, a population showing syntax processing deficits in perception and production.Methods : The training program consisted of morphosyntactic training exercises (based on speech processing) that were primed by musical regular primes (8 sessio…

Évolution de la durée et du tempo dans les enregistrements du Sacre du printemps de Stravinski de 1929 à 2019

Le Sacre du printemps (1913) d’Igor Stravinski est sa première œuvre gravée pour le disque et l’une des plus enregistrées. Tous les plus grands chefs d’orchestre de phalanges internationales, abordant le répertoire d’orchestre du XXe siècle, ont enregistré l’œuvre, certains d’entre eux plusieurs fois au cours de leur carrière. Stravinski qui avait une idée très précise de la façon dont ses œuvres doivent être exécutées, a lui-même effectué quatre enregistrements du Sacre afin d’offrir un modèle à suivre, notamment quant au strict respect des tempi. Cependant, ses propres versions discographiques ne respectent pas toujours les indications de la partition, si bien que leur valeur en tant que …

Fonctions tonales et articulations thématiques : quelle contribution à la perception de la forme ?

ISBN : 978-2-84591-161-185-8; International audience

Traces et empreintes chez Berio : les chemins de la mémoire

L’expressivité de la performance des Dix pièces pour quintette à vent de Ligeti

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Le rythme : actes de la journée du 23 mars 2005 des 2es rencontres interartistiques de l'OMF

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La totalité mélodique chez Varèse

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Histoire d'un brise-glace : le festival Why Note et son public

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Looking into the eyes of a conductor performing Lerdahl's “Time after Time”

The eye movements of a conductor were tracked during a performance of Lerdahl's “Time after time”. The analysis of the data revealed that, for most of the time, the conductor was looking at the score, rather than the performers. Most of the score-reading was in anticipation of the music to be played. Micro- and macro-anticipations could be defined, the former being between 2 to 5 seconds in advance, the later being more than 5 seconds in advance. The largest visual anticipations were as long as 10 seconds. The longer anticipations were found to correspond to the occurrence of those thematic cells the conductor considered to be of expressive importance for the piece. This suggests that the …

Temporalité et tensivité dans la performance de Sequenza III de Berio

The Theories of Helmholtz in the Work of Varèse

In 1905 Varese discovered the French edition of Die Lehre von den Tonempfindungen als physiologische Grundlage fur die Theorie der Musik [On the Sensations of Tone as a Physiological Basis for the Theory of Music] of Hermann von Helmholtz (1863), the explicit intention of which was to bring together the common frontiers of science and music. This discovery was a revelation for the 22-year-old composer that went on to condition his whole philosophy of sound. The experiences of the German scientist, achieved with the aid of sirens, resonators or tuning forks, caught the imagination of the young composer. This article investigates the importance of the theories of Helmholtz for the Varesian ae…

Prêt-à-porter ou coupe sur mesure ? Liberté et contraintes de la temporalité dans l’interprétation de la Sequenza III de Berio

National audience; Sequenza III (1965-1966) for Female Voice by Luciano Berio is one of the leading works in the solo vocal repertoire after 1945. The work is the culmination of a fruitful on-going collaboration with Cathy Berberian, interrupted by the singer’s death in 1983. Perfectly knowing the singer’s vocal possibilities, Sequenza III was “not only written for Cathy, but about Cathy” as the composer asserts. It is then legitimate to ask the question of the fate of the work, since Sequenza III was by no means reserved, in Berio’s mind, to a dedicated performer. In order to answer this question, this article analyzes five recorded performances (Berberian, 1967 and 1970; Castellani, 1998,…

Couleurs de la Cité céleste d'Olivier Messiaen

Évolution de la durée et du tempo dans les enregistrements du Sacre du printemps d’Igor Stravinski de 1929 à 2019. Une cartographie des styles d’interprétation

Le Sacre du printemps constitue une oeuvre clé pour l’histoire de l’enregistrement et pour la musicologie de l’interprétation. Igor Stravinski considérait ses enregistrements comme établissant un modèle d’interprétation faisant autorité, mais c’est un fait connu qu’il ne respecte pas ses propres indications de tempo et fait un usage plus ou moins important du rubato. Ces incertitudes sur les tempi ont créé le doute et ont ouvert un espace de liberté pour les interprètes. Cet article s’est donné pour objectif d’examiner à nouveaux frais l’évolution de l’interprétation du Sacre des points de vue de la durée et du tempo. Le recours à un vaste corpus de 96 versions discographiques enregistrées …

Musique et cognition. Perspectives pour l’analyse et la performance musicales

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Analyser l’interprétation de la musique du XXe siècle. Une analyse de l’interprétation des Dix pièces pour quintette à vent de György Ligeti

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Stravinski et ses interprètes. 90 ans d'enregistrements du Sacre du printemps

A work originally composed for ballet, Igor Stravinsky's The Rite of Spring paradoxically owes its reputation to its concert performances and the plethora of discographic versions. As David Zinman says, The Rite is "a kind of visiting card" with which "conductors can demonstrate their personal artistic attitudes." As a result, The Rite is one of the composer's most recorded works, with over 180 recordings of the orchestral version. Stravinsky considered his own recordings to establish an authoritative performance model. CBS even used this as a selling point by putting the slogan "Stravinsky conducts Stravinsky" on the covers of his records. However, his interpretations do not always respect…

Tempo et texture dans quelques interprétations enregistrées de Ionisation de Varèse

Ionisation pour 13 percussionnistes (1928-1931) d’Edgard Varèse pose plusieurs problèmes d’interprétation tels que le choix des instruments, le positionnement des musiciens, l’équilibre entre les parties en fonction des différentes textures, la synchronisation dans les passages polyrythmiques et le tempo. Ionisation est organisée avec différentes textures résultant de l’interaction de plusieurs dimensions (timbre, registre, articulation, rythme, dynamique, densité) qui se juxtaposent, se superposent, se combinent et se transforment tout au long de l’œuvre. Elles semblent agir sur la performance comme un attracteur de sorte qu’elles conduisent les chefs d’orchestre à moduler, volontairement …

Le concerto pour orchestre de Béla Bartok : analyse des 2e et 3e mouvements

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Densité 21,5, un condensé d'harmonie-timbre

Evolution Analysis of Ear Training Applications Use by Musicology Students

Musique contemporaine : un défi pour le cerveau ?

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Texture et paradoxes auditifs dans la musique récente de Michaël Levinas

Parmi les courants musicaux apparus après 1945, le spectralisme a été celui dont les fondements théoriques, les techniques d’écriture et les sources d’inspiration ont été le plus fécondés par les recherches en acoustique, en psychoacoustique et en perception de la musique. Les questionnements musicaux de Michaël Levinas, comme ceux de Grisey, Murail, Dufourt, Saariaho, Hurel, Dalbavie, Maresz et d’autres, se sont nourris de notions telles que spectre, transitoires, résonance, battements, sons de combinaison, inharmonicité, rugosité, seuil perceptif,masquage, effet Doppler, etc. Cependant, s’il partage avec ses collègues ce socle de connaissances, elles ne l’ont pas conduit aux mêmes solutio…

Apports et influences de la psychoacoustique en musique contemporaine

International audience; Since Helmholtz’s seminal book “Die Lehre von den Tonempfindungen als physiologische Groundlage für die Theorie der Musik” (1863), psychoacoustics and psychology of music has been a source of inspiration for numerous 20th-century composers. This article examines the different ways in which composers have appropriated the knowledge on auditory perception afforded by the research of Helmholtz, Stumpf, Fletcher, Pierce, Fraisse, Leipp, Bregman, Terhardt, Deutsch, and McAdams. Pre-spectral composer such as Varèse and spectral composers such as Grisey, Murail, Dufourt, Dalbavie or Saariaho developed some scientific-inspired techniques of composition such as combination of…

Notice pour « Roger Reynolds: Un chemin de recherche, une démarche de compositeur, 1987 ; Stratégies compositionnelles dans The Angel of Death

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L’anxiété de performance dans l’enseignement musical. Une revue de littérature

How might music teachers help their students cope with the anxiety-provoking aspects of public performance? This article aims to provide some elements to answer this question. It is important to consider that public performance is one of the main aspects of musical practice from the start of the learning process. Given the high prevalence of music performance anxiety—MPA among musicians of all levels and ages, the teacher has an important role. Based on a literature review, the sources of MPA are analyzed and, for each of them, strategies that could be used by a music teacher are indicated. Emphasis is placed on prevention and on the importance of raising music teachers’ awareness of MPA.

Influences et modèles : actes de la journée du 21 mars 2007 des 4e Rencontres interartistiques de l'Observatoire musical français

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Robert le Diable au XIXe siècle

Lalitte Philippe. Robert Le Diable au XIXe siècle. In: Médiévales, n°6, 1984. Au pays d'Arthur. pp. 95-108.

Discographie des Dix pièces pour quintette à vent de Ligeti

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Looking into the eyes of a conductor performing Lerdahl's Time after Time

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Tempo et texture dans quelques interprétations de Ionisation de Varèse

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Implications compositionnelles et perceptives des échelles temporelles locales et globales

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Regular rhythmic primes boost P600 in grammatical error processing in dyslexic adults and matched controls

International audience; Regular musical rhythms orient attention over time and facilitate processing. Previous research has shown that regular rhythmic stimulation benefits subsequent syntax processing in children with dyslexia and specific language impairment. The present EEG study examined the influence of a rhythmic musical prime on the P600 late evoked-potential, associated with grammatical error detection for dyslexic adults and matched controls. Participants listened to regular or irregular rhythmic prime sequences followed by grammatically correct and incorrect sentences. They were required to perform grammaticality judgments for each auditorily presented sentence while EEG was recor…

On listening to atonal variants of two Piano Sonatas by Beethoven

International audience; We investigated the contribution of tonal relationships to the perception of musical ideas and to the feelings of "arousal." Two excerpts of piano sonatas by Beethoven and two atonal variants were used as experimental stimuli. This manipulation destroyed the tonal relationships but preserved both the local and global temporal organization (rhythm and formal). Listeners were asked to indicate the onset of musical ideas, to estimate the arousing properties of the music in a continuous response task, and to rate the similarity of the pieces. A drastic change in the pitch structure strongly affected judgments of similarity. However, it had no effect on the segmentation o…

Experimentation and new listening experience: the case of A Saucerful of Secrets

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Déserts d’Edgard Varèse ou l’apothéose du son

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Topo-analyse de la musique mixte

National audience; The purpose of this article is to pursue a semiotic approach to mixed music already outlined in some writings. After having developed a theoretical model capable of synthesizing the possible concert apparatus and defining the functions of the various protagonists, this article attempts, on the one hand, to establish a typology of the main relational strategies between instrumental and electronics observed in the repertoire and, on the other hand, to develop an analysis method using the topics. Relational strategies are approached with the concept of topic, defined as an imaginary place to articulate potential contents and unify them within an identifiable theme. In the re…

Influences et modèles. Actes de la journée du 21 mars des 4es rencontres interartistiques

Écriture et perception des grandes formes en musique contemporaine et, en particulier, chez Roger Reynolds. « Le cristal et la flamme »

This PhD addresses the issue of musical time and form in the second half of the XXth century with the joint perspective of composition and perception. The first chapter describes composer’s main conceptions of musical time, compositional strategies, functions and formal models, as well as the main musicological theories concerning musical form. The second chapter is devoted to the semiotic square of musical form (definition, typological and syntagmatic approach). The third chapter is dedicated to R. Reynolds’The Angel of Death, a work that allows us to compare writing and perception. The fourth chapter reviews the main studies and theories forged by psychology around this question, and pres…

The Regularity of Rhythmic Primes Influences Syntax Processing in Adults

Recent research has shown that auditory rhythmic stimulation improves subsequent syntax processing of speech in children with and without developmental language disorders. Sensitivity to grammatica...

Implicit learning of non-local musical rules : A comment on Kuhn and Dienes

International audience; In a recent study, G. Kuhn and Z. Dienes (2005) reported that participants previously exposed to a set of musical tunes generated by a biconditional grammar subsequently preferred new tunes that respected the grammar over new ungrammatical tunes. Because the study and test tunes did not share any chunks of adjacent intervals, this result may be construed as straightforward evidence for the implicit learning of a structure that was only governed by nonlocal dependency rules. It is shown here that the grammar modified the statistical distribution of perceptually salient musical events, such as the probability that tunes covered an entire octave. When the influence of t…

The time course of emotional response to music

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Edgard Varèse

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Compte rendu de : Cédric Thénard, Contribution à une histoire de la modernité musicale. Le festival d'Angers, Musiques du XXe siècle (1983-1990), Paris, L'Harmattan, 2016, 399 p.

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Roger Reynolds’ Thoughts, Places, Dreams: genetic and sonic approaches

La forme musicale au regard des sciences cognitives

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Quels outils informatiques pour l'analyse des musiques actuelles ?

Learning Music

Ruptures et mutations dans les musiques savantes, XIXe-XXIe siècle

National audience

Edgard Varèse : du son organisé aux arts audio

International audience; Acteur essentiel de la philosophie du bruit et de la révolution électrique, Varèse a contribué au renouvellement des productions et des esthétiques du XXème siècle. Son oeuvre a constitué - et constitue encore - un véritable programme d'action pour des générations de compositeurs. Sont examinés en particulier dans ce volume les liens qu'ont tissés avec elle, Jolivet, Xenakis, Ligeti, Nono, Mamzoni, Risset, etc... L'ensemble des contributions de ce volume embrasse une large part des thématiques initiées et développées par Varèse.

Le carré sémiotique des formes musicales : un modèle d’analyse des formes musicales de la deuxième moitié du XXe siècle

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L’interprétation de Sopiana pour flûte, piano et bande de François-Bernard Mâche

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Le quatuor à cordes face à un environnement électronique

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Musique et sciences cognitives

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Fondements acoustiques et psychoacoustiques de la musique de Gérard Grisey

Cognitive priming in sung and instrumental music: Activation of inferior frontal cortex

Neural correlates of the processing of musical syntax-like structures have been investigated via expectancy violation due to musically unrelated (i.e., unexpected) events in musical contexts. Previous studies reported the implication of inferior frontal cortex in musical structure processing. However - due to the strong musical manipulations - activations might be explained by sensory deviance detection or repetition priming. Our present study investigated neural correlates of musical structure processing with subtle musical violations in a musical priming paradigm. Instrumental and sung sequences ended on related and less-related musical targets. The material controlled sensory priming com…

La performance scénique de Psappha de Xenakis : aspects gestuels, sonores et musicaux

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The Unique Aesthetic Character of the Music of Roger Reynolds

1 disque compact audio (version S-D : 33 min 54 s ; version D-S : 34 min 51 s) + 1 brochure ([10] p.). - 1 CD-Rom; International audience

Compulsory Figures

1 disque compact audio (version S-D : 33 min 54 s ; version D-S : 34 min 51 s) + 1 brochure ([10] p.). - 1 CD-Rom; International audience

Rhythmic and textural musical sequences differently influence syntax and semantic processing in children.

International audience; Effects of music on language processing have been reported separately for syntax and for semantics. Previous studies have shown that regular musical rhythms can facilitate syntax processing and that semantic features of musical excerpts can inZluence semantic processing of words. It remains unclear whether musical parameters, such as rhythm and sound texture, may speciZically inZluence different components of linguistic processing. In the current study, two types of musical sequences (one focusing on rhythm and the other focusing on sound texture) were presented to children who were requested to perform a syntax or a semantic task thereafter. The results revealed tha…

Arcana d’Edgard Varèse, thématique et espace des hauteurs, un univers musical en expansion

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Relations temporelles, thématiques, timbriques et perceptives de l’électronique et de l’instrumental dans The Angel of Death de R. Reynolds

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La métaphore boréale chez Varèse

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Le tempérament équitable de La Monte Young

La Monte Young est relativement peu connu en raison de son éloignement volontaire des circuits commerciaux, et de son intransigeance pour la diffusion de sa musique. La production artistique de Young, née dans la mouvance de la contre-culture américaine des années 1960 est marquée par une refus de toute compromission. Paradoxalement la musique de Young est elle-même issue de la globalisation.

Apprendre la musique: Perspectives sur l’apprentissage implicite de la musique et implications pédagogiques

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La filiation Varèse - Zappa en question

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Vers une analyse texturale de la performance fondée sur les principes de l’analyse de scène auditive

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Ear Training Applications in Music Education: Exploring Utilization, Effectiveness, and Adoption Factors in France

Aspects acoustique et sensoriel du bruit

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The Regularity of Rhythmic Primes Influences Syntax Processing in Adults

Recent research has shown that auditory rhythmic stimulation improves subsequent syntax processing of speech in children with and without developmental language disorders. Sensitivity to grammatical errors is enhanced after regular rhythmic primes in comparison to irregular ones. Our present study investigated this rhythmic priming effect in healthy adults by using subtle grammatical errors as targets, aiming to fit with the high linguistic level of the participants. We also assessed whether participants’ sensitivity to rhythmic priming on syntax processing was related to self-reported rhythmic skills and musical habits. Participants listened to rhythmic regular or irregular primes followed…