T Opacic, C Stevens, B Tillmann - Journal of Experimental …, 2009 - psycnet.apa.org
The sequencing of dance movements may be thought of as a grammar. We investigate implicit learning of regularities that govern sequences of unfamiliar, discrete dance …
SE Trehub - Oxford handbook of music psychology, 2009 - books.google.com
HAT question can we the learn possibility about music of deriving and about fruitful musicality answers from to infants? such questions Sceptics from may immature beings …
S McKechnie, C Stevens - … -led Research, Research-led Practice in …, 2009 - degruyter.com
Dance epitomises the challenge for the temporal arts in documenting, describing, quantifying and explaining unspoken knowledge. In this chapter, we argue that the qualities …
T Schäfer, P Sedlmeier - ESCOM 2009: 7th Triennial Conference of …, 2009 - jyx.jyu.fi
Why do we like the music we like and why do different people like different kinds of music? Existing models try to explain music preference as an interplay of musical features, the …
C Warren - American Journal of Media Psychology, 2009 - researchgate.net
A thorough review of laboratory-type research on subliminal stimuli, perception, and influence—an area still enmeshed in controversy—suggests four conservative …
Consumers repeatedly consume items that they enjoy. This dissertation focuses on the relationship between the inter-consumption interval between these repeated consumption …