We suggest that music perception is an active act of listening, providing an irresistible
epistemic offering. When listening to music we constantly generate plausible hypotheses …

This is the first comprehensive theoretical article on aesthetic emotions. Following Kant's
definition, we propose that it is the first and foremost characteristic of aesthetic emotions to …

Why do humans make music? Theories of the evolution of musicality have focused mainly
on the value of music for specific adaptive contexts such as mate selection, parental care …

Taking a cognitive approach to musical meaning, Arnie Cox explores embodied
experiences of hearing music as those that move us both consciously and unconsciously. In …

The sensation of groove has been defined as the pleasurable desire to move to music,
suggesting that both motor timing and reward processes are involved in this experience …

The urge to move to music is universal among humans. Unlike visual art, which is manifest
across space, music is manifest across time. When listeners get carried away by the music …

Musical rhythm, consisting of apparently abstract intervals of accented temporal events, has
a remarkable capacity to move our minds and bodies. How does the cognitive system …

Music perception depends on internal psychological models derived through exposure to a
musical culture. It is hypothesized that this musical enculturation depends on two cognitive …

Ancient and culturally universal, dance pervades many areas of life and has multiple
benefits. In this article, we provide a conceptual framework and systematic review, as a …

Rhythmic incongruity in the form of syncopation is a prominent feature of many
contemporary musical styles. Syncopations afford incongruity between rhythmic patterns …