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Music Perception  Vol. 36 No. 4, April 2019

https://urldefense.proofpoint.com/v2/url?u=http-3A__mp.ucpress.edu_content_36_4&d=DwIBaQ&c=Cu5g146wZdoqVuKpTNsYHeFX_rg6kWhlkLF8Eft-wwo&r=PHu0YcldevQqIedM86l0iexbqE-AeZLl-lupNToNx6I&m=gEmdcwIBfxAzrXFiRHH1LeEjO7C08qXtA69jMCn9Smw&s=1Xzd8IQjJAHXbXq__AVvJfnk67JwvwYiTyCpOyAC280&e=

Distortion and Rock Guitar Harmony: The Influence of Distortion Level and
Structural Complexity on Acoustic Features and Perceived Pleasantness of
Guitar Chords
Jan-Peter Herbst

Anticipatory Syncopation in Rock: A Corpus Study
Ivan Tan, Ethan Lustig, David Temperley

Peak Experiences with Electronic Dance MusicSubjective Experiences,
Physiological Responses, and Musical Characteristics of the Break Routine
Ragnhild Torvanger Solberg, Nicola Dibben

Empathy, Entrainment, and Perceived Interaction in Complex Dyadic Dance
Movement
Emily Carlson, Birgitta Burger, Petri Toiviainen

Tone Profiles of Isolated Musical Chords: Psychoacoustic Versus Cognitive
Models
Richard Parncutt, Sabrina Sattmann, Andreas Gaich, Annemarie
Seither-Preisler


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