26.Kohonen, T.(1993) Physiological interpretation of the self-organizing map algorithm.Neural
Net.6, 895–905.
27.Schyns, P. G.(1991) A modular neural network of concept acquisition.Cognitive Sci.15,
461–508.
28.Ritter, H.and T. Kohonen(1989) Self-organizing semantic maps.Biological Cybernetics61,
241–54.
29.Kohonen, T.(1988) The ‘neural’ phonetic typewriter.Computer IEEE21, 11–22.
30.Mercado, E. I., C. E. Myers,and M. A. Gluck(2001) A computational model of mechanisms
controlling experience-dependent reorganization of representational maps in auditory cortex.
Cognitive, Affective & Behavioral Neurosci.1, 37–55.
31.Tillmann, B., J. J. Bharucha,and E. Bigand(2000) Implicit learning of tonality: a self-organizing
approach.Psychol. Rev.107 (4), 885–913.
32.Krumhansl, C. L.(1979) The psychological representation of musical pitch in a tonal context.
Cognit. Psychol.11, 346–74.
33.Bharucha, J. J.(1984) Anchoring effects in music: the resolution of dissonance.Cognit. Psychol.
16, 485–518.
34.Budge, H.(1943) A Study of Chord Frequencies. Teacher College. New York: Columbia University.
35.Francès, R.(1958) La perception de la musique. Paris: Vrin.
36.Krumhansl, C. L.(1990) Cognitive Foundations of Musical Pitch. Oxford, England: Oxford University
Press.
37.Dowling, W. J.and D. L. Har wood(1986) Music Cognition. Orlando, Florida: Academic Press.
38.Altmann, G.T., Z. Dienes,and A. Goode(1995) Modality independence of implicitly learned
grammatical knowledge.JEP-LMC21, 899–912.
39.Dienes, Z., D. Broadbent,and D. C. Berr y(1991) Implicit and explicit knowledge bases in arti-
ficial grammar learning.JEP-LMC17, 875–87.
40.Reber, A. S.(1967) Implicit learning of artificial grammars.J. Verbal Learning and Verbal
Behavior6, 855–63.
41.Reber, A. S.(1989) Implicit learning and tacit knowledge.J. Exp. Psychol. Gen.118, 219–35.
42.Cuddy, L. L.and B. Badertscher(1987) Recovery of tonal hierarchy: some comparisons across
age and levels of musical expertise.P&P41, 609–20.
43.Hébert, S., I. Peretz,and L. Gagnon(1995) Perceiving the tonal ending of tune excerpts: the roles
of pre-existing representation and musical expertise.Can. J. Exp. Psychol.49, 193–209.
44.Tillmann, B., E. Bigand,and F. M a d u r e l l(1998) Influence of global and local structures on the
solution of musical puzzles.Psychol. Res.61, 157–74.
45.Bartlett, J. C.and W. J. Dowling(1980) The recognition of transposed melodies: a key-distance
effect in developmental perspective.J. Exp. Psychol. Hum. Percept. Perform.6, 501–15.
46.Cuddy, L. L.and W. F. Thompson(1992) Asymmetry of perceived key movement in chorale
sequences: converging evidence from a probe-tone analysis.Psychol. Res.54, 51–9.
47.Cuddy, L. L.and W. F. Thompson(1992) Perceived key movement in four-voice harmony and
single voices.MP9, 427–38.
48.Thompson, W. F.and L. L. Cuddy(1989) Sensitivity to key change in chorale sequences: a com-
parison of single voices and four-voice harmony.MP7, 151–68.
49.Bharucha, J. J.and C. L. Krumhansl(1983) The representation of harmonic structure in music:
hierarchies of stability as a function of context.Cognit.13, 63–102.
120