Fiche de Bigand Emmanuel

La musique sollicite des processus cognitifs, moteurs et émotionnels qui reposent sur un vaste réseau neuronal. J’en étudie la fonction phylogénétique et ontogénétique et  je montre que les aptitudes musicales sont présentes chez tout un chacun et qu’elles contribuent au développement de la plasticité cérébrale et cognitive. Cela a des implications sociales pour l’éducation, la réhabilitation neuropsychologique et pour l’innovation technologique visant à démocratiser les pratiques musicales.

BIGAND Emmanuel

Professor in cognitive psychology, Cl Exceptionnelle Ech2

Professional address                                                        

LEAD / CNRS (UMR 5022)                                           Tel. +333 803 95782 ; Fax. +333 803 95767

Pôle AAFE- Esplanade Erasme                                   email. bigand@u-bourgogne.fr

Université de Bourgogne, BP 26513 21065 Dijon       http://leadserv.u-bourgogne.fr/fr/membres/emmanuel-bigand

PSYCHOLOGY.

         1997:Habilitation à Diriger les Recherches. Université de Bourgogne. “Perception des structures musicales”.

1990 :Doctorat de Psychologie, “Perception et compréhension des phrases musicales”, (Paris X Nanterre). 

Music – Music Theory – Mathematics

1983 : DEUG de Musicologie (Université Aix-en-Provence).

1985 : Médaille d’or de l’Ecole Nationale de Musique de Meudon.

1987 : Premier prix de contrebasse du Conservatoire National de Musique de Versailles.

1987-1989. Académie française de musicien d’orchestre, Paris

1980 : DEUG Mathématiques Appliquées aux Sciences Sociales (MASS), (Montpellier).

2012-2017 : Delegation Institut Universitaire de France

2007-2012 :Delegation Institut Universitaire de France

2006 : Delegation CNRS, Dijon. 

2003-2004. Professor (mi-temps), Université de Genève 

2001-2002 : Delegation CNRS (IRCAM, Paris)

Since 1997 :Pr. Psychologie cognitive, Université de Bourgogne:

1991 :Assistant professor cognitive psychology Université de Bourgogne

DIRECTION of international research programs 

2010-2014.Coordinator of a “Networks for Initial Training” n°238157  EBRAMUS, FP7-PEOPLE-ITN-2008 Marie Curie Action.

2011-2013. Coordinator of projet 042011, St Hilaire (Franco-Brésil), The socio-musical-brain, avec JO Bueno (Sao Paulo).

2006-2010French Coordinator of projet COFECUB  on Musical Time, with  Brésil (Université de Sao Paulo). 

2008. CoordinatorEuropean Exploratory Workshop ESF: Music and Brain, Poland. 

1999-2002.PI for an  International Foundation for Music Research grant, USA

PARTICIPATION à des programmes internationaux de recherche

         2010-2014 : Advisory board of PP7 ICT Marie Curie MIRROR Project

2004-2007 : Contrat Européen  FET-OPEN« Sound to Sens- Sens to Sound », n° 71908

2003.-2017 Director of laboratory resaearch LEAD (UMR  CNRS 5022) 

2007-2010. Management Master Recherche Psychologie Cognitive

1997-1999: President of Department of Psychology University of Bourgogne 

2014 : Organizer of the 5^eInternational Congress of Neurosciences of music in DIjon

2008.  Organizer  of workshop “Music, Language & Brain”, Dijon, 17 et 18 Janvier.

Scientific publication: N = 106, H = 32 ;  3 most quoted papers: 

1.  Tillmann B, Bharucha JJ, Bigand E. (2000). Implicit learning of tonality: a self-organizing approach. Psychological Review. 107: 885-913. PMID 11089410DOI: 10.1037/0033-295X.107.4.885  (275)

2.     Bigand E, Poulin-Charronnat B. (2006). Are we “experienced listeners”? A review of the musical capacities that do not depend on formal musical training. Cognition. 100: 100-30. PMID 16412412DOI: 10.1016/j.cognition.2005.11.007   (261)

3.   Bigand E, Vieillard S, Madurell F, Marozeau J, Dacquet A. (2005).Multidimensional scaling of emotional responses to music: The effect of musical expertise and of the duration of the excerpts Cognition and Emotion. 19: 1113-1139. DOI: (218). 

8 books(2 in english), 31 chapters, 88 invited paper (with 40 international ones).  

Scientific mediation activities

35 papers et 16 general public conferences 

Vidéos[1], 

1 DVD (la musique de O. Greiff et la science, Diapason d’or)[2], 

2 web site[3],  

TV documentaries TV ARTE[4][5]  Antenne 2[6]

Musically performed conference « Swing the brain » 57 performance[7], sciences festival, Nuit celebration of the 80 ans of CNRS

Creation of a play on music and brain produced by le théâtre des Célestins (Lyon)[8]

13 ITW TV[9],   53 ITW Radio @ PodCast,  19 ITW in mainstream newspapers

Specials events: 

2014:Organizer of a round table session where top ten neuroscientific researchears meet top ten musical artists at the 5^thInternational Congress of neurosciences of music Dijon.[10]

2015-2016 Co organizer of du Cycle Musique et cerveau  avec Radio France 14/03/2015 & 5/03/2016 https://www.radiofrance.com/actualite/cycle-musique-et-cerveau-2016

11-12/09/2015. Co Organization des 1eres rencontres art sciences St Malo 

Partnerships for scientific mediation: Cellule communication CNRS (insb.com@cnrs.fr), Musiq3 Festival (benoitd@festivalmusiq3.be) Sacem Université (claire.giraudin@sacem.fr), Canopé (aline.auriel@reseau-canope.fr), Mariani Fundation (maria.majno@gmail.com), Reseau Europeen RESEO( frederique.tessier@festival-aix.com), Opéra Europa (luke@opera-europa.org),Associations Germ 36(ciegerm36@gmail.com), Collectif 9, (info[at]collectif9.ca) EducArt, (educart.asbl@gmail.com), …

<!– /* Style Definitions */ p.MsoNormal, li.MsoNormal, div.MsoNormal {mso-style-unhide:no; mso-style-qformat:yes; mso-style-parent:””; margin:0cm; margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:12.0pt; font-family:Cambria; mso-ascii-font-family:Cambria; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:”ＭＳ 明朝”; mso-fareast-theme-font:minor-fareast; mso-hansi-font-family:Cambria; mso-hansi-theme-font:minor-latin; mso-bidi-font-family:”Times New Roman”; mso-bidi-theme-font:minor-bidi;} p.MsoHeading9, li.MsoHeading9, div.MsoHeading9 {mso-style-priority:9; mso-style-unhide:no; mso-style-qformat:yes; mso-style-link:”Titre 9 Car”; mso-style-next:Normal; margin-top:0cm; margin-right:.9pt; margin-bottom:0cm; margin-left:1.0cm; margin-bottom:.0001pt; text-align:center; mso-pagination:widow-orphan; page-break-after:avoid; mso-outline-level:9; font-size:10.0pt; mso-bidi-font-size:12.0pt; font-family:”New Century Schlbk”; mso-fareast-font-family:”Times New Roman”; mso-bidi-font-family:”Times New Roman”; font-weight:bold; mso-bidi-font-weight:normal;} p.MsoFootnoteText, li.MsoFootnoteText, div.MsoFootnoteText {mso-style-priority:99; mso-style-link:”Note de bas de page Car”; margin:0cm; margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:12.0pt; font-family:Cambria; mso-ascii-font-family:Cambria; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:”ＭＳ 明朝”; mso-fareast-theme-font:minor-fareast; mso-hansi-font-family:Cambria; mso-hansi-theme-font:minor-latin; mso-bidi-font-family:”Times New Roman”; mso-bidi-theme-font:minor-bidi;} span.MsoFootnoteReference {mso-style-priority:99; vertical-align:super;} a:link, span.MsoHyperlink {mso-style-unhide:no; color:blue; text-decoration:underline; text-underline:single;} a:visited, span.MsoHyperlinkFollowed {mso-style-noshow:yes; mso-style-priority:99; color:purple; mso-themecolor:followedhyperlink; text-decoration:underline; text-underline:single;} p.MsoListParagraph, li.MsoListParagraph, div.MsoListParagraph {mso-style-priority:34; mso-style-unhide:no; mso-style-qformat:yes; margin-top:0cm; margin-right:0cm; margin-bottom:0cm; margin-left:36.0pt; margin-bottom:.0001pt; mso-add-space:auto; mso-pagination:widow-orphan; font-size:12.0pt; font-family:”Times New Roman”; mso-fareast-font-family:”Times New Roman”;} p.MsoListParagraphCxSpFirst, li.MsoListParagraphCxSpFirst, div.MsoListParagraphCxSpFirst {mso-style-priority:34; mso-style-unhide:no; mso-style-qformat:yes; mso-style-type:export-only; margin-top:0cm; margin-right:0cm; margin-bottom:0cm; margin-left:36.0pt; margin-bottom:.0001pt; mso-add-space:auto; mso-pagination:widow-orphan; font-size:12.0pt; font-family:”Times New Roman”; mso-fareast-font-family:”Times New Roman”;} p.MsoListParagraphCxSpMiddle, li.MsoListParagraphCxSpMiddle, div.MsoListParagraphCxSpMiddle {mso-style-priority:34; mso-style-unhide:no; mso-style-qformat:yes; mso-style-type:export-only; margin-top:0cm; margin-right:0cm; margin-bottom:0cm; margin-left:36.0pt; margin-bottom:.0001pt; mso-add-space:auto; mso-pagination:widow-orphan; font-size:12.0pt; font-family:”Times New Roman”; mso-fareast-font-family:”Times New Roman”;} p.MsoListParagraphCxSpLast, li.MsoListParagraphCxSpLast, div.MsoListParagraphCxSpLast {mso-style-priority:34; mso-style-unhide:no; mso-style-qformat:yes; mso-style-type:export-only; margin-top:0cm; margin-right:0cm; margin-bottom:0cm; margin-left:36.0pt; margin-bottom:.0001pt; mso-add-space:auto; mso-pagination:widow-orphan; font-size:12.0pt; font-family:”Times New Roman”; mso-fareast-font-family:”Times New Roman”;} span.Titre9Car {mso-style-name:”Titre 9 Car”; mso-style-priority:9; mso-style-unhide:no; mso-style-locked:yes; mso-style-link:”Titre 9″; mso-ansi-font-size:10.0pt; font-family:”New Century Schlbk”; mso-ascii-font-family:”New Century Schlbk”; mso-fareast-font-family:”Times New Roman”; mso-hansi-font-family:”New Century Schlbk”; mso-bidi-font-family:”Times New Roman”; font-weight:bold; mso-bidi-font-weight:normal;} span.NotedebasdepageCar {mso-style-name:”Note de bas de page Car”; mso-style-priority:99; mso-style-unhide:no; mso-style-locked:yes; mso-style-link:”Note de bas de page”;} span.object {mso-style-name:object; mso-style-unhide:no;} span.object-hover {mso-style-name:object-hover; mso-style-unhide:no;} .MsoChpDefault {mso-style-type:export-only; mso-default-props:yes; font-family:Cambria; mso-ascii-font-family:Cambria; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:”ＭＳ 明朝”; mso-fareast-theme-font:minor-fareast; mso-hansi-font-family:Cambria; mso-hansi-theme-font:minor-latin; mso-bidi-font-family:”Times New Roman”; mso-bidi-theme-font:minor-bidi;} /* Page Definitions */ @page {mso-footnote-separator:url(“Macintosh HD:Users:bigand:Library:Caches:TemporaryItems:msoclip:0:clip_header.htm”) fs; mso-footnote-continuation-separator:url(“Macintosh HD:Users:bigand:Library:Caches:TemporaryItems:msoclip:0:clip_header.htm”) fcs; mso-endnote-separator:url(“Macintosh HD:Users:bigand:Library:Caches:TemporaryItems:msoclip:0:clip_header.htm”) es; mso-endnote-continuation-separator:url(“Macintosh HD:Users:bigand:Library:Caches:TemporaryItems:msoclip:0:clip_header.htm”) ecs;} @page WordSection1 {size:612.0pt 792.0pt; margin:70.85pt 70.85pt 70.85pt 70.85pt; mso-header-margin:36.0pt; mso-footer-margin:36.0pt; mso-paper-source:0;} div.WordSection1 {page:WordSection1;} /* List Definitions */ @list l0 {mso-list-id:430703234; mso-list-type:hybrid; mso-list-template-ids:-1087357578 67895311 67895321 67895323 67895311 67895321 67895323 67895311 67895321 67895323;} @list l0:level1 {mso-level-tab-stop:none; mso-level-number-position:left; text-indent:-18.0pt;} @list l0:level2 {mso-level-number-format:alpha-lower; mso-level-tab-stop:none; mso-level-number-position:left; text-indent:-18.0pt;} @list l0:level3 {mso-level-number-format:roman-lower; mso-level-tab-stop:none; mso-level-number-position:right; text-indent:-9.0pt;} @list l0:level4 {mso-level-tab-stop:none; mso-level-number-position:left; text-indent:-18.0pt;} @list l0:level5 {mso-level-number-format:alpha-lower; mso-level-tab-stop:none; mso-level-number-position:left; text-indent:-18.0pt;} @list l0:level6 {mso-level-number-format:roman-lower; mso-level-tab-stop:none; mso-level-number-position:right; text-indent:-9.0pt;} @list l0:level7 {mso-level-tab-stop:none; mso-level-number-position:left; text-indent:-18.0pt;} @list l0:level8 {mso-level-number-format:alpha-lower; mso-level-tab-stop:none; mso-level-number-position:left; text-indent:-18.0pt;} @list l0:level9 {mso-level-number-format:roman-lower; mso-level-tab-stop:none; mso-level-number-position:right; text-indent:-9.0pt;} –>

• Bigand, E., & Tillmann, B. (2022). Near and far transfer: Is music special?. Memory & Cognition, 50, 339–347.
• Fiveash, A., Bella, S. D., Bigand, E., Gordon, R. L., & Tillmann, B. (2022). You got rhythm, or more: The multidimensionality of rhythmic abilities. Attention, Perception & Psychophysics, 84(4), 1370–1392.
• Duret, S.|Bigand, E.|Guigou, C.|Marty, N.|Lalitte, P.|Grayeli-Bozorg, A. (2021). Participation of acoustic and electric hearing in perceiving musical sounds. Frontiers in Neuroscience, 15.
• Canette, L.-H.|Lalitte, P.|Bedoin, N.|Pineau, M.|Bigand, E.|Tillmann, B. (2020). Rhythmic and textural musical sequences differently influence syntax and semantic processing in children. Journal of Experimental Child Psychology, 191.
• Pralus, A.|Belfi, A.|Hirel, C.|Leveque, Y.|Fornoni, L.|Bigand, E.|Jung, J.|Tranel, D.|Nighoghossian, N.|Tillmann, B.|Caclin, A. (2020). Recognition of musical emotions and their perceived intensity after unilateral brain damage. Cortex, 130, 78-93.
• Vieillard, S.|Pinabiaux, C.|Bigand, E. (2020). Positive and detached reappraisal of threatening music inyounger and older adults. Frontiers in Human Neuroscience, 14.
• Leveque, Y.|Teyssier, P.|Bouchet, P.|Bigand, E.|Caclin, A.|Tillmann, B. (2018). Musical emotions in congenital amusia: Impaired recognition, but preserved emotional intensity. Neuropsychology, 32(7), 880-894.
• Bigand, E. (Ed.) (2018). Les bienfaits de la musique sur le cerveau. Belin.
• Roman, S.|Rochette, F.|Triglia, J.-M.|Schön, D.|Bigand, E. (2016). Auditory training improves auditory performance in cochlear implanted children. Hearing Research, 337, 89-95.
• Tillmann, B.|Lalitte, P.|Albouy, P.|Caclin, A.|Bigand, E. (2016). Discrimination of tonal and atonal music in congenital amusia: The advantage of implicit tasks. Neuropsychologia, 85, 10-18.
• Tillmann, B., Lalitte, P., Albouy, P., Caclin, A., Bigand, E. (2016). Discrimination of tonal and atonal music in congenital amusia: The advantage of implicit tasks. Neuropsychologia, 10-18.
• Bigand, E.|Tillmann, B. (2015). Introduction to The Neurosciences and Music V: Cognitive Stimulation and Rehabilitation. Neurosciences and Music V: Cognitive Stimulation and Rehabilitation.
• Tillmann, B.|Bigand, E. (2015). Response: A commentary on: “Neural overlap in processing music and speech”. Frontiers in Human Neuroscience, 9.
• Baraldi, F. B.|Bigand, E.|Pozzo, T. (2015). Measuring Aksak rhythm and synchronization in Transylvanian village music by using motion capture. Empirical Musicology Review, 10(4), 265-291.
• Huijgen, J.|Dellacherie, D.|Tillmann, B.|Clement, S.|Bigand, E.|Dupont, S.|Samson, S. (2015). The feeling of familiarity for music in patients with a unilateral temporal lobe lesion: A gating study. Neuropsychologia, 77, 313-320.
• Mercadie, L.|Mick, G.|Guetin, S.|Bigand, E. (2015). Effects of listening to music versus environmental sounds in passive and active situations on levels of pain and fatigue in fibromyalgia. Pain Management Nursing, 16(5), 664-671.
• Peckel, M.|Bigand, E. (2015). How does moving along to music influence its later recognition?. Année Psychologique, 115(1), 53-76.
• Verga, L.|Bigand, E.|Kotz, S. A. (2015). Play along: effects of music and social interaction on word learning. Frontiers in Psychology, 6.
• Vieillard, S.|Harm, J.|Bigand, E. (2015). Expressive suppression and enhancement during music-elicited emotions in younger and older adults. Frontiers in Aging Neuroscience, 7.
• Ferreri, L., Bigand, E., Bard, P., & Bugaiska, A. (2015). The influence of music on prefrontal cortex during episodic encoding and retrieval of verbal information: A multichannel fNIRS study. Behavioural Neurology.
• Mercadié,L., Mick, G., Guétin, S., Bigand, E. (2015). Effects of Listening to Music versus Environmental Sounds in Passive and Active Situations on Levels of Pain and Fatigue in Fibromyalgia. Pain Management Nursing, 16(5), 664-671.
• Ferreri, L., Bigand, E., & Bugaiska, A. (2015). The positive effect of music on source memory. Musicae Scientiae.
• Vieillard, S.|Bigand, E. (2014). Distinct effects of positive and negative music on older adults’ auditory target identification performances. Quarterly Journal of Experimental Psychology, 67(11), 2225-2238.
• Liegeois-Chauvel, C.|Benar, C.|Krieg, J.|Delbe, C.|Chauvel, P.|Giusiano, B.|Bigand, E. (2014). How functional coupling between the auditory cortex and the amygdala induces musical emotion: A single case study. Cortex, 60, 82-93.
• Mercadié, L., Caballe, J., Aucouturier, J.-J., Bigand, E. (2014). Effect of synchronized or desynchronized music listening during osteopathic treatment: An EEG study. Psychophysiology, 51(1), 52-59.
• Moussard, A., Bigand, E., Belleville, S., Peretz, I. (2014). Learning sung lyrics aids retention in normal ageing and Alzheimer’s disease. Neuropsychological Rehabilitation, 24(6), 894-917.
• Moussard, A.|Bigand, E.|Belleville, S.|Peretz, I. (2014). Music as a mnemonic to learn gesture sequences in normal aging and Alzheimer’s disease. Frontiers in Human Neuroscience, 8.
• Peckel, M.|Pozzo, T.|Bigand, E. (2014). The impact of the perception of rhythmic music on self-paced oscillatory movements. Frontiers in Psychology, 5.
• Rochette, F., Moussard, A., Bigand, E. (2014). Music lessons improve auditory perceptual and cognitive performance in deaf children. Frontiers in Human Neuroscience, 8.
• Tillmann, B.|Albouy, P.|Caclin, A.|Bigand, E. (2014). Musical familiarity in congenital amusia: Evidence from a gating paradigm. Cortex, 59, 84-94.
• Bigand, E., Delbé, C., Poulin-Charronnat, B., Leman, M., & Tillmann, B. (2014). Empirical evidence for musical syntax processing? Computer simulations reveal the contribution of auditory short-term memory. Frontiers in Systems Neuroscience, 1-27.
• Ferreri, L., Bigand, E., Perrey, S., Muthalib, M., Bard, P., & Bugaiska, A. (2014). Less effort, better results: How does music act on prefrontal cortex in older adults during verbal encoding? An fNIRS study. Frontiers in Human Neuroscience, 1-11.
• Tillmann, B., Poulin-Charronnat, B., & Bigand, E. (2014). The role of expectation in music: From the score to emotions and the brain. WIREs Cognitive Science , 105-113.
• Ferreri, L., Bigand, E., Perrey, S., & Bugaiska, A. (2014). The promise of Near-Infrared Spectroscopy (NIRS) for psychological research: A brief review. L'Année Psychologique, 537-569.
• Bigand, E. (2013). Le cerveau mélomane. Belin.
• Trochidis, K., Bigand, E. (2013). Investigation of the Effect of Mode and Tempo on Emotional Responses to Music Using EEG Power Asymmetry. Journal of Psychophysiology, 142-148.
• Ferreri, L., Aucouturier, J.-J., Muthalib, M., Bigand, E., & Bugaiska, A. (2013). Music improves verbal memory encoding while decreasing prefrontal cortex activity: An fNIRS study. Frontiers in Human Neuroscience.
• Mercadié, L., Caballé, J., Aucouturier, JJ., Bigand, E. (2013). Effect of synchronized or desynchronized music listening during osteopathic treatment: An EEG study. Psychophysiology.
• Tillmann, B., Dowling, W. J., Lalitte, P., Molin, P., Schulze, K., Poulin-Charronnat, B., Schön, D., & Bigand, E. (2013). Influence of expressive versus mechanical musical performance on short-term memory for musical excerpts. Music Perception, 419-425.
• Bigand, E., Habib, M., Brun V. (2012). Musique et cerveau – Nouveaux concepts, nouvelles applications. Sauramps médical.
• Moussard, A., Bigand, E., Belleville, S., Peretz, I. (2012). Music as an Aid to Learn New Verbal Information in Alzheimer’s Disease. Music Perception.
• Moussard, A., Rochette, F., Bigand, E. (2012). La musique comme outil de stimulation cognitive. Année Psychologique.
• Tillmann, B., Gosselin, N., Bigand, E., Peretz, I. (2012). Priming paradigm reveals harmonic structure processing in congenital amusia. Cortex.
• Bigand, E. (2012). La musique comme outil de stimulation cognitive. La musique comme outil de stimulation cognitive. Editions Académie Royale de Belgique..
• Bigand, E. (2012). L’âge d’or des sciences cognitives de la musique. L’âge d’or des sciences cognitives de la musique. Sauramps médical.
• Drai-Zerbib, V., Baccino, T., & Bigand, E. , (2012). Sight-reading expertise: Cross-modality integration investigated using eye tracking. Psychology of Music, 216-235.
• Dellacherie, S., Bigand, E., Samson, S. (2011). Emotional response in Epileptic patients. Cortex, 1107-1115.
• Bigand, E., Delbé*, C., Gérard*, Y., Tillmann, B. (2011). Categorization of Extremely Brief Auditory Stimuli: Domain-specific or Domain-general Processes?. PlosOne, 6(10): e27024. doi:10.1371/journal.pone.0027024..
• Bigand, E., Moussard, A. (2011). La musique est-elle un « neuro-protecteur » ?. La revue francophone de gériatrie et de gérontologie, 399-401.
• Bigand, E., Delbé, C., Gérard, Y., Tillmann, B. (2011). Categorization of Extremely Brief Auditory Stimuli: Domain-Specific or Domain-General Processes?. Plos One, 10(6), e27024.
• Trochidis, K., Delbé, C., Bigand, E. (2011). Investigation of the relationships between audio features and induced emotions in Contemporary Western music. Sound and Music Computing Conference 2011.
• Ramos, D.|Bueno, J.L.O.|Bigand, E. (2011). Manipulating Greek musical modes and tempo affects perceived musical emotion in musicians and nonmusicians. Brazilian Journal of Medical and Biological Research, 44(2).
• Dellacherie, D. , Bigand, E., Molin, P. , Baulac, M. , Samson, S. (2011). Multidimensional scaling of emotional responses to music in patients with temporal lobe resection. Cortex.
• Cocenas, R., Bueno, J. O., Bigand, E., Molin, P. (2011). Multidimensional scaling of musical time estimations. Perceptual and Motor Skills.
• Bigand, E. (2010). Penser la musique aujourd’hui. Cerveau & Psycho.
• Bigand, E. (2010). La musique rend elle intelligent ?. Cerveau & Psycho. .
• Bigand, E., Lalitte, P., Lerdahl, L., Boucheix, J.-M., Gérard, Y., Pozzo, T. (2010). Looking into the eyes of a conductor performing Lerdahl’s “Time after Time”. Musicæ Scientiæ, 275-294.
• Liegeois-Chauvel, C.|Bénar, C-G.|Delbé, C.|Bartolomei, F.|Chauvel, P.|Bigand, E. (2010). Musical emotion processing depends on the interaction between right auditory cortex and amygdala.
• Bigand, E., Delbé, C. (2010). Introducing implicit learning: from the laboratory to the real life. Rethinking physical and rehabilitation medicine (95-110). Springer.
• Bigand, E., Delbé, C. (2010). L’apprentissage implicite de la musique occidentale. Musique, Langage, Emotion (35-48). PUR.
• Bigand, E., Lalitte, P., Lerdahl, L., Boucheix, J.-M., Gérard, Y., Pozzo, T. (2010). Looking into the eyes of a conductor performing Lerdahl’s “Time after Time”. Musicæ Scientiæ, 275-294.
• Moussard, A., & Bigand, E. (2010). Implicit learning and implicit memory in moderate to severe memory disorders. Rethinking physical and rehabilitation medicine. Springer.
• Droit-Volet, S., Bigand, E., Ramos, D., Oliveira Bueno, J.-L. (2010). Time flies with music whatever its emotional valence. Acta Psychologica.
• Bigand, E., Lalitte, P., Lerdahl, L., Boucheix, J.-M., Gérard, Y., Pozzo, T. (2010). Looking into the eyes of a conductor performing Lerdahl’s “Time after Time”. Musicæ Scientiæ, 275-294.
• Filipic, S., Tillmann, B., Bigand, E. (2010). Judging familiarity and emotion from very brief musical excerpts. Psychonomic Bulletin & Review, 17(3), 335-341.
• Cocenas, R. , Bueno, J. L. O., Bigand, E., Molin, P. (2009). Escala multidimensional aplicada aos estudos de apreciação musical.. Revista Paidéia: Cadernos de Psicologia e Educação, 43(19), 153-158.
• Lalitte, P.|Bigand, E.|Kantor-Martynuska, J.|Delbé, C. (2009). On Listening to Atonal Variants of Two Piano Sonatas by Beethoven. Music Perception, 26(3), 223-234.
• Bigand, E. , Gérard, Y., Molin, P. (2009). The contributions of local features to familiarity Judgments. Music. Neurosciences & Music III_disorders and plasticity. Ann. NY Acad. Sci., 234-244.
• Bigand, E., & Poulin-Charronnat, B. (2009). Tonal Cognition. The Oxford Handbook of Music Psychology. Oxford University Press.
• Lalitte, P., Bigand, E., Kantor-Martynuska, J., Delbé, C. (2009). On listening to atonal variants of two piano sonatas by Beethoven. Music Perception, 26(3), 223-234.
• Bigand, E., Lalitte, P., Dowling, W. J. (2009). Special issue – Music and language: 25 years after Lerdahl & Jackendoff’s GTTM. Music Perception, 26(3), 185-186.
• Bigand, E., Gérard, Y., Molin, P. (2009). The contribution of local features to familiarity judgments in music. Annals of the New York Academy of Sciences, 1169, 234-244.
• Rochette, F., Bigand, E. (2009). Long-term effects of auditory training in severely or profoundly deaf children. Annals of the New York Academy of Sciences, 1169, 195-198.
• Lalitte, P., Bigand, E., Kantor-Martynuska, J., Delbé, C. (2009). On listening to atonal variants of two piano sonatas by Beethoven. Music Perception, 26(3), 223-234.
• Firmino, E. A., Bueno, J. L. O., Bigand, E. (2009). Travelling through pitch space speeds up musical time. Music Perception, 26(3), 205-209.
• Bigand, E., Lalitte, P., Dowling, W. J. (2009). Special issue – Music and language: 25 years after Lerdahl & Jackendoff’s GTTM. Music Perception, 26(3), 185-186.
• Bigand, E., Gérard, Y., Molin, P. (2009). The contribution of local features to familiarity judgments in music. Annals of the New York Academy of Sciences, 1169, 234-244.
• Khalfa, S.|Delbé, C.|Bigand, E.|Reynaud, E.|Chauvel, P.|Liégeois-Chauvel, C. (2008). Mesio-Temporal lobe specialization for positive and negative music recognition. Music Perception, 25(4), 295-302.
• Bigand, E.|Delbé, C. (2008). Apprentissage implicite en musique : Théorie et Modèles. Intellectica, 48-49, 13-26.
• Delbé, C., French, R. M., Bigand, E. (2008). Catégorisation asymétrique de séquences de hauteurs musicales. L'Année Psychologique, 108(4), 589-616.
• Moussard, A., Bigand, E., Clément, S., Samson, S. (2008). Préservation des apprentissages implicites en musique dans le vieillissement normal et la maladie d’Alzheimer. Revue de Neuropsychologie, 18(1-2), 127-152.
• Delbé, C.|French, R. M.|Bigand, E. (2008). Asymmetric categorization in the sequential auditory domain. L'Année Psychologique, 108(4), 589-615.
• Tillmann, B., Justus, T., Bigand, E. (2008). Cerebellar patients demonstrate preserved implicit knowledge of association strengths in musical sequences. Brain and Cognition, 66(2), 161-167.
• Khalfa, S., Delbé, C., Bigand, E., Reynaud, E., Chauvel, P., Liegeois-Chauvel, C. (2008). Positive and negative music recognition reveals a specialization of mesio-temporal structures in epileptic patients. Music Perception, 25(4), 295-302.
• Delbé, C.|French, R. M.|Bigand, E. (2008). Asymmetric categorization in the sequential auditory domain. L'Année Psychologique, 108(4), 589-615.
• Bigand, E.|Liégeois-Chauvel, C.|Paindavoine, M.|Khalfa, S.|Delbé, C. (2007). Réseau neuronaux et émotionnels : la musique est-elle spéciale ?.
• Delbé, C., Poulin-Charronnat, B., & Bigand, E. (2007). La perception musicale requiert-elle des processus de traitement syntaxique ?. Journées Fondatrices Perception Sonore, 18-19 janvier, INSA Lyon.
• Tillmann, B., Peretz, I., Bigand, E., Gosselin, N. (2007). Harmonic priming in an amusic patient: The power of implicit tasks. Cognitive Neuropsychology, 24(6), 603-622.
• Leman, M.|Avanzini, F.|de Cheveigné, A.|Bigand, E. (2007). The societal contexts for sound and music computing: Research, education, industry, and socio-culture. Journal of New Music Research, 36(3), 149-167.
• Delbé, C., Bigand, E., French, R. M. (2006). Asymmetric Categorization in the Sequential Auditory Domain.
• Tillmann, B., Koelsch, S., Escoffier, N., Bigand, E., Lalitte, P., Friederici, A. D., von Cramon, D. Y. (2006). Cognitive priming in sung and instrumental music: Activation of inferior frontal cortex. NeuroImage, 31(4), 1771-1782.
• Tillmann, B., Bigand, E., Escoffier, N., Lalitte, P. (2006). The influence of musical relatedness on timbre discrimination. European Journal of Cognitive Psychology, 18(3), 343-358.
• Lalitte, P., Bigand, E. (2006). Music in the moment? Revisiting the effect of large scale structures. Perceptual and Motor Skills, 103(3), 811-828.
• Tillmann, B., Koelsch, S., Escoffier, N., Bigand, E., Lalitte, P., Friederici, A. D., von Cramon, D. Y. (2006). Cognitive priming in sung and instrumental music: Activation of inferior frontal cortex. NeuroImage, 31(4), 1771-1782.
• Tillmann, B., Bigand, E., Escoffier, N., Lalitte, P. (2006). The influence of musical relatedness on timbre discrimination. European Journal of Cognitive Psychology, 18(3), 343-358.
• Lalitte, P.|Bigand, E. (2006). Music in the moment? Revisiting the effect of large scale structures. Perceptual and Motor Skills, 103(3), 811-828.
• Bigand, E., Tillmann, B., & Poulin-Charronnat, B. (2006). A module for syntactic processing in music?. Trends in Cognitive Sciences, 195-196.
• Poulin-Charronnat, B., Bigand, E., & Koelsch, S. (2006). Processing of musical syntax tonic versus subdominant: An event-related potential study. Journal of Cognitive Neuroscience, 1545-1554.
• Bigand, E., & Poulin-Charronnat, B. (2006). Are we “experienced listeners”? A review of the musical capacities that do not depend on formal musical training. Cognition, 100-130.
• Kantor-Martynuska, J.|Bigand, E.|Delbé, C. (2005). Music as an affective priming context for word processing : An effect of musical expertise.
• Bigand, E., Filipic, S., Lalitte, P. (2005). The time course of emotional responses to music. Annals of the New York Academy of Sciences, 1060, 429-437.
• Tillmann, B., Madurell, F., Lalitte, P., Bigand, E. (2005). Apprendre la musique : Perspectives sur l’apprentissage implicite de la musique et ses implications pédagogiques. Revue Française de Pédagogie, 152, 63-77.
• Bigand, E., Filipic, S., Lalitte, P. (2005). The time course of emotional responses to music. Annals of the New York Academy of Sciences, 1060, 429-437.
• Tillmann, B., Madurell, F., Lalitte, P., Bigand, E. (2005). Apprendre la musique : Perspectives sur l’apprentissage implicite de la musique et ses implications pédagogiques. Revue Française de Pédagogie, 152, 63-77.
• Filipic, S., Bigand, E. (2005). Key processing precedes emotional categorization of Western music. Annals of the New York Academy of Sciences, 1060, 443-445.
• Bigand, E., Vieillard, S., Madurell, F., Marozeau, J., Dacquet, A. (2005). Multidimensional scaling of emotional responses to music: The effect of musical expertise and of the duration of the excerpts. Cognition & Emotion, 19(8), 1113-1139.
• Poulin-Charronnat, B., Bigand, E., & Madurell, F. (2005). The influence of voice leading on harmonic priming. Music Perception, 613-627.
• Poulin-Charronnat, B., Bigand, E., Madurell, F., & Peereman, R. (2005). Musical structure modulates semantic priming in vocal music. Cognition, B67-B78.
• Schellenberg, E. G., Bigand, E., Poulin-Charronnat, B., Garnier, C., & Stevens, C. (2005). Children’s implicit knowledge of harmony in Western music. Developmental Science, 551-566.
• Bigand, E., Tillmann, B., Poulin-Charronnat, B., & Manderlier, D. (2005). Repetition priming: Is music special?. Quarterly Journal of Experimental Psychology, 1347-1375.
• Bigand, E.|Filipic, S.|Pluchery, A.|Delbé, C. (2004). Influence de l’expertise musicale sur les réponses émotionnelles à la musique.
• Tillmann, B., Bigand, E. (2004). The relative importance of local and global structures in music perception. Journal of Aesthetics and Art Criticism, 62(2), 211-222.
• Tillmann, B.|Bigand, E. (2004). Further investigation of harmonic priming in long contexts using musical timbre as surface marker to control for temporal effects. Perceptual and Motor Skills, 98(2), 450-458.
• Bigand, E. (2004). L’oreille musicale experte peut-elle se développer par l’écoute passive de la musique ?. Revue de Neuropsychologie, 14(1-2), 191-221.
• Lalitte, P., Bigand, E., Poulin-Charronnat, B., McAdams, S., Delbé, C., & D'Adamo, D. (2004). The perceptual structure of thematic materials in The Angel of Death. Music Perception, 265-296.
• Poulin-Charronnat, B., Bigand, E., Lalitte, P., Madurell, F., Vieillard, S., & McAdams, S. (2004). Effects of a change in instrumentation on the recognition of musical materials. Music Perception, 239-263.
• Bigand, E. (2003). Travelling through Lerdahl’s Tonal Pitch Space theory: A psychological perspective. Musicae Scientiae, VII(1), 121-140.
• Bigand, E. (2003). More about the musical expertise of musically untrained listeners. Annals of the New York Academy of Sciences, 999, 304-312.
• Bigand, E. (2003). Tonal pitch space. Musicae Scientiae, 7(1), 121-140.
• Bigand, E., Poulin, B., Tillmann, B., Madurell, F., & D'Adamo, D. A. (2003). Sensory versus cognitive components in harmonic priming. Journal of Experimental Psychology: Human Perception and Performance, 159-171.
• Tillmann, B., Bigand, E. (2001). Global context effect in normal and scrambled musical sequences. Journal of Experimental Psychology: Human Perception and Performance, 27(5), 1185-1196.
• Regnault, P., Bigand, E., Besson, M. (2001). Different brain mechanisms mediate sensitivity to sensory consonance and harmonic context: Evidence from auditory event-related brain potentials. Journal of Cognitive Neuroscience, 13(2), 241-255.
• Bigand, E., Tillmann, B., Poulin, B., D'Adamo, D. A., & Madurell, F. (2001). The effect of harmonic context on phoneme monitoring in vocal music. Cognition, B11-B20.
• Tillmann, B., Bharucha, J. J., Bigand, E. (2000). Implicit learning of tonality: A self-organizing approach. Psychological Review, 107(4), 885-913.
• Drake, C., Penel, A., Bigand, E. (2000). Tapping in time with mechanically and expressively performed music. Music Perception, 18(1), 1-23.
• Bigand, E., McAdams, S., Forêt, S. (2000). Divided attention in music. International Journal of Psychology, 35(6), 270-278.
• Bigand, E., Madurell, F., Tillmann, B., Pineau, M. (1999). Effect of global structure and temporal organization on chord processing. Journal of Experimental Psychology: Human Perception and Performance, 25(1), 184-197.
• Bigand, E., Parncutt, R. (1999). Perceiving musical tension in long chord sequences. Psychological Research, 62(4), 237-254.
• Bigand, E., Perruchet, P., Boyer, M. (1998). Implicit learning of an artificial grammar of musical timbres. Current Psychology of Cognition, 17(3), 577-600.
• Tillmann, B., Bigand, E., Pineau, M. (1998). Effects of global and local contexts on harmonic expectancy. Music Perception, 16(1), 99-117.
• Tillmann, B., Bigand, E., Madurell, F. (1998). Local versus global processing of harmonic cadences in the solution of musical puzzles. Psychological Research, 61(3), 157-174.
• Tillmann, B., Bigand, E. (1998). Influence of global structure on musical target detection and recognition. International Journal of Psychology, 33(2), 107-122.
• Bigand, E., Perruchet, P., Boyer, M. (1998). Implicit learning of an artificial grammar of musical timbres. Current Psychology of Cognition, 17(3), 577-600.
• Perruchet, P., Bigand, E., & Benoit-Gonin, F. (1997). The emergence of explicit knowledge during the early phase of learning in sequential reaction time tasks. Psychological Research, 4-13.
• Pineau, M., & Bigand, E. (1997). Effet des structures globales sur l’amorçage harmonique en musique. L'Année Psychologique, 385-408.
• Bigand, E., & Pineau, M. (1997). Global context effects on musical expectancy. Perception & Psychophysics, 1098-1107.
• Bigand, E. (1997). Perceiving musical stability: The effect of tonal structure, rhythm, and musical expertise. Journal of Experimental Psychology: Human Perception and Performance, 808-822.
• Bigand, E. (1997). The musical timespace: A theory of music listening. Music Perception, 112-118.
• Tillmann, B., & Bigand, E. (1996). Does formal musical structure affect perception of musical expressiveness?. Psychology of Music, 3-17.
• Bigand, E., Parncutt, R., & Lerdahl, F. (1996). Perception of musical tension in short chord sequences: The influence of harmonic function, sensory dissonance, horizontal motion, and musical training. Perception & Psychophysics, 125-141.
• Bigand, E., & Pineau, M. (1996). Context effects on melody recognition: A dynamic interpretation. Current Psychology of Cognition, 121-134.
• McAdams, S., & Bigand, E. (Eds.) (1993). Thinking in sound. The cognitive psychology of human audition. Oxford University Press.

• Radio France : L’oreille absolue est elle un super pouvoir ?

  https://www.radiofrance.fr/francemusique/l-oreille-absolue-est-elle-un-super-pouvoir-8483464

• TV Arte : Le super pouvoir de la musique

• 19/03/22 Institut Pasteur : Conférence-débat « Cerveau et musique » 19 Mars 2022

  https://www.pasteur.fr/fr/journal-recherche/evenements/conference-debat-cerveau-musique

• 11/03/22/Creative Business School “Comment la musique transforme les comportements ?”

  https://www.icn-artem.com/agenda/conference-neuropsychologie-de-la-musique/

• 23/01/22 Unesco La semaine du Son Nice. Le pouvoir de la musique.

  https://univ-cotedazur.fr/recherche-innovation/structures-de-recherche/academies-dexcellence/academie-4/la-semaine-du-son-de-lunesco-nice-2022-son-cognition

• Complément d’enquète:Musique sur ordonnance (lien mort)

  Vidéo

• Conférence-concert « Quand la musique fait swinguer les neurones »

  conférence concert : “lorsque la musique fait swinguer les neurones”

• BFM Business cerveau le pouvoir de la musique (lien mort)

  Musique & cerveau – Radio France –  5 mars 2016

• Musique & cerveau – Radio France – 5 mars 2016 (lien mort)

  Musique & cerveau – Radio France –  5 mars 2016http://www.swingthebrain.com/

• Science : la musique rend nos cerveaux plus performants

  Science : la musique rend nos cerveaux plus performants

• Conférence Collège de France Mars 2016 : Le pouvoir transformationnel de la musique

  Le pouvoir transformationnel de la musique

• Emission sur RTL du 08 février 2016 (lien mort)

  Emission sur RTL du 08 février 2016

• Emmanuel Bigand sur … autoroute info… (lien mort)

  Emmanuel Bigand sur … autoroute info…

• Emission RFI : Pourquoi notre cerveau aime la musique ? (lien mort)

  Emission RFI  “Autour de la question” du 06/01/2014 : Pourquoi notre cerveau aime la musique ? partie1 partie2     […]

• Emission RFI : Le cerveau a-t-il de l’oreille ? ​(lien mort)

  Emission RFI  “Autour de la question” du 29/03/2011 : Le cerveau a-t-il de l’oreille ? partie1 partie2

• radio-tv-conférence

  ebmedias http://www.rfi.fr/emission/20110329-le-cerveau-il-oreille

• Musique, empathie et cohésion sociale

  IUF Auteur: Emmanuel Bigand, LEAD – Université de Bourgogne – Dijon, France Date: March 25th, 2010 Thème: Musique, empathie […]

• Aux origines du dialogue humain: parole et musique

  Collège de France Auteur: Emmanuel Bigand, LEAD – Université de Bourgogne – Dijon, France Date: October 17th, 2008 Theme: […]

• Ingénierie des Apprentissages Auditifs et Musicaux

  Plate-forme de jeux sonores et musicaux pour les enfants normaux et malentendants. Développement d’applications multimédias de formation de l’écoute […]

• 14/09/22/ Création “3 notes pour un cerveau” Théâtre des Célestins Lyon

  https://celya.universite-lyon.fr/site-francais/trois-notes-pour-un-cerveau-prix-celest1-maquette-182021.kjsp