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experiences surrounding earworms and INMI in general. Those four factors include 'Negative
Valence', 'Movement', 'Personal Reflections', and 'Help'. Negative Valence is the category that measures the subjective response to the INMI experience. Movement is a relatively new aspect to apply to INMI, it is essentially the INMI experience with accompanied embodied responses, which can include singing, humming, and dancing. Personal Reflections is the occurrence of a personal quality, like unrelated thoughts, associated with the INMI; which are not directly related to the valence of the INMI itself. Help is the category which determines the beneficial and constructive aspects to the INMI experiences, which could potentially reflect similarities in the characteristics of unfocused music listing and task-unrelated thought.
371:", a scientist, Gilbert Lister, develops the ultimate melody – one that so compels the brain that its listener becomes completely and forever enraptured by it. As the storyteller, Harry Purvis, explains, Lister theorized that a great melody "made its impression on the mind because it fitted in with the fundamental electrical rhythms going on in the brain." Lister attempts to abstract from the hit tunes of the day to a melody that fits in so well with the electrical rhythms that it dominates them completely. He succeeds and is found in a catatonic state from which he never awakens.
501:, there are certain characteristics that make songs more likely to become earworms. Earworm songs usually have a fast-paced tempo and an easy-to-remember melody. However, earworms also tend to have unusual intervals or repetitions that make them stand out from other songs. Earworms also tend to be played on the radio more than other songs and are usually featured at the top of the charts. The chorus of a song is one of the most reported causes of earworms.
269:
443:" and all except Lucy dance to it, while simultaneously the denizens of Harmony Town sing it to Emmet and Rex. Lucy/Wildstyle avoids being "brainwashed" by the song by breaking one of the speakers and using some of its pieces to build earmuffs for herself before escaping via air ducts, while Emmet and Rex escape in a similar fashion.
477:
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could help by similarly blocking the sub-vocal rehearsal component of auditory short-term or "working" memory associated with generating and manipulating auditory and musical images. It has also been suggested to ask oneself why one is experiencing this particular song. Another suggested remedy is to
615:
One tool used to gather data on involuntary musical imagery (INMI)—and, more specifically, earworms—is called the
Involuntary Musical Imagery Scale; it was created with the research compiled from George Floridou, Victoria Williamson, and Danial MĂĽllensiefen. It uses four factors to measure different
158:
According to research by James
Kellaris, 98% of individuals experience earworms. Women and men experience the phenomenon equally often, but earworms tend to last longer for women and irritate them more. Kellaris produced statistics suggesting that songs with lyrics may account for 73.7% of earworms,
172:
conducted by Ella Moeck and her colleagues in an attempt to find out if the positive/negative feeling of the music affected earworms caused by that piece, they only used instrumental music. Her experiment determined that all participants experienced a similar quantity of earworms, regardless of the
171:
Earworms can occur with 'positive' or 'negative' music. Positive music in this case would be music that sounds happy and/or calm. Negative music would be the opposite, where the music sounds angry or sad. Earworms are also not solely regulated to only music with lyrics; in a research experiment
225:
Listening to the tune in a different/lower tempo or lower pitch, or a remixed version if it exists, can be an antidote. Listening to the tune from start to finish can also help. Since earworms are usually only a fragment of music, playing the tune all the way through can help break the loop.
196:, puzzles or reading was an effective way of stopping earworms and of reducing their recurrence. Another publication points out that melodic music has a tendency to demonstrate repeating rhythm which may lead to endless repetition, unless a climax can be achieved to break the cycle.
467:
playing a highly amplified recording of the earworm, and conquers the entire world by reducing the citizens of all nations to mindless insanity. "he peoples were hopelessly mad, ravaged by an ineradicable noise ... No one could hear anything except the noise in his own head."
598:
Kazumasa
Negishi and Takahiro Sekiguchi did a study to see if there are specific traits that make a person more or less susceptible to earworms or involuntary musical imagery. The participants in the study were assessed on obsessive-compulsive tendencies, the
603:, and musical expertise. Negishi and Sekiguchi found that some of the obsessive-compulsive traits, such as intrusive thoughts, played a role in experiencing earworms while compulsive washing did not. In terms of the Big Five personality traits,
155:) such as seeing a word that reminds one of the song, hearing a few notes from the song, or feeling an emotion one associates with the song. The list of songs collected in the study showed no particular pattern, other than popularity.
869:
Williamson, Victoria J.; Jilka, Sagar R.; Fry, Joshua; Finkel, Sebastian; MĂĽllensiefen, Daniel; Stewart, Lauren (September 27, 2011). "How do "earworms" start? Classifying the everyday circumstances of
Involuntary Musical Imagery".
382:-nominated short story "Rump-Titty-Titty-Tum-TAH-Tee" (1959), the title describes a rhythmic drumbeat so powerful that it rapidly spreads to all areas of human culture, until a counter-rhythm is developed that acts as an antidote.
429:
episode titled “Earworm”, SpongeBob gets the “Musical Doodle” song stuck in his head, giving him an earworm, which ultimately turns out to be an actual worm, which is removed by his friends singing or playing other songs.
1518:
176:, although the quality of the earworm did vary. The earworms born from the negatively valenced music brought about more distress and occurred less frequently than those produced by positively valenced music.
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Of the 1,000 respondents, the kind of music respondents said they got stuck on most recently were songs with lyrics for 73.7 percent, jingles or ads for 18.6 percent and an instrumental tune for 7.7 percent.
420:
force their host to sing what they are saying to the same "boy band" tune. The only way to be cured of the Boy Band Virus is for the viruses to break up and start their own solo careers.
168:
directly addressed the subject, and its results support earlier claims that earworms are usually 15 to 30 seconds in length and are more common in those with an interest in music.
1752:
905:
Filippidi, I.; Timmers, R. (2017). "Relationships between everyday music listening habits and involuntary musical imagery: Does music listening condition musical imagery?".
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459:) relates a fictional episode in the history of Uruguay where a powerful earworm is discovered in a popular American song. The Uruguayan military builds a squadron of
1041:
Moeck, E. K.; Hyman, I. E; Takarangi, M. K. Y. (2018). "Understanding the overlap between positive and negative involuntary cognitions using instrumental earworms".
1125:
151:, found in an uncontrolled study that earworms correlated with music exposure, but could also be triggered by experiences that trigger the memory of a song (
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region of South
America. Alone, badly injured, and in a semi-delirious state, he is confused as to whether he is imagining the music or really hearing it.
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360:, the protagonist uses a jingle specifically crafted to be a catchy, irritating nuisance as a tool to block mind readers from reading his mind.
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1567:
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1003:
Hemming, J.; Merrill, J. (2015). "On the distinction between involuntary musical imagery, musical hallucinosis, and musical hallucinations".
679:
607:
significantly predicted occurrences of earworms. Musical expertise created an effect of sophistication when it came to earworm occurrences.
2002:"Individual traits that influence the frequency and emotional characteristics of involuntary musical imagery: An experience sampling study"
55:
or memorable piece of music or saying that continuously occupies a person's mind even after it is no longer being played or spoken about.
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Individual songs may become less likely to cause an earworm as their exciting effect fades as a result of excessive repetition.
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71:. Some of the phrases often used to describe earworms include "musical imagery repetition" and "involuntary musical imagery".
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Jakubowski, Kelly; Farrugia, Nicolas; Halpern, Andrea R.; Sankarpandi, Sathish K.; Stewart, Lauren (November 1, 2015).
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also fall into this category, although they are not the same thing. Earworms are considered to be a common type of
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out of his head. The book tells of his survival, against the odds, after a mountaineering accident in the remote
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1436:
Moore, David R.; Fuchs, Paul Paul Albert; Rees, Adrian; Palmer, Alan; Plack, Christopher J. (January 21, 2010).
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20:
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1598:"Science Identified 'Cure Songs' to Get Songs Unstuck From Your Brain, I Guess All Diseases Have Been Cured"
460:
1493:"Songs That Cause The Brain To 'Itch': UC Professor Investigating Why Certain Tunes Get Stuck In Our Heads"
2801:
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2500:
489:, attempting to embed a warning message in folklore that would still be remembered in 10,000 years' time.
412:
136:
64:
946:"The speed of our mental soundtracks: Tracking the tempo of involuntary musical imagery in everyday life"
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478:
10,000-Year
Earworm to Discourage Settlement Near Nuclear Waste Repositories (Don't Change Color, Kitty)
425:
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2015:
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1289:
Kellaris, James J. (Winter 2001). "Identifying
Properties of Tunes That Get 'Stuck in Your Head'".
368:
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786:"Dissecting an earworm: Melodic features and song popularity predict involuntary musical imagery"
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Proceedings of the 10th
International Conference on Music Perception and Cognition (ICMPC 10)
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There are also so-called "cure songs" or "cure tunes" to get the earworm out of one's head. "
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Research reported in 2015 by the School of
Psychology and Clinical Language Sciences at the
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1922:
1900:
63:) is most common after earworms, but INMI as a label is not solely restricted to earworms;
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2432:
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2382:
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2019:
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1583:"Listen up – new research shows chewing gum could remove that stuck record in your head"
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497:
According to research done in 2016 by Kelly Jakubowski and colleagues, published by the
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2437:
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2367:
2287:
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2001:
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Musical Illusions and Phantom Words: How Music and Speech Unlock Mysteries of the Brain
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Jakubowski, Kelly; Finkel, Sebastian; Stewart, Lauren; MĂĽllensiefen, Daniel (2017).
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2000:
Negishi, Kazumasa; Sekiguchi, Takahiro (June 4, 2020). Sudzina, Frantisek (ed.).
1950:"Earworms (stuck song syndrome): Towards a natural history of intrusive thoughts"
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1597:
1313:"Earworms (stuck song syndrome): towards a natural history of intrusive thoughts"
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for over 33 years and could hold a conversation while playing it in her mind.
52:
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1978:
1970:
1519:"Get that tune out of your head – scientists find how to get rid of earworms"
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1986:
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Floridou, G. A.; Williamson, V. J.; Stewart, L.; MĂĽllensiefen, D. (2015).
833:"The classification of involuntary musical imagery: The case for earworms"
88:
76:
2006:
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1622:
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504:
The most frequently named earworms during this study were the following:
343:" about a song engineered to damage the Nazi war effort, culminating in
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2104:
1058:
1020:
922:
855:
806:
482:
439:
is in a scene in which most of the film's characters are subjected to "
400:
293: in this section. Unsourced material may be challenged and removed.
245:" by Allan Roberts and Doris Fisher, which she first heard in the film
193:
1492:
745:"The Persistence of Musical Memories: A Descriptive Study of Earworms"
107:
Researchers who have studied and written about the phenomenon include
2485:
450:
329:
81:
27:
2199:
1618:"Sticky tunes: how do people react to involuntary musical imagery?"
1312:
332:
that one can get rid of only by transferring it to another person.
2397:
1867:"Dexter's Laboratory: Head Band / Stuffed Animal House / Used Ink"
1405:
543:
417:
247:
16:
Music or phrase that repeats in the mind, especially when unwanted
1222:
The Haunting Melody: Psychoanalytic Experiences in Life and Music
1181:
1126:"Music in Everymind: Commonality of Involuntary Musical Imagery"
2203:
215:" is cited as a very popular and helpful choice of cure song. "
127:, along with many more. The phenomenon should be distinct from
262:
1616:
Williamson VJ, Liikkanen LA, Jakubowski K, Stewart L (2014).
1258:
This Is Your Brain on Music: The Science of a Human Obsession
1082:"Inducing involuntary musical imagery: An experimental study"
104:, where the author points out the German origin of his word.
1439:
The Oxford Handbook of Auditory Science: The Auditory Brain
1425:. translated by William Bishop. Fordham University Press.
1923:"Psychologists Identify Key Characteristics of Earworms"
801:(2). American Psychological Association (APA): 122–135.
743:
Halpern, Andrea R.; Bartlett, James C. (April 1, 2011).
208:
try to find a "cure song" to stop the repeating music.
1899:. www.armandobronca.com. July 24, 2007. Archived from
328:" (also known as "Punch, Brothers, Punch") is about a
2158:
Why this Kolaveri Di: Maddening Phenomenon of Earworm
453:
short story "The Supremacy of Uruguay" (reprinted in
2758:
2620:
2524:
2476:
2278:
2237:
131:, a rare medical condition caused by damage to the
119:, James Kellaris, Philip Beaman, Vicky Williamson,
1838:
1551:
1291:Proceedings of the Society for Consumer Psychology
794:Psychology of Aesthetics, Creativity, and the Arts
416:episode titled "Head Band", a contagious group of
2185:Margulis, Elizabeth Hellmuth (January 16, 2014).
1550:Schwanauer, Stephan M.; Levitt, David A. (1993).
395:, he talks about not being able to get the tune "
1720:DĂaz de Chumaceiro, Cora L. (October 16, 2004).
159:whereas instrumental music may cause only 7.7%.
2082:"The Involuntary Musical Imagery Scale (IMIS)"
1376:
1374:
660:
658:
656:
2215:
1390:. Oxford University Press. pp. 116–127.
1196:"The earworms you can't get out of your head"
8:
2179:The Involuntary Musical Imagery Scale (IMIS)
1948:Beaman, C. Philip; Williams, Tim I. (2010).
1354:"Earworms: Why songs get stuck in our heads"
700:"Earworms: Why songs get stuck in our heads"
86:
1678:"Music : How to get rid of an earworm"
1194:Kruszelnicki, Dr Karl (November 29, 2016).
693:
691:
219:" was also a popular choice in cure songs.
2222:
2208:
2200:
2089:Psychomusicology: Music, Mind, & Brain
1593:
1591:
1043:Psychomusicology: Music, Mind, & Brain
1005:Psychomusicology: Music, Mind, & Brain
907:Psychomusicology: Music, Mind, & Brain
840:Psychomusicology: Music, Mind, & Brain
671:Musicophilia: Tales of Music and the Brain
123:, and, in a more theoretical perspective,
2045:
2027:
1783:"The Ultimate Melody by Arthur C. Clarke"
1722:"Jean Harris' Obsessive Film Song Recall"
1653:
1643:
1306:
1304:
979:
720:. Oxford University Press. Archived from
309:Learn how and when to remove this message
94:. The earliest known English usage is in
1442:. Oxford University Press. p. 535.
1311:Beaman CP, Williams TI (November 2010).
475:wrote a deliberately catchy song titled
2458:Temporal dynamics of music and language
674:. First Vintage Books. pp. 41–48.
652:
456:Timeless Stories for Today and Tomorrow
1817:, Bloomsbury Publishing, p. 218,
1585:, University of Reading, 22 April 2015
1475:"Why do songs get stuck in your head?"
1036:
1034:
1032:
1030:
192:in moderately difficult tasks such as
2075:
2073:
2071:
2069:
2067:
2065:
1384:(2019). "Catchy Music and Earworms".
367:'s 1957 science fiction short story "
7:
2122:Elizabeth Hellmuth Margulis (2013).
826:
824:
291:adding citations to reliable sources
2124:On Repeat: How Music Plays the Mind
1706:Australian Broadcasting Corporation
1701:"How do you get rid of an earworm?"
1352:Chatterjee, Rhitu (March 6, 2012).
698:Chatterjee, Rhitu (March 7, 2012).
347:being unable to continue a speech.
2187:"Why Songs Get Stuck in Your Head"
2156:Divya Singhal (December 8, 2011),
2097:American Psychological Association
1927:American Psychological Association
1051:American Psychological Association
1013:American Psychological Association
915:American Psychological Association
848:American Psychological Association
499:American Psychological Association
14:
2403:Music in psychological operations
2181:at Goldsmith University of London
2141:Vadim Prokhorov (June 22, 2006).
1235:Bennett, Sean (August 30, 2002).
436:The Lego Movie 2: The Second Part
2348:Generative theory of tonal music
1517:Gray, Richard (March 24, 2013).
1491:Hoffman, Carey (April 4, 2001).
718:"Oxford Dictionaries: "earworm""
267:
149:Goldsmiths, University of London
2358:Hedonic music consumption model
2255:Cognitive neuroscience of music
1690:, citing Williamson et al. 2014
1422:Hits. Philosophy in the Jukebox
1241:(Master). Cambridge University.
278:needs additional citations for
162:In 2010, published data in the
147:Researcher Vicky Williamson at
1753:"Nothing But Gingerbread Left"
1295:American Psychological Society
241:, was obsessed with the song "
1:
2795:Psychology of Music (journal)
2338:Eye movement in music reading
2143:"Can't get it out of my head"
1958:British Journal of Psychology
1811:Pretor-Pinney, Gavin (2010),
1318:British Journal of Psychology
1261:. New York: Dutton, Penguin.
186:Western Washington University
165:British Journal of Psychology
135:of the brain that results in
2363:Illusory continuity of tones
2029:10.1371/journal.pone.0234111
1645:10.1371/journal.pone.0086170
1124:Liikkanen, Lassi A. (2008).
611:Tools used in data gathering
540:Somebody That I Used to Know
520:Can't Get You Out of My Head
341:Nothing but Gingerbread Left
2809:This Is Your Brain on Music
2788:Music, Thought, and Feeling
2774:Musicae Scientiae (journal)
2126:. Oxford University Press.
1814:The Wavewatcher's Companion
1135:. Sapporo, Japan: 408–412.
601:Big Five personality traits
339:published the short story "
57:Involuntary Musical Imagery
2867:
2582:Neuronal encoding of sound
2552:Melodic intonation therapy
2260:Culture in music cognition
1897:"The Supremacy of Uruguay"
1495:. University of Cincinnati
1238:Musical Imagery Repetition
25:
18:
2308:Consonance and dissonance
1168:October 15, 2014, at the
1080:Liikkanen, L. A. (2012).
964:10.3758/s13421-015-0531-5
2846:Music-related neologisms
2597:Psychoanalysis and music
2577:Neurologic music therapy
2511:Music-specific disorders
2323:Embodied music cognition
2313:Deutsch's scale illusion
1971:10.1348/000712609X479636
1331:10.1348/000712609X479636
1224:. New York: Grove Press.
1103:10.1177/1029864912440770
884:10.1177/0305735611418553
831:Williams, T. I. (2015).
763:10.1525/mp.2011.28.4.425
26:Not to be confused with
21:Earworm (disambiguation)
2453:Speech-to-song illusion
2265:Evolutionary musicology
1554:Machine Models of Music
1293:. Scottsdale, Arizona:
137:auditory hallucinations
2802:The World in Six Songs
2745:William Forde Thompson
2501:Musical hallucinations
1419:Szendy, Peter (2012).
1220:Reik, Theodor (1953).
951:Memory & Cognition
626:Idée fixe (psychology)
397:Brown Girl in the Ring
87:
65:musical hallucinations
2607:Systematic musicology
1837:Simpson, Joe (1988).
1787:The Web site of aleph
1558:. MIT Press. p.
481:in reference to the "
426:SpongeBob SquarePants
253:recall this regularly
243:Put the Blame on Mame
201:University of Reading
69:involuntary cognition
2413:Music-related memory
2250:Cognitive musicology
1903:on February 27, 2014
1877:on February 26, 2021
1473:(October 16, 2009),
1152:on February 3, 2014.
530:Don't Stop Believin'
326:A Literary Nightmare
287:improve this article
188:found that engaging
143:Incidence and causes
43:, also described as
19:For other uses, see
2836:Musical terminology
2700:Max Friedrich Meyer
2592:Philosophy of music
2587:Performance science
2532:Aesthetics of music
2506:Musician's dystonia
2491:Auditory arrhythmia
2378:Melodic expectation
2020:2020PLoSO..1534111N
1680:. Durham University
1636:2014PLoSO...986170W
1600:by Dan Van Winkle,
1524:The Daily Telegraph
872:Psychology of Music
493:Key characteristics
413:Dexter's Laboratory
369:The Ultimate Melody
49:stuck song syndrome
2759:Books and journals
2680:Carol L. Krumhansl
2398:Music and movement
2353:Glissando illusion
2333:Exercise and music
2105:10.1037/pmu0000067
1929:. November 3, 2016
1793:on January 1, 2011
1781:Chorost, Michael,
1770:Full text of story
1200:ABC Radio National
1059:10.1037/pmu0000217
1021:10.1037/pmu0000112
923:10.1037/pmu0000194
856:10.1037/pmu0000082
807:10.1037/aca0000090
636:Subliminal stimuli
594:Susceptible traits
471:In 2014, musician
461:pilotless aircraft
357:The Demolished Man
259:In popular culture
251:(1946). She would
203:demonstrated that
153:involuntary memory
2818:
2817:
2567:Musical acoustics
2443:Sharawadji effect
2423:Musical semantics
2393:Music and emotion
2293:Auditory illusion
1841:Touching the Void
1824:978-0-7475-8976-1
1759:on March 14, 2012
1732:on August 1, 2019
1709:. April 16, 2020.
1569:978-0-262-19319-1
1531:on March 24, 2013
1479:The Straight Dope
1325:(Pt 4): 637–653.
1142:978-4-9904208-0-2
1090:Musicae Scientiae
724:on March 29, 2013
681:978-1-4000-3353-9
631:Phonological loop
570:Bohemian Rhapsody
550:Moves like Jagger
487:nuclear semiotics
392:Touching the Void
319:
318:
311:
213:God Save the King
174:emotional valence
2858:
2851:1970s neologisms
2841:Music psychology
2767:Music Perception
2710:Richard Parncutt
2695:Leonard B. Meyer
2645:Jane W. Davidson
2630:Jamshed Bharucha
2408:Music preference
2303:Background music
2298:Auditory imagery
2231:Music psychology
2224:
2217:
2210:
2201:
2196:
2168:
2152:
2137:
2109:
2108:
2086:
2077:
2060:
2059:
2049:
2031:
1997:
1991:
1990:
1954:
1945:
1939:
1938:
1936:
1934:
1919:
1913:
1912:
1910:
1908:
1893:
1887:
1886:
1884:
1882:
1873:. Archived from
1863:
1857:
1856:
1844:
1834:
1828:
1827:
1808:
1802:
1801:
1800:
1798:
1789:, archived from
1778:
1772:
1768:
1766:
1764:
1755:. Archived from
1751:Kuttner, Henry.
1748:
1742:
1741:
1739:
1737:
1728:. Archived from
1717:
1711:
1710:
1697:
1691:
1689:
1687:
1685:
1674:
1668:
1667:
1657:
1647:
1613:
1607:
1595:
1586:
1580:
1574:
1573:
1557:
1547:
1541:
1540:
1538:
1536:
1527:. Archived from
1514:
1508:
1507:
1502:
1500:
1488:
1482:
1481:
1467:
1461:
1460:
1458:
1456:
1433:
1427:
1426:
1416:
1410:
1409:
1378:
1369:
1368:
1366:
1364:
1349:
1343:
1342:
1308:
1299:
1298:
1286:
1280:
1279:
1277:
1275:
1249:
1243:
1242:
1232:
1226:
1225:
1217:
1211:
1210:
1208:
1206:
1191:
1185:
1179:
1173:
1160:
1154:
1153:
1151:
1145:. Archived from
1130:
1121:
1115:
1114:
1086:
1077:
1071:
1070:
1038:
1025:
1024:
1000:
994:
993:
983:
958:(8): 1229–1242.
941:
935:
934:
902:
896:
895:
866:
860:
859:
837:
828:
819:
818:
790:
781:
775:
774:
750:Music Perception
740:
734:
733:
731:
729:
714:
708:
707:
695:
686:
685:
662:
560:California Gurls
365:Arthur C. Clarke
314:
307:
303:
300:
294:
271:
263:
111:, Sean Bennett,
96:Desmond Bagley's
92:
84:from the German
2866:
2865:
2861:
2860:
2859:
2857:
2856:
2855:
2821:
2820:
2819:
2814:
2754:
2640:Robert Cutietta
2616:
2602:Sociomusicology
2557:Music education
2542:Ethnomusicology
2520:
2472:
2468:Tritone paradox
2433:Octave illusion
2418:Musical gesture
2383:Melodic fission
2373:Lipps–Meyer law
2343:Franssen effect
2274:
2270:Psychoacoustics
2233:
2228:
2184:
2175:
2155:
2140:
2134:
2121:
2118:
2116:Further reading
2113:
2112:
2084:
2079:
2078:
2063:
2014:(6): e0234111.
1999:
1998:
1994:
1952:
1947:
1946:
1942:
1932:
1930:
1921:
1920:
1916:
1906:
1904:
1895:
1894:
1890:
1880:
1878:
1865:
1864:
1860:
1853:
1836:
1835:
1831:
1825:
1810:
1809:
1805:
1796:
1794:
1780:
1779:
1775:
1762:
1760:
1750:
1749:
1745:
1735:
1733:
1719:
1718:
1714:
1699:
1698:
1694:
1683:
1681:
1676:
1675:
1671:
1615:
1614:
1610:
1606:, March 3, 2014
1596:
1589:
1581:
1577:
1570:
1549:
1548:
1544:
1534:
1532:
1516:
1515:
1511:
1498:
1496:
1490:
1489:
1485:
1469:
1468:
1464:
1454:
1452:
1450:
1435:
1434:
1430:
1418:
1417:
1413:
1398:
1380:
1379:
1372:
1362:
1360:
1351:
1350:
1346:
1310:
1309:
1302:
1288:
1287:
1283:
1273:
1271:
1269:
1253:Levitin, Daniel
1251:
1250:
1246:
1234:
1233:
1229:
1219:
1218:
1214:
1204:
1202:
1193:
1192:
1188:
1180:
1176:
1170:Wayback Machine
1161:
1157:
1149:
1143:
1128:
1123:
1122:
1118:
1084:
1079:
1078:
1074:
1040:
1039:
1028:
1002:
1001:
997:
943:
942:
938:
904:
903:
899:
868:
867:
863:
835:
830:
829:
822:
788:
783:
782:
778:
742:
741:
737:
727:
725:
716:
715:
711:
697:
696:
689:
682:
664:
663:
654:
649:
622:
613:
596:
495:
324:'s 1876 story "
315:
304:
298:
295:
284:
272:
261:
239:Herman Tarnower
237:, who murdered
232:
182:
145:
31:
24:
17:
12:
11:
5:
2864:
2862:
2854:
2853:
2848:
2843:
2838:
2833:
2823:
2822:
2816:
2815:
2813:
2812:
2805:
2798:
2791:
2784:
2777:
2770:
2762:
2760:
2756:
2755:
2753:
2752:
2747:
2742:
2737:
2732:
2727:
2722:
2717:
2712:
2707:
2702:
2697:
2692:
2690:Daniel Levitin
2687:
2682:
2677:
2672:
2667:
2665:Henkjan Honing
2662:
2657:
2652:
2647:
2642:
2637:
2632:
2626:
2624:
2618:
2617:
2615:
2614:
2609:
2604:
2599:
2594:
2589:
2584:
2579:
2574:
2569:
2564:
2559:
2554:
2549:
2544:
2539:
2534:
2528:
2526:
2525:Related fields
2522:
2521:
2519:
2518:
2513:
2508:
2503:
2498:
2493:
2488:
2482:
2480:
2474:
2473:
2471:
2470:
2465:
2460:
2455:
2450:
2445:
2440:
2438:Relative pitch
2435:
2430:
2428:Musical syntax
2425:
2420:
2415:
2410:
2405:
2400:
2395:
2390:
2385:
2380:
2375:
2370:
2368:Levitin effect
2365:
2360:
2355:
2350:
2345:
2340:
2335:
2330:
2325:
2320:
2315:
2310:
2305:
2300:
2295:
2290:
2288:Absolute pitch
2284:
2282:
2276:
2275:
2273:
2272:
2267:
2262:
2257:
2252:
2247:
2241:
2239:
2235:
2234:
2229:
2227:
2226:
2219:
2212:
2204:
2198:
2197:
2182:
2174:
2173:External links
2171:
2170:
2169:
2153:
2138:
2133:978-0199990825
2132:
2117:
2114:
2111:
2110:
2061:
1992:
1965:(4): 637–653.
1940:
1914:
1888:
1858:
1851:
1829:
1823:
1803:
1773:
1743:
1712:
1692:
1669:
1608:
1587:
1575:
1568:
1542:
1509:
1483:
1462:
1448:
1428:
1411:
1396:
1370:
1344:
1300:
1281:
1267:
1244:
1227:
1212:
1186:
1174:
1155:
1141:
1116:
1097:(2): 217–234.
1072:
1026:
995:
936:
897:
878:(3): 259–284.
861:
820:
776:
757:(4): 425–432.
735:
709:
687:
680:
651:
650:
648:
645:
644:
643:
638:
633:
628:
621:
618:
612:
609:
595:
592:
591:
590:
589:" by Lady Gaga
583:
582:" by Lady Gaga
576:
566:
556:
546:
536:
526:
516:
494:
491:
354:'s 1953 novel
317:
316:
275:
273:
266:
260:
257:
231:
228:
217:Happy Birthday
190:working memory
184:Scientists at
181:
178:
144:
141:
117:Daniel Levitin
15:
13:
10:
9:
6:
4:
3:
2:
2863:
2852:
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2847:
2844:
2842:
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2826:
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2810:
2806:
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2803:
2799:
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2796:
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2789:
2785:
2783:
2782:
2778:
2776:
2775:
2771:
2769:
2768:
2764:
2763:
2761:
2757:
2751:
2750:Sandra Trehub
2748:
2746:
2743:
2741:
2738:
2736:
2733:
2731:
2730:Roger Shepard
2728:
2726:
2723:
2721:
2720:Carl Seashore
2718:
2716:
2713:
2711:
2708:
2706:
2705:James Mursell
2703:
2701:
2698:
2696:
2693:
2691:
2688:
2686:
2683:
2681:
2678:
2676:
2673:
2671:
2668:
2666:
2663:
2661:
2660:Tuomas Eerola
2658:
2656:
2655:Diana Deutsch
2653:
2651:
2650:Irène Deliège
2648:
2646:
2643:
2641:
2638:
2636:
2633:
2631:
2628:
2627:
2625:
2623:
2619:
2613:
2612:Zoomusicology
2610:
2608:
2605:
2603:
2600:
2598:
2595:
2593:
2590:
2588:
2585:
2583:
2580:
2578:
2575:
2573:
2570:
2568:
2565:
2563:
2562:Music therapy
2560:
2558:
2555:
2553:
2550:
2548:
2545:
2543:
2540:
2538:
2535:
2533:
2530:
2529:
2527:
2523:
2517:
2516:Tone deafness
2514:
2512:
2509:
2507:
2504:
2502:
2499:
2497:
2496:Beat deafness
2494:
2492:
2489:
2487:
2484:
2483:
2481:
2479:
2475:
2469:
2466:
2464:
2461:
2459:
2456:
2454:
2451:
2449:
2446:
2444:
2441:
2439:
2436:
2434:
2431:
2429:
2426:
2424:
2421:
2419:
2416:
2414:
2411:
2409:
2406:
2404:
2401:
2399:
2396:
2394:
2391:
2389:
2388:Mozart effect
2386:
2384:
2381:
2379:
2376:
2374:
2371:
2369:
2366:
2364:
2361:
2359:
2356:
2354:
2351:
2349:
2346:
2344:
2341:
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2336:
2334:
2331:
2329:
2326:
2324:
2321:
2319:
2316:
2314:
2311:
2309:
2306:
2304:
2301:
2299:
2296:
2294:
2291:
2289:
2286:
2285:
2283:
2281:
2277:
2271:
2268:
2266:
2263:
2261:
2258:
2256:
2253:
2251:
2248:
2246:
2245:Biomusicology
2243:
2242:
2240:
2236:
2232:
2225:
2220:
2218:
2213:
2211:
2206:
2205:
2202:
2194:
2193:
2188:
2183:
2180:
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2176:
2172:
2167:
2163:
2159:
2154:
2150:
2149:
2144:
2139:
2135:
2129:
2125:
2120:
2119:
2115:
2106:
2102:
2098:
2094:
2090:
2083:
2076:
2074:
2072:
2070:
2068:
2066:
2062:
2057:
2053:
2048:
2043:
2039:
2035:
2030:
2025:
2021:
2017:
2013:
2009:
2008:
2003:
1996:
1993:
1988:
1984:
1980:
1976:
1972:
1968:
1964:
1960:
1959:
1951:
1944:
1941:
1928:
1924:
1918:
1915:
1902:
1898:
1892:
1889:
1876:
1872:
1868:
1862:
1859:
1854:
1852:9780060160272
1848:
1843:
1842:
1833:
1830:
1826:
1820:
1816:
1815:
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1804:
1792:
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1646:
1641:
1637:
1633:
1630:(1): e86170.
1629:
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1619:
1612:
1609:
1605:
1604:
1599:
1594:
1592:
1588:
1584:
1579:
1576:
1571:
1565:
1561:
1556:
1555:
1546:
1543:
1530:
1526:
1525:
1520:
1513:
1510:
1506:
1494:
1487:
1484:
1480:
1476:
1472:
1466:
1463:
1451:
1449:9780199233281
1445:
1441:
1440:
1432:
1429:
1424:
1423:
1415:
1412:
1407:
1403:
1399:
1397:9780190206833
1393:
1389:
1388:
1383:
1377:
1375:
1371:
1359:
1355:
1348:
1345:
1340:
1336:
1332:
1328:
1324:
1320:
1319:
1314:
1307:
1305:
1301:
1296:
1292:
1285:
1282:
1270:
1264:
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1248:
1245:
1240:
1239:
1231:
1228:
1223:
1216:
1213:
1201:
1197:
1190:
1187:
1184:, www.dwds.de
1183:
1178:
1175:
1172:, wordspy.com
1171:
1167:
1164:
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1156:
1148:
1144:
1138:
1134:
1127:
1120:
1117:
1112:
1108:
1104:
1100:
1096:
1092:
1091:
1083:
1076:
1073:
1068:
1064:
1060:
1056:
1052:
1048:
1044:
1037:
1035:
1033:
1031:
1027:
1022:
1018:
1014:
1010:
1006:
999:
996:
991:
987:
982:
977:
973:
969:
965:
961:
957:
953:
952:
947:
940:
937:
932:
928:
924:
920:
916:
912:
908:
901:
898:
893:
889:
885:
881:
877:
873:
865:
862:
857:
853:
849:
845:
841:
834:
827:
825:
821:
816:
812:
808:
804:
800:
796:
795:
787:
780:
777:
772:
768:
764:
760:
756:
752:
751:
746:
739:
736:
723:
719:
713:
710:
705:
701:
694:
692:
688:
683:
677:
673:
672:
667:
666:Sacks, Oliver
661:
659:
657:
653:
646:
642:
641:Tetris effect
639:
637:
634:
632:
629:
627:
624:
623:
619:
617:
610:
608:
606:
602:
593:
588:
584:
581:
577:
575:
571:
567:
565:
561:
557:
555:
551:
547:
545:
541:
537:
535:
531:
527:
525:
524:Kylie Minogue
521:
517:
515:
511:
507:
506:
505:
502:
500:
492:
490:
488:
484:
480:
479:
474:
469:
466:
462:
458:
457:
452:
448:
444:
442:
438:
437:
431:
428:
427:
421:
419:
415:
414:
408:
406:
402:
398:
394:
393:
389:'s 1988 book
388:
383:
381:
377:
372:
370:
366:
361:
359:
358:
353:
352:Alfred Bester
348:
346:
342:
338:
337:Henry Kuttner
333:
331:
327:
323:
313:
310:
302:
292:
288:
282:
281:
276:This section
274:
270:
265:
264:
258:
256:
254:
250:
249:
244:
240:
236:
230:Notable cases
229:
227:
223:
220:
218:
214:
209:
206:
202:
197:
195:
191:
187:
179:
177:
175:
169:
167:
166:
160:
156:
154:
150:
142:
140:
138:
134:
133:temporal lobe
130:
126:
122:
121:Diana Deutsch
118:
114:
110:
105:
103:
102:
97:
93:
91:
90:
83:
79:
78:
72:
70:
66:
62:
58:
54:
50:
46:
42:
38:
33:
29:
22:
2807:
2800:
2793:
2786:
2781:Musicophilia
2779:
2772:
2765:
2735:John Sloboda
2715:Oliver Sacks
2685:Fred Lerdahl
2537:Bioacoustics
2463:Tonal memory
2448:Shepard tone
2317:
2192:The Atlantic
2190:
2157:
2148:The Guardian
2146:
2123:
2092:
2088:
2011:
2005:
1995:
1962:
1956:
1943:
1931:. Retrieved
1917:
1905:. Retrieved
1901:the original
1891:
1879:. Retrieved
1875:the original
1870:
1861:
1840:
1832:
1813:
1806:
1795:, retrieved
1791:the original
1786:
1776:
1769:
1761:. Retrieved
1757:the original
1746:
1736:December 11,
1734:. Retrieved
1730:the original
1725:
1715:
1704:
1695:
1682:. Retrieved
1672:
1627:
1621:
1611:
1603:The Mary Sue
1601:
1578:
1553:
1545:
1533:. Retrieved
1529:the original
1522:
1512:
1504:
1497:. Retrieved
1486:
1478:
1471:Adams, Cecil
1465:
1453:. Retrieved
1438:
1431:
1421:
1414:
1386:
1361:. Retrieved
1357:
1347:
1322:
1316:
1290:
1284:
1272:. Retrieved
1257:
1247:
1237:
1230:
1221:
1215:
1203:. Retrieved
1199:
1189:
1177:
1158:
1147:the original
1132:
1119:
1094:
1088:
1075:
1046:
1042:
1008:
1004:
998:
955:
949:
939:
910:
906:
900:
875:
871:
864:
843:
839:
798:
792:
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722:the original
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405:Siula Grande
390:
384:
376:Fritz Leiber
373:
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349:
345:Adolf Hitler
334:
320:
305:
296:
285:Please help
280:verification
277:
246:
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129:palinacousis
125:Peter Szendy
113:Oliver Sacks
109:Theodor Reik
106:
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60:
56:
48:
45:sticky music
44:
40:
36:
34:
32:
2740:Carl Stumpf
2670:David Huron
2622:Researchers
2328:Entrainment
1907:January 17,
1763:October 10,
1382:Deutsch, D.
1053:: 164–177.
1015:: 435–442.
917:: 312–326.
605:neuroticism
510:Bad Romance
465:phonographs
463:armed with
447:E. B. White
441:Catchy Song
387:Joe Simpson
235:Jean Harris
205:chewing gum
98:1978 novel
2825:Categories
2725:Max Schoen
2675:Nina Kraus
2635:Lola Cuddy
2572:Musicology
1797:August 17,
1406:2018051786
1268:0452288525
647:References
587:Poker Face
564:Katy Perry
485:" idea in
380:Hugo Award
322:Mark Twain
2478:Disorders
2099:: 28–36.
2038:1932-6203
1979:2044-8295
1535:March 25,
1499:August 6,
1274:August 7,
1182:"Ohrwurm"
1163:"earworm"
1111:146451325
1067:150180837
972:1532-5946
931:149182669
892:145466099
815:1931-390X
771:0730-7829
580:Alejandro
514:Lady Gaga
473:Emperor X
451:satirical
180:Antidotes
74:The word
41:brainworm
2056:32497111
2007:PLOS ONE
1987:19948084
1933:July 19,
1684:July 19,
1664:24497938
1623:PLOS ONE
1363:March 7,
1358:BBC News
1339:19948084
1297:: 66–67.
1255:(2006).
1166:Archived
990:26122757
850:: 5–13.
704:BBC News
668:(2007).
620:See also
554:Maroon 5
449:'s 1933
335:In 1943
299:May 2024
194:anagrams
2831:Calques
2547:Hearing
2318:Earworm
2166:1969781
2047:7272041
2016:Bibcode
1881:May 29,
1655:3908735
1632:Bibcode
1455:July 3,
981:4624826
728:July 4,
534:Journey
483:ray cat
423:In the
418:viruses
410:In the
401:Boney M
101:Flyaway
89:Ohrwurm
77:earworm
51:, is a
37:earworm
2486:Amusia
2280:Topics
2164:
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1985:
1977:
1871:TV.com
1849:
1821:
1726:PsyArt
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1205:May 1,
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678:
330:jingle
82:calque
53:catchy
28:Earwig
2238:Areas
2085:(PDF)
1953:(PDF)
1150:(PDF)
1129:(PDF)
1107:S2CID
1085:(PDF)
1063:S2CID
1049:(3).
1011:(4).
927:S2CID
913:(4).
888:S2CID
846:(1).
836:(PDF)
789:(PDF)
574:Queen
572:" by
562:" by
552:" by
544:Gotye
542:" by
532:" by
522:" by
512:" by
399:" by
248:Gilda
80:is a
2162:SSRN
2128:ISBN
2052:PMID
2034:ISSN
1983:PMID
1975:ISSN
1935:2020
1909:2014
1883:2014
1847:ISBN
1819:ISBN
1799:2010
1765:2017
1738:2011
1686:2020
1660:PMID
1564:ISBN
1537:2013
1501:2012
1457:2013
1444:ISBN
1402:LCCN
1392:ISBN
1365:2012
1335:PMID
1276:2012
1263:ISBN
1207:2022
1137:ISBN
986:PMID
968:ISSN
811:ISSN
767:ISSN
730:2013
676:ISBN
61:INMI
2101:doi
2042:PMC
2024:doi
1967:doi
1963:101
1650:PMC
1640:doi
1560:174
1327:doi
1323:101
1099:doi
1055:doi
1017:doi
976:PMC
960:doi
919:doi
880:doi
852:doi
803:doi
759:doi
433:In
385:In
378:'s
374:In
363:In
350:In
289:by
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