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Author: Henkjan Honing
Publisher: Routledge
ISBN: 1000451569
Category : Psychology
Languages : en
Pages : 198
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Book Description
Why do people attach importance to the wordless language we call music? Music Cognition: The Basics considers the role of our cognitive functions, such as perception, memory, attention, and expectation in perceiving, making, and appreciating music. In this volume, Henkjan Honing explores the active role these functions play in how music makes us feel; exhilarated, soothed, or inspired. Grounded in the latest research in areas of psychology, biology, and cognitive neuroscience, and with clear examples throughout, this book concentrates on underappreciated musical skills such as sense of rhythm, beat induction, and relative pitch, that make people intrinsically musical creatures—supporting the conviction that all humans have a unique, instinctive attraction to music. The scope of the topics discussed ranges from the ability of newborns to perceive a beat, to the unexpected musical expertise of ordinary listeners. It is a must read for anyone studying the psychology of music, auditory perception, or simply interested in why we enjoy music the way we do.
Author: Henkjan Honing
Publisher: Routledge
ISBN: 1000451569
Category : Psychology
Languages : en
Pages : 198
Get Book Here
Book Description
Why do people attach importance to the wordless language we call music? Music Cognition: The Basics considers the role of our cognitive functions, such as perception, memory, attention, and expectation in perceiving, making, and appreciating music. In this volume, Henkjan Honing explores the active role these functions play in how music makes us feel; exhilarated, soothed, or inspired. Grounded in the latest research in areas of psychology, biology, and cognitive neuroscience, and with clear examples throughout, this book concentrates on underappreciated musical skills such as sense of rhythm, beat induction, and relative pitch, that make people intrinsically musical creatures—supporting the conviction that all humans have a unique, instinctive attraction to music. The scope of the topics discussed ranges from the ability of newborns to perceive a beat, to the unexpected musical expertise of ordinary listeners. It is a must read for anyone studying the psychology of music, auditory perception, or simply interested in why we enjoy music the way we do.
Author: Richard Ashley
Publisher: Routledge
ISBN: 1351761935
Category : Music
Languages : en
Pages : 718
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Book Description
WINNER OF THE SOCIETY OF MUSIC THEORY’S 2019 CITATION OF SPECIAL MERIT FOR MULTI-AUTHORED VOLUMES The Routledge Companion to Music Cognition addresses fundamental questions about the nature of music from a psychological perspective. Music cognition is presented as the field that investigates the psychological, physiological, and physical processes that allow music to take place, seeking to explain how and why music has such powerful and mysterious effects on us. This volume provides a comprehensive overview of research in music cognition, balancing accessibility with depth and sophistication. A diverse range of global scholars—music theorists, musicologists, pedagogues, neuroscientists, and psychologists—address the implications of music in everyday life while broadening the range of topics in music cognition research, deliberately seeking connections with the kinds of music and musical experiences that are meaningful to the population at large but are often overlooked in the study of music cognition. Such topics include: Music’s impact on physical and emotional health Music cognition in various genres Music cognition in diverse populations, including people with amusia and hearing impairment The relationship of music to learning and accomplishment in academics, sport, and recreation The broader sociological and anthropological uses of music Consisting of over forty essays, the volume is organized by five primary themes. The first section, "Music from the Air to the Brain," provides a neuroscientific and theoretical basis for the book. The next three sections are based on musical actions: "Hearing and Listening to Music," "Making and Using Music," and "Developing Musicality." The closing section, "Musical Meanings," returns to fundamental questions related to music’s meaning and significance, seen from historical and contemporary perspectives. The Routledge Companion to Music Cognition seeks to encourage readers to understand connections between the laboratory and the everyday in their musical lives.
Author: Diana Deutsch
Publisher: Elsevier
ISBN: 1483292738
Category : Music
Languages : en
Pages : 563
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Book Description
Approx.542 pages
Author: Arnie Cox
Publisher: Indiana University Press
ISBN: 0253021677
Category : Music
Languages : en
Pages : 300
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Book Description
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 this pioneering study that draws on neuroscience and music theory, phenomenology and cognitive science, Cox advances his theory of the "mimetic hypothesis," the notion that a large part of our experience and understanding of music involves an embodied imitation in the listener of bodily motions and exertions that are involved in producing music. Through an often unconscious imitation of action and sound, we feel the music as it moves and grows. With applications to tonal and post-tonal Western classical music, to Western vernacular music, and to non-Western music, Cox's work stands to expand the range of phenomena that can be explained by the role of sensory, motor, and affective aspects of human experience and cognition.
Author: Perry R. Cook
Publisher: MIT Press
ISBN: 9780262531900
Category : Computers
Languages : en
Pages : 398
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Book Description
The first book to provide comprehensive introductory coverage of the multiple topics encompassed under psychoacoustics. How hearing works and how the brain processes sounds entering the ear to provide the listener with useful information are of great interest to psychologists, cognitive scientists, and musicians. However, while a number of books have concentrated on individual aspects of this field, known as psychoacoustics, there has been no comprehensive introductory coverage of the multiple topics encompassed under the term. Music, Cognition, and Computerized Sound is the first book to provide that coverage, and it does so via a unique and useful approach. The book begins with introductory chapters on the basic physiology and functions of the ear and auditory sections of the brain, then proceeds to discuss numerous topics associated with the study of psychoacoustics, including cognitive psychology and the physics of sound. The book has a particular emphasis on music and computerized sound. An accompanying download includes many sound examples to help explicate the text and is available with the code included in the book at http://mitpress.mit.edu/mccs. To download sound samples, you can obtain a unique access code by emailing
[email protected] or calling 617-253-2889 or 800-207-8354 (toll-free in the U.S. and Canada).The contributing authors include John Chowning, Perry R. Cook, Brent Gillespie, Daniel J. Levitin, Max Mathews, John Pierce, and Roger Shepard.
Author: Lawrence M. Zbikowski
Publisher: Oxford University Press
ISBN: 019803217X
Category : Music
Languages : en
Pages : 377
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Book Description
This book shows how recent work in cognitive science, especially that developed by cognitive linguists and cognitive psychologists, can be used to explain how we understand music. The book focuses on three cognitive processes--categorization, cross-domain mapping, and the use of conceptual models--and explores the part these play in theories of musical organization. The first part of the book provides a detailed overview of the relevant work in cognitive science, framed around specific musical examples. The second part brings this perspective to bear on a number of issues with which music scholarship has often been occupied, including the emergence of musical syntax and its relationship to musical semiosis, the problem of musical ontology, the relationship between words and music in songs, and conceptions of musical form and musical hierarchy. The book will be of interest to music theorists, musicologists, and ethnomusicologists, as well as those with a professional or avocational interest in the application of work in cognitive science to humanistic principles.
Author: Marc Leman
Publisher: MIT Press
ISBN: 0262122936
Category : Music
Languages : en
Pages : 317
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Book Description
A proposal that an embodied cognition approach to music research—drawing on work in computer science, psychology, brain science, and musicology—offers a promising framework for thinking about music mediation technology. Digital media handles music as encoded physical energy, but humans consider music in terms of beliefs, intentions, interpretations, experiences, evaluations, and significations. In this book, drawing on work in computer science, psychology, brain science, and musicology, Marc Leman proposes an embodied cognition approach to music research that will help bridge this gap. Assuming that the body plays a central role in all musical activities, and basing his approach on a hypothesis about the relationship between musical experience (mind) and sound energy (matter), Leman argues that the human body is a biologically designed mediator that transfers physical energy to a mental level—engaging experiences, values, and intentions—and, reversing the process, transfers mental representation into material form. He suggests that this idea of the body as mediator offers a promising framework for thinking about music mediation technology. Leman proposes that, under certain conditions, the natural mediator (the body) can be extended with artificial technology-based mediators. He explores the necessary conditions and analyzes ways in which they can be studied. Leman outlines his theory of embodied music cognition, introducing a model that describes the relationship between a human subject and its environment, analyzing the coupling of action and perception, and exploring different degrees of the body's engagement with music. He then examines possible applications in two core areas: interaction with music instruments and music search and retrieval in a database or digital library. The embodied music cognition approach, Leman argues, can help us develop tools that integrate artistic expression and contemporary technology.
Author: David Temperley
Publisher: MIT Press
ISBN: 9780262701051
Category : Music
Languages : en
Pages : 432
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Book Description
In this book, David Temperley addresses a fundamental question about music cognition: how do we extract basic kinds of musical information, such as meter, phrase structure, counterpoint, pitch spelling, harmony, and key from music as we hear it? Taking a computational approach, Temperley develops models for generating these aspects of musical structure. The models he proposes are based on preference rules, which are criteria for evaluating a possible structural analysis of a piece of music. A preference rule system evaluates many possible interpretations and chooses the one that best satisfies the rules. After an introductory chapter, Temperley presents preference rule systems for generating six basic kinds of musical structure: meter, phrase structure, contrapuntal structure, harmony, and key, as well as pitch spelling (the labeling of pitch events with spellings such as A flat or G sharp). He suggests that preference rule systems not only show how musical structures are inferred, but also shed light on other aspects of music. He substantiates this claim with discussions of musical ambiguity, retrospective revision, expectation, and music outside the Western canon (rock and traditional African music). He proposes a framework for the description of musical styles based on preference rule systems and explores the relevance of preference rule systems to higher-level aspects of music, such as musical schemata, narrative and drama, and musical tension.
Author: Isabelle Peretz
Publisher: OUP Oxford
ISBN: 0198525192
Category : Music
Languages : en
Pages : 478
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Book Description
In recent years the discpline of 'music psychology' has grown dramatically. In this volume, the two leaders in this field Isabelle Peretz and Robert Zatorre, have brought together an impressive list of contributors to present this study of the neutral correlates of music.
Author: Patrick Rebuschat
Publisher: OUP Oxford
ISBN: 0191625507
Category : Psychology
Languages : en
Pages : 357
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Book Description
The past 15 years have witnessed an increasing interest in the comparative study of language and music as cognitive systems. Language and music are uniquely human traits, so it is not surprising that this interest spans practically all branches of cognitive science, including psychology, computer science, linguistics, cognitive neuroscience, and education. Underlying the study of language and music is the assumption that the comparison of these two domains can shed light on the structural and functional properties of each, while also serving as a test case for theories of how the mind and, ultimately, the brain work. This book presents an interdisciplinary study of language and music, bringing together a team of leading specialists across these fields. The volume is structured around four core areas in which the study of music and language has been particularly fruitful: (i) structural comparisons, (ii) evolution, (iii) learning and processing, and (iv) neuroscience. As such it provides a snapshot of the different research strands that have focused on language and music, identifying current trends and methodologies that have been (or could be) applied to the study of both domains, and outlining future research directions. This volume is valuable in promoting the investigation of language and music by fostering interdisciplinary discussion and collaboration. With an ever increasing interest in both music cognition and language, this book will be valuable for students and researchers of psychology, linguistics, neuroscience, and musicology.
