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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: David Temperley
Publisher: MIT Press
ISBN: 9780262701051
Category : Music
Languages : en
Pages : 432
Get Book Here
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: 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: 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: 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: 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: Carol L. Krumhansl
Publisher: Oxford University Press
ISBN: 0190287446
Category : Psychology
Languages : en
Pages : 318
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Book Description
This book addresses the central problem of music cognition: how listeners' responses move beyond mere registration of auditory events to include the organization, interpretation, and remembrance of these events in terms of their function in a musical context of pitch and rhythm. Equally important, the work offers an analysis of the relationship between the psychological organization of music and its internal structure. Combining over a decade of original research on music cognition with an overview of the available literature, the work will be of interest to cognitive and physiological psychologists, psychobiologists, musicians, music researchers, and music educators. The author provides the necessary background in experimental methodology and music theory so that no specialized knowledge is required for following her major arguments.
Author: Leonid Perlovsky
Publisher: Academic Press
ISBN: 0128096969
Category : Science
Languages : en
Pages : 204
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Book Description
Music, Passion, and Cognitive Function examines contemporary cognitive theories of music, why they cannot explain music's power over us, and the origin and evolution of music. The book presents experimental confirmations of the theory in psychological and neuroimaging research, discussing the parallel evolution of consciousness, musical styles, and cultures since Homer and King David. In addition, it explains that 'in much wisdom is much grief' due to cognitive dissonances created by language that splits the inner world. Music enables us to survive in this sea of grief, overcomes discomforts and stresses of acquiring new knowledge, and unifies the soul, hence the power of music. - Provides a foundation of music theory - Demonstrates how emotions motivate interaction between cognition and language - Covers differentiation and synthesis in consciousness - Compares the parallel evolution of music and cultures - Examines the idea of music overcoming cognitive dissonances
Author: John Sloboda
Publisher: Oxford University Press
ISBN: 9780198530138
Category : Music
Languages : en
Pages : 476
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Book Description
Brings together in one volume important material from various hard-to-locate sources, giving the reader access to a body of work from one of the founders of music psychology Complements and updates Sloboda's 'The musical mind'
Author: Peter Howell
Publisher: Academic Press
ISBN:
Category : Music
Languages : en
Pages : 358
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Book Description
This volume provides a wide ranging and up-to-date account of human perception and production of musical structures, with a strong emphasis on empirical investigation, and the cognitive psychological principles underlying the intuitively based theorizing prevalent within the fields of music study. The first two thirds of the book focus mainly on music perception while the final third considers instrumental and vocal production. Topics covered include models of musical structure, recall of melodies, the perception and production of rhythm, the use of contour and internal information in melody recognition, and many more. The integration of state-of-the-art research with relevant background information provides a volume that will be essential reading for graduates, researchers, and advanced undergraduates in music psychology and of great relevance to musicologists and music students. FROM THE PREFACE: Music plays an important part in the lives of people of many cultures, serving as a component of ritual and as a source of recreation. The forms it may take vary from culture to culture and change over time. One integral feature of music that remains constant is that it involves the patterning or structuring of sound. Music theory provides ways of describing structure in music, but to comprehend musical structure fully we must focus on the human activities and capacities that give rise to and respond to it. The chapters in this volume describe recent advances in our understanding of musical structure as it exists in perception and performance. The scope of the volume is intended to be broad. The content ranges from an analysis of systems of pitch organisation in music theory to an account of the constraints on musical structure that may be imposed by the human motor system. The emphasis is on empirical investigation, and the need to base theoretical accounts of musical structure on extramusical principles relating to human cognition. Though the primary purpose of this volume is to convey the "state of the art" in the study of musical cognition, many of the chapters should be accessible to undergraduate students of music and psychology, and contain sufficient background material to provide an introduction to important topics within the field.
