Perception and Cognition of Music

by Deliege,Irene; Deliege,Irene

• ISBN13: 9780863774522
• ISBN10: 0863774520
• Format: Hardcover
• Copyright: 1997-08-01
• Publisher: Psychology Pres

Summary

This book comprises a series of "state-of-the-art" reviews on work relating music and mind. It offers a uniquely broad range of approaches within a single volume, ranging from the psychological, through the computational, to the musicological. Authors were selected from presenters at the Third International Conference on Music Perception and Cognition (Liege, 1994) to illustrate the wide range of perspectives now being adopted in studying how humans make and respond to music. The book is divided into four sections, each illustrating a different approach to the topic. Section 1, Musicological Approaches, illustrates the role of analysis and ethnomusicology in understanding cultural determinants of musical behavior. Section 2, Developmental Approaches, charts what is known about the acquisition of musical competence, from pre-birth through to the expert performer. Section 3, Biological Approaches, examines the evidence now accumulating about specific areas of the brain which control musical thinking andbehavior. Section 4, Acoustical and Computational Approaches, examine how neurological, behavioral and artificial intelligence approaches are converging to shed light on fundamental processes in auditory perception. Finally, Section 5, Structural Approaches, highlights important developments in how we conceptualize the way in which musical structures are represented in the mind. This book provides an up-to-date entry into major preoccupations of current music psychology, suitable for advanced undergraduates, graduate students, and researchers in the field.

Table of Contents

Foreword and acknowledgements	x	(1)
List of contributors	xi	(2)
Preface	xiii
Part I: Musicological Approaches	3	(80)
1 Experimental ethnomusicology: An interactive approach to the study of musical scales	3	(28)
S. Arom
G. Leothaud
Frederic Voisin
The determinants of pitch	4	(7)
The exploration of musical scales	11	(7)
Scalar features in Central Africa and Central Java	18	(7)
Conclusion	25	(2)
References	27	(4)
2 Attitudes to the time axis and cognitive constraints: The case of Arabic vocal folk music	31	(16)
Dalia Cohen
Ruth Katz
The classification of the examined repertoire	32	(1)
The Maqam system (in practice)	33	(3)
The M.T.G. (Musico-Textual Genres)	36	(4)
Summary	40	(3)
References	43	(4)
3 Radical subjectivization of time in the music of the fin-de-siecle: An example by Max Reger	47	(22)
Elisheva Rigbi-Shafrir
Aims and theoretical considerations	47	(3)
The music	50	(14)
The experience of time	64	(3)
References	67	(2)
4 Cognitive sciences and historical sciences in music: Ways towards conciliation	69	(14)
Philippe Vendrix
The missed meeting	70	(1)
The common object	71	(1)
The genesis of musical representations	72	(4)
A reformulated hermeneutic	76	(3)
References	79	(4)
Part II: Developmental Approaches	83	(108)
5 Some aspects of the foetal sound environment	83	(20)
Robert M. Abrams
Kenneth K. Gerhardt
Introduction	83	(4)
Transmission characteristics of sound	87	(5)
Foetal vestibular and mechanoreceptor stimulation	92	(1)
Perception of speech sounds recorded within the uterus	93	(3)
Transmission of musical sounds	96	(3)
Conclusion	99	(1)
References	99	(4)
6 The origins of music perception and cognition: A developmental perspective	103	(26)
S. Trehub
E. Schellenberg
D. Hill
Infants are music listeners	105	(1)
Infants are sensitive to melodic contour	105	(4)
Infants and young children are sensitive to octaves	109	(3)
Infants and young children are sensitive to simple frequency ratios	112	(5)
Infants are sensitive to some, but not to other, properties of harmony	117	(3)
Infants have musical preferences	120	(2)
Implications	122	(1)
References	123	(6)
7 Developmental approaches to music cognition and behaviour	129	(14)
Takao Umemoto
Singing, speech and improvisation	129	(3)
Perceptual and cognitive development and musicology	132	(4)
Developmental process in becoming an expert	136	(3)
References	139	(4)
8 The development of "Musikerleben" in adolescence: How and why young people listen to music	143	(18)
Klaus-Ernst Behne
Musical experience, musikerleben and music appreciation	143	(1)
Related literature	144	(1)
Typologies	145	(1)
Development of the questionnaire	146	(2)
First results	148	(1)
Results of the longitudinal study	149	(5)
Using music as gratification	154	(2)
Discussion	156	(2)
References	158	(3)
9 The acquisition of expertise in music: Efficiency of deliberate practice as a moderating variable in accounting for sub-expert performance	161	(30)
Andreas C. Lehmann
Levels of expertise	162	(3)
Development of expertise	165	(3)
Practice as a mediating factor of performance	168	(2)
Accounting for expert and exceptional performance	170	(1)
Accounting for sub-expert performance	170	(3)
Optimisation of practice	173	(6)
Conclusions regarding optimised practice and performance	179	(3)
References	182	(9)
Part III: Biological Approaches	191	(62)
10 Is music autonomous from language? A neuropsychological appraisal	191	(26)
Aniruddh D. Patel
Isabelle Peretz
Introduction	191	(1)
Auditory scene analysis	192	(1)
Melody	193	(1)
Melodic contour	193	(5)
Discrete pitch categories	198	(2)
Tonality	200	(2)
Rhythm	202	(1)
Tempo	202	(1)
Grouping	203	(1)
Metre	204	(2)
Song	206	(2)
Conclusion	208	(1)
References	209	(8)
11 Electrophysiological studies of music processing	217	(36)
Mireille Besson
Introduction	217	(1)
Historical review	218	(4)
ERPs to the "building blocks" of music perception	222	(3)
ERPs to violations of musical expectancies	225	(11)
Discussion of ERPs studies	236	(5)
EEG and music processing	241	(2)
Conclusion	243	(2)
References	245	(8)
Part IV: Acoustical and Computational Approaches	253	(76)
12 Methodological issues in timbre research	253	(54)
John M. Hajda
Roger A. Kendall
Edward C. Carterette
Michael L. Harshberger
Introduction	253	(4)
Common methods for measuring musical timbre	257	(7)
The perceptual and physical correlates of musical timbre	264	(14)
The comparative influence of spectral and temporal characteristics on timbre	278	(22)
Conclusions	300	(2)
References	302	(5)
13 Computational auditory pathways to music understanding	307	(22)
Barry Vercoe
The auditory experience	308	(11)
Computer representations	319	(6)
Conclusion	325	(1)
References	326	(3)
Part V: Structural Approaches	329	(106)
14 Tonal relations	329	(24)
Lola L. Cuddy
Quantification of the tonal hierarchy	330	(4)
The tonal hierarchy and stability conditions	334	(3)
Are constraints implied by stability conditions?	337	(1)
The research question	338	(1)
Experiments with abstract sequences	339	(6)
Experiments with composed melodies	345	(2)
Concluding comments	347	(2)
References	349	(4)
15 Pitch schemata	353	(34)
Ian Cross
Introduction	353	(2)
Musical pitch in cognition: Initial approaches	355	(2)
The cognitive-structuralist approach	357	(3)
Cognitive-structuralism: Theory and experiment	360	(4)
Cognitive-structuralism: Process	364	(2)
Cognitive structuralism: Development	366	(1)
The structure of the diatonic scale	367	(4)
Pitch structure in cognition: An alternative account	371	(4)
A comparison of theories	375	(2)
Cook and the charge of "theorisms"	377	(1)
The psychoacoustical perspective	378	(4)
Conclusions	382	(1)
References	383	(4)
16 Cue abstraction in the representation of musical form	387	(26)
Irene Deliege
Marc Melen
Introduction	387	(2)
The present model: Overview	389	(3)
The segmentation procedure	392	(4)
The mental line procedure	396	(3)
The puzzle procedure	399	(2)
The segment-pair relation procedure	401	(2)
The categorisation procedure	403	(3)
The imprint procedure	406	(2)
Conclusions	408	(2)
References	410	(3)
17 What is the pertinence of the Lerdahl-Jackendoff theory?	413	(8)
Jean-Jacques Nattiez
References	419	(2)
18 Composing and listening: A reply to Nattiez	421	(8)
Fred Lerdahl
Poietic contra aesthesic	421	(4)
What is the neutral level?	425	(3)
References	428	(1)
19 Epistemic subject, historical subject, psychological subject: Regarding Lerdahl and Jackendoff's Generative Theory of Tonal Music	429	(6)
Michel Imberty
A response to J. -J. Nattiez	429	(6)
Postscript Interwining the objectivity of cognitive analysis and the subjectivity of the oeuvre's interpretations	435	(9)
Michel Imberty
On the Mozartian grace	435	(2)
From objective to subjective, or the traps from the musician to the cognitivist	437	(3)
From the robot to the interpreter	440	(3)
References	443	(1)
Author Index	444	(11)
Subject Index	455