Copyright ©1998-2010 Glenn Fleishman. Send in your comments. Bibliographic information on isbn.nu licensed from Baker & Taylor. Contact them for corrections and licensing, or read more about our data.
Tables of Contents for Perception and Cognition of Music
Chapter/Section Title
Page #
Page Count
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