Music psychology, musicology, musical practice
Richard Parncutt University of Graz Winter semester 2006 Aims
Cover and analyse interdisciplinary research between music psychology and musicology music psychology and music practice that has been done could be done
Focus on the big picture Detail is important but not the main focus
Consider potential areas for future research More questions than answers Tentative plan (1) date topic 11.10.06 Current trends in music psychology: aims, methods, structure, content 18.10.06 Current trends in music psychology: Review of ICMPC Bologna (student presentations) 25.10.06 Current trends in musicology: aims, methods, structure, content 8.11.06 Current trends in musical practice (including performance and composition) 15.11.06 Music psychology and music theory
22.11.06 Music psychology and musicology Tentative plan (2) date topic 29.11.06 Psychology, performance, education 06.12.06 Psychology, performance, education: Early acquisition of musical aural skills 13.12.06 Psychology, theory/analysis, performance, education: Aural analysis for performing musicians: The relationship between accents and expression 20.12.06 Psychology, history, theory: Towards a statistical- perceptual history of western tonal-harmonic syntax 10.01.07 Psychology, ethnology: Emotions and associations evoked by unfamiliar music 17.01.06 Psychology, performance, education: Physics, physiology and psychology of piano performance 24.01.07 written examination Other recent presentations
Disciplines Topic Psychology, Can researchers help artists? Music performance, performance research for music students education Psychology, Western music history, pitch salience, key theory, history profiles, and the origins of tonality Musicology, Interdisciplinary balance, international psychology collaboration, and the future of (German) (historical) musicology Older presentations and papers Psychology, theory, analysis: Tone profiles following short chord progressions: Top-down or bottom- up? Perception of musical patterns: Ambiguity, emotion, culture Enrichment of music theory pedagogy by computer-based repertoire analysis and perceptual-cognitive theory Middle-out analysis and its psychological basis Perceptual versus historical origins of musical materials Tonality as implication-realization: Key profiles as pitch salience profiles of final triads in Renaissance music Towards a perceptual theory of bebop harmony Perceptual underpinnings of analytic techniques: From Rameau to Terhardt, Riemann to Krumhansl, Schenker to Bregman Tonal implications of atonal music Critical comparison of acoustical and perceptual theories of the origin of musical scales Why music psychology?
Humans spend enormous amounts of time, energy and resources on musical activities that are not directly related to their survival. Why?
Humans identify with the music they hear. How and why?
Music enhances quality of life. How and why? Aims of music psychology
Description/explanation of musical behaviour musical experience
Applications musicology psychology musical practice Musical relevance of music psychology
Music theory and aesthetics perception of musical structures empirical testing of philosophical theories
Music education and performance applied developmental music psychology musical skills and techniques
Music history history of musical syntax personalities of composers and their music
Ethnomusicology musical behaviours, cognition and experience in different cultures Empirical methods of (music) psychology
Quantitative methods Data are numbers Statistical analysis by computer Probability of obtaining result by chance Standard in cognitive psychology
Qualitative methods Data are text Content analysis Exploratory: main themes Bridge between sciences and humanities