Music , , musical practice

Richard Parncutt Winter semester 2006 Aims

 Cover and analyse interdisciplinary research  between  psychology and musicology  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

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 : The relationship between accents and expression 20.12.06 Psychology, history, theory: Towards a statistical- perceptual history of western tonal- syntax 10.01.07 Psychology, ethnology: and associations evoked by unfamiliar music 17.01.06 Psychology, performance, education: Physics, 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 , pitch salience, key theory, history profiles, and the origins of 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?  of musical patterns: Ambiguity, ,  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 music  Towards a perceptual theory of bebop  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

 Applications musicology psychology musical practice Musical relevance of music psychology

 Music theory and  perception of musical structures  empirical testing of philosophical theories

and performance  applied developmental music psychology  musical skills and techniques

 Music history  history of  personalities of and their music

 musical behaviours, and experience in different Empirical methods of (music) psychology

 Quantitative methods  Data are numbers  Statistical analysis by computer  Probability of obtaining result by chance  Standard in

 Qualitative methods  Data are text   Exploratory: main themes  Bridge between sciences and humanities