Twitter Trascript for a Live Q & a with Daniel Levitin
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
Large Scale Sound Installation Design: Psychoacoustic Stimulation
LARGE SCALE SOUND INSTALLATION DESIGN: PSYCHOACOUSTIC STIMULATION An Interactive Qualifying Project Report submitted to the Faculty of the WORCESTER POLYTECHNIC INSTITUTE in partial fulfillment of the requirements for the Degree of Bachelor of Science by Taylor H. Andrews, CS 2012 Mark E. Hayden, ECE 2012 Date: 16 December 2010 Professor Frederick W. Bianchi, Advisor Abstract The brain performs a vast amount of processing to translate the raw frequency content of incoming acoustic stimuli into the perceptual equivalent. Psychoacoustic processing can result in pitches and beats being “heard” that do not physically exist in the medium. These psychoac- oustic effects were researched and then applied in a large scale sound design. The constructed installations and acoustic stimuli were designed specifically to combat sensory atrophy by exer- cising and reinforcing the listeners’ perceptual skills. i Table of Contents Abstract ............................................................................................................................................ i Table of Contents ............................................................................................................................ ii Table of Figures ............................................................................................................................. iii Table of Tables .............................................................................................................................. iv Chapter 1: Introduction ................................................................................................................. -
Infant Communication and Musical Improvisation Maya Gratier and Julien Magnier
Document generated on 10/02/2021 1:22 a.m. Intermédialités Histoire et théorie des arts, des lettres et des techniques Intermediality History and Theory of the Arts, Literature and Technologies Sense and Synchrony: Infant Communication and Musical Improvisation Maya Gratier and Julien Magnier synchroniser Article abstract synchronizing This paper explores the forms and functions of synchrony in two Number 19, Spring 2012 communicative contexts: jazz musicians’ performances and vocal communication between mothers and infants. We present the view that URI: https://id.erudit.org/iderudit/1012655ar musical expression is first and foremost a form of communication, involving DOI: https://doi.org/10.7202/1012655ar socially distributed practices that enable a coordination of ideas, intentions and meanings. We report on studies in developmental psychology that have highlighted infants’ early abilities to connect with others. Synchrony is quite See table of contents possibly the most fundamental of these abilities, enabling flexible and affectionate social encounters. We go on to argue that synchrony grounds meaning and culture within interpersonal processes. Synchrony is, at heart, a Publisher(s) semiotic process which can readily do without language. Revue intermédialités (Presses de l’Université de Montréal) ISSN 1705-8546 (print) 1920-3136 (digital) Explore this journal Cite this article Gratier, M. & Magnier, J. (2012). Sense and Synchrony: Infant Communication and Musical Improvisation. Intermédialités / Intermediality, (19), 45–64. https://doi.org/10.7202/1012655ar Tous droits réservés © Revue Intermédialités, 2012 This document is protected by copyright law. Use of the services of Érudit (including reproduction) is subject to its terms and conditions, which can be viewed online. -
SMPC 2011 Attendees
Society for Music Perception and Cognition August 1114, 2011 Eastman School of Music of the University of Rochester Rochester, NY Welcome Dear SMPC 2011 attendees, It is my great pleasure to welcome you to the 2011 meeting of the Society for Music Perception and Cognition. It is a great honor for Eastman to host this important gathering of researchers and students, from all over North America and beyond. At Eastman, we take great pride in the importance that we accord to the research aspects of a musical education. We recognize that music perception/cognition is an increasingly important part of musical scholarship‐‐and it has become a priority for us, both at Eastman and at the University of Rochester as a whole. This is reflected, for example, in our stewardship of the ESM/UR/Cornell Music Cognition Symposium, in the development of several new courses devoted to aspects of music perception/cognition, in the allocation of space and resources for a music cognition lab, and in the research activities of numerous faculty and students. We are thrilled, also, that the new Eastman East Wing of the school was completed in time to serve as the SMPC 2011 conference site. We trust you will enjoy these exceptional facilities, and will take pleasure in the superb musical entertainment provided by Eastman students during your stay. Welcome to Rochester, welcome to Eastman, welcome to SMPC 2011‐‐we're delighted to have you here! Sincerely, Douglas Lowry Dean Eastman School of Music SMPC 2011 Program and abstracts, Page: 2 Acknowledgements Monetary -
A Novel Tool for Evaluating Children's Musical Abilities Across Age and Culture
ORIGINAL RESEARCH ARTICLE published: 10 July 2013 SYSTEMS NEUROSCIENCE doi: 10.3389/fnsys.2013.00030 A novel tool for evaluating children’s musical abilities across age and culture Isabelle Peretz 1*, Nathalie Gosselin 1, Yun Nan 2, Emilie Caron-Caplette 1, Sandra E. Trehub 1 and Renée Béland 1 1 Department of Psychology, International Laboratory of Brain, Music, and Sound Research, University of Montreal, Montreal, QC, Canada 2 National Key Laboratory of Cognitive Neuroscience and Learning, School of Brain and Cognitive Sciences, Beijing Normal University, Beijing, China Edited by: The present study introduces a novel tool for assessing musical abilities in children: Jonathan B. Fritz, University of The Montreal Battery of Evaluation of Musical Abilities (MBEMA). The battery, which Maryland, USA comprises tests of memory, scale, contour, interval, and rhythm, was administered to Reviewed by: 245 children in Montreal and 91 in Beijing (Experiment 1), and an abbreviated version was Burak Guclu, Bogazici University, Turkey administered to an additional 85 children in Montreal (in less than 20 min; Experiment 2). Yu Liu, The University of Tennessee All children were 6–8 years of age. Their performance indicated that both versions of the Health Science Center, USA MBEMA are sensitive to individual differences and to musical training. The sensitivity of Anne Caclin, INSERM, France the tests extends to Mandarin-speaking children despite the fact that they show enhanced Bill Thompson, Macquarie University, Australia performance relative to French-speaking children. Because this Chinese advantage is not *Correspondence: limited to musical pitch but extends to rhythm and memory, it is unlikely that it results from Isabelle Peretz, International early exposure to a tonal language. -
Nurturing Infants with Music
IJMEC 14 (1) pp. 9–15 Intellect Limited 2019 International Journal of Music in Early Childhood Volume 14 Number 1 ijmec © 2019 Intellect Ltd Article. English language. doi: 10.1386/ijmec.14.1.9_1 International Journal of Music in Early Childhood Intellect 10.1386/ijmec.14.1.9_1 14 SANDRA E. TREHUB University of Toronto 1 9 15 Nurturing infants with music © 2019 Intellect Ltd ABSTRACT KEYWORDS 2019 Primary caregivers throughout the world provide infants with life-sustaining infants care such as nutrition and protection from harm as well as life-enhancing care caregivers such as affection, contingent responsiveness and mentoring of various kinds. They mothers ARTICLES nurture infants musically by means of one-on-one (i.e. infant-directed) singing music accompanied by movement in some cultures and by visual gestures in others. Such singing singing, which is acoustically and visually distinct from solitary (i.e. self-directed) emotional regulation singing, is effective in engaging infants and regulating their mood and arousal. The repetition and stereotypy of caregivers’ performances contribute to their memorability and dyadic significance. Caregivers’ singing also influences infants’ social engagement more generally. Once infants become singers, their songs play an important role in social interaction and emotional self-regulation. Although caregivers sing to infants with playful or soothing intentions, their performances highlight the temporal and melodic structure of the music. In sum, caregivers lay the foundation for a lifelong musical journey. Primary caregivers nurture infants in countless ways. In addition to providing life-sustaining care such as nutrition and protection from harm, they provide life-enhancing care such as affection, contingent responsiveness and various kinds of mentoring. -
The Cognitive Neuroscience of Music
THE COGNITIVE NEUROSCIENCE OF MUSIC Isabelle Peretz Robert J. Zatorre Editors OXFORD UNIVERSITY PRESS Zat-fm.qxd 6/5/03 11:16 PM Page i THE COGNITIVE NEUROSCIENCE OF MUSIC This page intentionally left blank THE COGNITIVE NEUROSCIENCE OF MUSIC Edited by ISABELLE PERETZ Départment de Psychologie, Université de Montréal, C.P. 6128, Succ. Centre-Ville, Montréal, Québec, H3C 3J7, Canada and ROBERT J. ZATORRE Montreal Neurological Institute, McGill University, Montreal, Quebec, H3A 2B4, Canada 1 Zat-fm.qxd 6/5/03 11:16 PM Page iv 1 Great Clarendon Street, Oxford Oxford University Press is a department of the University of Oxford. It furthers the University’s objective of excellence in research, scholarship, and education by publishing worldwide in Oxford New York Auckland Bangkok Buenos Aires Cape Town Chennai Dar es Salaam Delhi Hong Kong Istanbul Karachi Kolkata Kuala Lumpur Madrid Melbourne Mexico City Mumbai Nairobi São Paulo Shanghai Taipei Tokyo Toronto Oxford is a registered trade mark of Oxford University Press in the UK and in certain other countries Published in the United States by Oxford University Press Inc., New York © The New York Academy of Sciences, Chapters 1–7, 9–20, and 22–8, and Oxford University Press, Chapters 8 and 21. Most of the materials in this book originally appeared in The Biological Foundations of Music, published as Volume 930 of the Annals of the New York Academy of Sciences, June 2001 (ISBN 1-57331-306-8). This book is an expanded version of the original Annals volume. The moral rights of the author have been asserted Database right Oxford University Press (maker) First published 2003 All rights reserved. -
Musical Predispositions in Infancy
Musical Predispositions in Infancy SANDRA E. TREHUB Department of Psychology, University of Toronto at Mississauga, Mississauga, Ontario, Canada L5L 1C6 ABSTRACT: Some scholars consider music to exemplify the classic criteria for a complex human adaptation, including universality, orderly development, and special-purpose cortical processes. The present account focuses on processing predispositions for music. The early appearance of receptive musical skills, well before they have obvious utility, is consistent with their proposed status as predispositions. Infants’ processing of musical or music-like patterns is much like that of adults. In the early months of life, infants engage in relational pro- cessing of pitch and temporal patterns. They recognize a melody when its pitch level is shifted upward or downward, provided the relations between tones are preserved. They also recognize a tone sequence when the tempo is altered so long as the relative durations remain unchanged. Melodic contour seems to be the most salient feature of melodies for infant listeners. However, infants can detect interval changes when the component tones are related by small-integer frequency ratios. They also show enhanced processing for scales with unequal steps and for metric rhythms. Mothers sing regularly to infants, doing so in a distinctive manner marked by high pitch, slow tempo, and emotional expres- siveness. The pitch and tempo of mothers’ songs are unusually stable over ex- tended periods. Infant listeners prefer the maternal singing style to the usual style of singing, and they are more attentive to maternal singing than to mater- nal speech. Maternal singing also has a moderating effect on infant arousal. -
The Innateness of Music
See discussions, stats, and author profiles for this publication at: https://www.researchgate.net/publication/237971885 The origins of music: Innateness, uniqueness, and evolution Article in Music Perception · September 2005 DOI: 10.1525/mp.2005.23.1.29 CITATIONS READS 132 500 2 authors: Josh Mcdermott Marc D Hauser Massachusetts Institute of Technology Risk-Eraser, LLC 44 PUBLICATIONS 6,212 CITATIONS 341 PUBLICATIONS 22,313 CITATIONS SEE PROFILE SEE PROFILE Some of the authors of this publication are also working on these related projects: Theoretical paper with Jeffrey Watumull on what we call the Universal Generative Faculty. The paper is for a special issue of J. Neuroling. View project All content following this page was uploaded by Marc D Hauser on 06 January 2014. The user has requested enhancement of the downloaded file. All in-text references underlined in blue are added to the original document and are linked to publications on ResearchGate, letting you access and read them immediately. 03.MUSIC.23_029-060.qxd 03/10/2005 15:20 Page 29 The Origins of Music: Innateness, Uniqueness, and Evolution 29 THE ORIGINS OF MUSIC: INNATENESS, UNIQUENESS, AND EVOLUTION JOSH MCDERMOTT past and present. It is incorporated into a vast array of Perceptual Science Group, Department of Brain and cultural events, including weddings and funerals, reli- Cognitive Sciences, MIT gious services, dances, and sporting events, as well as solitary listening sessions. It can make people feel happy MARC HAUSER or sad, so much so that music is central to modern Department of Psychology and Program in advertising campaigns. And people throughout the Neurosciences, Harvard world spend billions of dollars annually on the music and clubbing industries. -
The Roots of Music: Emotional Expression, Dialogue and Affect
Article Musicae Scientiae 16(2) 200 –216 The roots of music: Emotional © The Author(s) 2012 Reprints and permission: sagepub. expression, dialogue and affect co.uk/journalsPermissions.nav DOI: 10.1177/1029864912440778 attunement in the psychogenesis msx.sagepub.com of music Ulrik Volgsten Örebro University, Sweden Abstract In this paper I sketch the outlines for a comprehensive theory of the psychogenesis of music. That is, a theory of how human beings may come to hear certain sounds and combinations of sounds as music. It is a theory that takes its empirical starting point in previous and well-known research findings on fundamental human interaction and communication. As such it incorporates at its core a developmental- psychological theory about the human being’s development of a sense of self in relation to others, from infancy on, and is further supported by findings from research on infants’ behavior and reactions to music. It is argued that human interaction and communication is at the outset musical – or protomusical – and that which makes interaction and communication work is the emotive, or affective power of sound (“communicative musicality” is another term that has been used for mainly the same phenomenon). Although the empirical foundations are familiar, the comprehensive picture offered by the theory is new. The theory is structured according to a main thesis that states that music is a way of “making special” human self-development, our “sense of self”. However, for this affective-communicative theory to explain not only our reactions to protomusical sound, but also music at large (music understood in a broad universal sense), it must be extended to answer certain questions about human cognition. -
Melody As Prosody: Toward a Usage-Based Theory of Music
University of Pennsylvania ScholarlyCommons Publicly Accessible Penn Dissertations 2014 Melody as Prosody: Toward a Usage-Based Theory of Music Thomas Mathew Pooley University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/edissertations Part of the Linguistics Commons, Music Commons, and the Psychology Commons Recommended Citation Pooley, Thomas Mathew, "Melody as Prosody: Toward a Usage-Based Theory of Music" (2014). Publicly Accessible Penn Dissertations. 1407. https://repository.upenn.edu/edissertations/1407 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/edissertations/1407 For more information, please contact [email protected]. Melody as Prosody: Toward a Usage-Based Theory of Music Abstract MELODY AS PROSODY: TOWARD A USAGE-BASED THEORY OF MUSIC Thomas M. Pooley Gary A. Tomlinson Rationalist modes of inquiry have dominated the cognitive science of music over the past several decades. This dissertation contests many rationalist assumptions, including its core tenets of nativism, modularity, and computationism, by drawing on a wide range of evidence from psychology, neuroscience, linguistics, and cognitive music theory, as well as original data from a case study of Zulu song prosody. An alternative biocultural approach to the study of music and mind is outlined that takes account of musical diversity by attending to shared cognitive mechanisms. Grammar emerges through use, and cognitive categories are learned and constructed in particular social contexts. This usage-based theory of music shows how domain-general cognitive mechanisms for patterning-finding and intention-reading are crucial to acquisition, and how Gestalt principles are invoked in perception. Unlike generative and other rationalist approaches that focus on a series of idealizations, and the cognitive `competences' codified in texts and musical scores, the usage-based approach investigates actual performances in everyday contexts by using instrumental measures of process. -
Music for Solo World
Fulbright Grant 2008-2009 Music for solo world Samu Gryllus Freelance composer Wesleyan University Csopaki u. 7. Budapest 102270 Wyllys Av. Middletown, CT 06459 www.samugryllus.info www.wesleyan.edu [email protected] Adviser: Ron Kuivila I spent six months as a Fulbright Visiting Scholar at Rice University, Houston, TX from January till June 2008. I worked in the Digital Media Center and used a concordancing tool to search for idiom This work was written for the World Music Pro-Seminar at the Wesleyan University. World Music in this context does not mean the music- brand that collects all different folkmusic on one shelf of a music store. World music at this seminar meant that we discussed articles that were connected to any kind of musical experience all over the world. Beside that, the title refers to a piece of Alvin Lucier, one of the legendary composition professors at the Wesleyan. In his early experimental work „Music for solo performer“ Lucier was using the performer`s – mostly his own – brain waves and transformed them to a sonic experience. 1 Music for solo world – Samu Gryllus The basic idea behind this paper is to compare the results between brain and music is called „cognitive neuroscience of scientific music-brain researches with a composer’s of music”. (myself) subjective definition of „music“. Cognitive neuroscience is a blended academic research area, where scientists are examining the neural In 2001, I wrote my thesis paper at the Liszt Ferenc substrates of different mental processes. Neurosciences Music Academy in Budapest about „Inherited Music“[1]. -
Final Report. NSF Workshop on Art, Creativity and Learning
Christopher W Tyler 0824762 Final Workshop Report ________________________________________________________ Art, Creativity and Learning June 11-13, 2008 National Science Foundation ________________________________________________________ Organizers Christopher Tyler1 (lead organizer), Daniel Levitin2, Lora Likova1 1. The Smith-Kettlewell Eye Research Institute, San Francisco 2. Department of Psychology, McGill University, Montreal ________________________________________________________ 1 TABLE OF CONTENTS ___________________________________________________________________________ EXECUTIVE SUMMARY 3 Organization of the Workshop 3 Main Outcomes from the Workshop 4 Evaluation of the Current Status 4 Recommendations for Future Research 5 Consensus for a New Field of Learning Enhancement through Art 7 PARTICIPANTS 9 NSF Program Officers 9 Organizers 9 Speakers 9 Students 9 Group photograph 9 WORKSHOP SCHEDULE 10 OVERVIEW 14 Evaluation of the Current Status 14 Introduction 15 Prior Studies on Art, Creativity and Learning 15 Prior Studies of Intersensory Connections and the Arts 17 Recommendations 19 Research Strategy for a New Field of Learning Enhancement through Art 19 Methodological Recommendations 21 SPECIFIC BREAKOUT GROUP RECOMMENDATIONS 23 Visual Break-Out Group: Group leader: Christopher Tyler 23 Auditory Break-Out Group: Group leader: Daniel Levitin 25 Educational Break-Out Group: Group leader: Ellen Winner 27 DISSEMINATION OF THE RESULTS OF THE WORKSHOP 29 REFERENCES 29 APPENDIX I: Abstracts of the talks 33 APPENDIX II: Participant