Cross-Cultural Work in Music Cognition 185
Cross-Cultural Work in Music Cognition 185 CROSS-CULTURAL WORK IN MUSIC COGNITION: CHALLENGES, INSIGHTS, AND RECOMMENDATIONS NORI JACOBY GAVIN STEINGO Max Planck Institute for Empirical Aesthetics, Frankfurt Princeton University am Main, Germany CATHERINE J. STEVENS ELIZABETH HELLMUTH MARGULIS Western Sydney University, Sydney, Australia Princeton University LAUREL TRAINOR MARTIN CLAYTON McMaster University, Hamilton, Canada Durham University, Durham, United Kingdom SANDRA TREHUB ERIN HANNON University of Toronto, Toronto, Canada University of Nevada, Las Vegas MICHAEL VEAL HENKJAN HONING Yale University University of Amsterdam, Amsterdam, Netherlands MELANIE WALD-FUHRMANN JOHN IVERSEN Max Planck Institute for Empirical Aesthetics, Frankfurt University of California, San Diego am Main, Germany TOBIAS ROBERT KLEIN MANY FOUNDATIONAL QUESTIONS IN THE Humboldt University, Berlin, Germany psychology of music require cross-cultural approaches, yet the vast majority of work in the field to date has SAMUEL A. MEHR been conducted with Western participants and Western Harvard University music. For cross-cultural research to thrive, it will require collaboration between people from different disciplinary LARA PEARSON backgrounds, as well as strategies for overcoming differ- Max Planck Institute for Empirical Aesthetics, Frankfurt ences in assumptions, methods, and terminology. This am Main, Germany position paper surveys the current state of the field and offers a number of concrete recommendations focused ISABELLE PERETZ on issues involving ethics,
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