Exposure Impacts the Pleasantness of Consonance/Dissonance but Not Its Perceived Tension

Total Page:16

File Type:pdf, Size:1020Kb

Exposure Impacts the Pleasantness of Consonance/Dissonance but Not Its Perceived Tension Running head: EXPOSURE AND PERCEIVED CONSONANCE/DISSONANCE (PREPRINT BY LAHDELMA & EEROLA) 1 Exposure impacts the pleasantness of consonance/dissonance but not its perceived tension Imre Lahdelma1 & Tuomas Eerola1 1 Durham University, UK Author Note Correspondence concerning this article should be addressed to Imre Lahdelma, Palace Green, DH1 3RL, Durham, United Kingdom. E-mail: [email protected] EXPOSURE AND PERCEIVED CONSONANCE/DISSONANCE (PREPRINT BY LAHDELMA & EEROLA) 2 Abstract The contrast between consonance and dissonance is a vital factor in making music emotionally meaningful. Consonance typically denotes perceived agreeableness and stability, while dissonance in turn disagreeableness and a need of resolution. The current research addresses the perception of consonance/dissonance in intervals and chords isolated from musical context. Experiment 1 explored the correlations between the seven most used concepts denoting consonance/dissonance across all the available (60) empirical studies published since 1883. The stimuli consisted of a representative continuum of consonance/dissonance. The results show that the concepts exhibit high correlations, albeit these are somewhat lower for non-musicians compared to musicians. In Experiment 2 the stimuli’s cultural familiarity was divided into three levels, and the correlations between the pivotal concepts of Consonance, Tension, Harmoniousness, Pleasantness, and Preference were further examined. Familiarity affected the correlations drastically across both musicians and non-musicians, but in different ways. Tension maintained relatively high correlations with Consonance across musical expertise and familiarity levels. On the basis of the results a rigorous control for familiarity and musical expertise is recommended for all studies investigating the perception of consonance/dissonance. The findings help pinpoint how familiarity affects the perception of consonance/dissonance and demonstrates the pronounced effect of musical expertise on this.1 Keywords: chord, consonance, dissonance, familiarity, interval, musical expertise 1 This is an unpublished preprint that has yet to be peer-reviewed (this version: 2019-12-31). The authors would like to thank James Armitage for feedback and constructive remarks. EXPOSURE AND PERCEIVED CONSONANCE/DISSONANCE (PREPRINT BY LAHDELMA & EEROLA) 3 Exposure impacts the pleasantness of consonance/dissonance but not its perceived tension Introduction The origins of consonance and dissonance have been investigated since the days of Pythagoras in ancient Greece, and its elusive and mercurial nature baffles scholars to this day. The contrast between consonance and dissonance is a crucial feature of Western music, and it plays a vital role in making music emotionally meaningful by providing a sense of variety and motion (see e.g., Meyer, 1956; Parncutt & Hair, 2011). Typically, consonant denotes connotations like harmonious, agreeable, and stable, while dissonant, in turn, connotations like disagreeable, unpleasant, and in need of resolution (Tramo, Cariani, Delgutte, & Braida, 2001). Consonance/dissonance has both a vertical and a horizontal aspect: single isolated intervals (two concurrent pitches) and chords (three or more concurrent pitches) represent vertical consonance/dissonance, while the sequential relationships between these in melodies and chord progressions represent horizontal consonance/dissonance (Parncutt & Hair, 2011). Aesthetic responses to consonance/dissonance (hereafter referred to as C/D and implying exclusively its vertical aspect) are surmised to have both biological and cultural roots, and the debate over which prevails represents a classical nature vs. nurture setting. In addition to disputes over its origins, also the very definition of C/D is notoriously problematic. As Tenney (1988) points out, “there is surely nothing in the language of discourse about music that is more burdened with purely semantic problems than are the terms consonance and dissonance” (p. 1). The concept itself is semantically loaded, and it has been volatile in a historical context as well: certain intervals (e.g., the major and minor thirds) for example became consonant only over time in the framework of Western music (Hindemith, 1942). The inconsistencies arise not only from debates over which acoustic (e.g., roughness, harmonicity, fusion) and cultural phenomena (familiarity and learning both on an individual and on a cultural level, i.e., exposure) and their possible interactions might explain the underlying cause of C/D, but the term itself means different things to different EXPOSURE AND PERCEIVED CONSONANCE/DISSONANCE (PREPRINT BY LAHDELMA & EEROLA) 4 scholars ranging from the most commonly associated definition pleasantness (see e.g., Bones, Hopkins, Krishnan, & Plack, 2014) to concepts like preference (see e.g., Butler & Daston, 1968), smoothness (see e.g., Roberts, 1986), clearness (see Kameoka & Kuriyagawa, 1969), purity (see e.g., Rasmussen, Santurette, & MacDonald, 2014), tension (see e.g., van de Geer, Levelt, & Plomp, 1962), and harmoniousness (see e.g., Cook, 2001). While there have been a couple of attempts to compare the overlap between some of these associated concepts (e.g., Arthurs, Beeston, & Timmers, 2018; van de Geer et al., 1962), it is striking how most scholars do not problematise their definitions of C/D and take them at face value despite clear caveats in previous literature of automatically equating consonance with for example pleasantness (see e.g., Cazden, 1972; Malmberg, 1918) or with preference (see e.g., Parncutt, 2006; Valentine, 1914). Moreover, Ritossa and Rickard (2004) suggest that pleasantness and preference are not directly linked concepts in music perception, yet these have been used as synonyms in C/D research by e.g., Bones et al. (2014), Prete, Fabri, Foschi, Brancucci, and Tommasi (2015), and McDermott, Schultz, Undurraga, and Godoy (2016). The current study aims to explore the overlap between the seven most used concepts (Consonance, Smoothness, Purity, Harmoniousness, Tension, Pleasantness, Preference) denoting C/D perception across all the available (in total 60) research articles published between 1883 and 2019. These studies have produced empirical data on the perception of isolated, simultaneous pitch combinations ranging all the way from intervals (two pitches) to octachords (eight pitches). Related aims include resolving the potential conflict between the most commonly used synonym for C/D, i.e., pleasantness/unpleasantness, and how musical expertise affects this: it has been suggested that the concepts of consonance and pleasantness correlate differently among musicians and non-musicians (see Arthurs et al., 2018; Plomp & Levelt, 1965; Popescu et al., 2019). Moreover, the current study aims to investigate the influence of the total number of pitches present in the stimuli (referred to as numerosity) on the ratings of C/D and related concepts as it has been theorised that numerosity affects the perception of C/D (see Bowling & Purves, 2015). EXPOSURE AND PERCEIVED CONSONANCE/DISSONANCE (PREPRINT BY LAHDELMA & EEROLA) 5 Experiment 1 Methods Experiment 1 is reported as one experiment but is actually a combination of seven separate conditions. In each condition, participants rated the stimuli on one of the seven concepts denoting C/D that have been most used in the previous empirical studies conducted since 1883. The review of past studies was carried out by the current authors and included exclusively those studies that used isolated, vertical pitch combinations (intervals and chords) as the experiment stimuli. Studies using actual music excerpts and chord sequences were excluded from the review as such studies are concerned with the horizontal, not the vertical aspect of C/D (see Parncutt & Hair, 2011). The included studies were found with the aid of Web of Science (Clarivate Analytics, 2019), an online subscription-based scientific citation indexing service. The applied search terms were “consonance dissonance” (326 results), “consonance perception” (322 results), “interval consonance” (183 results), and “chord consonance” (125 results). As Web of Science keeps track of publications only from the year 1900 onwards, studies older than this were searched for manually. The seven most common concepts to denote C/D are 1) Pleasantness (used in 31 studies), 2) Consonance (used in 15 studies), 3) Smoothness (used in 13 studies), 4) Purity (used in five studies), 5) Harmoniousness (used in four studies), 6) Preference (used in three studies), and 7) Tension (used in three studies). Those terms that evidently denote the same perceptual concept (e.g., antonyms like smoothness/roughness) were collapsed under one concept. The majority of these concepts have been used consistently in research during the 20th century and are in use to the present day. All of the concepts have been used to denote the perception of both intervals and chords; the concepts of fusion (used in eight studies), beauty (used in five studies), and euphony (used in five studies) were excluded as they have been used in studies involving exclusively intervals as the experiment stimuli. To minimise the effect of different interpretations of the concepts between participants, each one was EXPOSURE AND PERCEIVED CONSONANCE/DISSONANCE (PREPRINT BY LAHDELMA & EEROLA) 6 explained on the basis of how the concepts are typically defined in previous empirical research or in dictionary entries (see the Appendix). In the explanations, care was taken not to
Recommended publications
  • Psychoacoustics Perception of Normal and Impaired Hearing with Audiology Applications Editor-In-Chief for Audiology Brad A
    PSYCHOACOUSTICS Perception of Normal and Impaired Hearing with Audiology Applications Editor-in-Chief for Audiology Brad A. Stach, PhD PSYCHOACOUSTICS Perception of Normal and Impaired Hearing with Audiology Applications Jennifer J. Lentz, PhD 5521 Ruffin Road San Diego, CA 92123 e-mail: [email protected] Website: http://www.pluralpublishing.com Copyright © 2020 by Plural Publishing, Inc. Typeset in 11/13 Adobe Garamond by Flanagan’s Publishing Services, Inc. Printed in the United States of America by McNaughton & Gunn, Inc. All rights, including that of translation, reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, recording, or otherwise, including photocopying, recording, taping, Web distribution, or information storage and retrieval systems without the prior written consent of the publisher. For permission to use material from this text, contact us by Telephone: (866) 758-7251 Fax: (888) 758-7255 e-mail: [email protected] Every attempt has been made to contact the copyright holders for material originally printed in another source. If any have been inadvertently overlooked, the publishers will gladly make the necessary arrangements at the first opportunity. Library of Congress Cataloging-in-Publication Data Names: Lentz, Jennifer J., author. Title: Psychoacoustics : perception of normal and impaired hearing with audiology applications / Jennifer J. Lentz. Description: San Diego, CA : Plural Publishing,
    [Show full text]
  • Web-Based Psychoacoustics: Hearing Screening, Infrastructure, And
    bioRxiv preprint doi: https://doi.org/10.1101/2021.05.10.443520; this version posted May 11, 2021. The copyright holder for this preprint (which was not certified by peer review) is the author/funder, who has granted bioRxiv a license to display the preprint in perpetuity. It is made available under aCC-BY-NC-ND 4.0 International license. Web-based Psychoacoustics: Hearing Screening, Infrastructure, and Validation Brittany A. Moka, Vibha Viswanathanb, Agudemu Borjiginb, Ravinderjit Singhb, Homeira Kafib, and ∗Hari M. Bharadwaja,b aDepartment of Speech, Language, and Hearing Sciences, Purdue University, West Lafayette, IN, United States bWeldon School of Biomedical Engineering, Purdue University, West Lafayette, IN, United States Abstract Anonymous web-based experiments are increasingly and successfully used in many domains of behavioral research. However, online studies of auditory perception, especially of psychoacoustic phe- nomena pertaining to low-level sensory processing, are challenging because of limited available control of the acoustics, and the unknown hearing status of participants. Here, we outline our approach to mitigate these challenges and validate our procedures by comparing web-based measurements to lab- based data on a range of classic psychoacoustic tasks. Individual tasks were created using jsPsych, an open-source javascript front-end library. Dynamic sequences of psychoacoustic tasks were imple- mented using Django, an open-source library for web applications, and combined with consent pages, questionnaires, and debriefing pages. Subjects were recruited via Prolific, a web-based human-subject marketplace. Guided by a meta-analysis of normative data, we developed and validated a screening pro- cedure to select participants for (putative) normal-hearing status; this procedure combined thresholding of scores in a suprathreshold cocktail-party task with filtering based on survey responses.
    [Show full text]
  • Psychoacoustics and Its Benefit for the Soundscape
    ACTA ACUSTICA UNITED WITH ACUSTICA Vol. 92 (2006) 1 – 1 Psychoacoustics and its Benefit for the Soundscape Approach Klaus Genuit, André Fiebig HEAD acoustics GmbH, Ebertstr. 30a, 52134 Herzogenrath, Germany. [klaus.genuit][andre.fiebig]@head- acoustics.de Summary The increase of complaints about environmental noise shows the unchanged necessity of researching this subject. By only relying on sound pressure levels averaged over long time periods and by suppressing all aspects of quality, the specific acoustic properties of environmental noise situations cannot be identified. Because annoyance caused by environmental noise has a broader linkage with various acoustical properties such as frequency spectrum, duration, impulsive, tonal and low-frequency components, etc. than only with SPL [1]. In many cases these acoustical properties affect the quality of life. The human cognitive signal processing pays attention to further factors than only to the averaged intensity of the acoustical stimulus. Therefore, it appears inevitable to use further hearing-related parameters to improve the description and evaluation of environmental noise. A first step regarding the adequate description of environmental noise would be the extended application of existing measurement tools, as for example level meter with variable integration time and third octave analyzer, which offer valuable clues to disturbing patterns. Moreover, the use of psychoacoustics will allow the improved capturing of soundscape qualities. PACS no. 43.50.Qp, 43.50.Sr, 43.50.Rq 1. Introduction disturbances and unpleasantness of environmental noise, a negative feeling evoked by sound. However, annoyance is The meaning of soundscape is constantly transformed and sensitive to subjectivity, thus the social and cultural back- modified.
    [Show full text]
  • Music and Environment: Registering Contemporary Convergences
    JOURNAL OF OF RESEARCH ONLINE MusicA JOURNALA JOURNALOF THE MUSIC OF MUSICAUSTRALIA COUNCIL OF AUSTRALIA ■ Music and Environment: Registering Contemporary Convergences Introduction H O L L I S T A Y L O R & From the ancient Greek’s harmony of the spheres (Pont 2004) to a first millennium ANDREW HURLEY Babylonian treatise on birdsong (Lambert 1970), from the thirteenth-century round ‘Sumer Is Icumen In’ to Handel’s Water Music (Suites HWV 348–50, 1717), and ■ Faculty of Arts Macquarie University from Beethoven’s Pastoral Symphony (No. 6 in F major, Op. 68, 1808) to Randy North Ryde 2109 Newman’s ‘Burn On’ (Newman 1972), musicians of all stripes have long linked ‘music’ New South Wales Australia and ‘environment’. However, this gloss fails to capture the scope of recent activity by musicians and musicologists who are engaging with topics, concepts, and issues [email protected] ■ relating to the environment. Faculty of Arts and Social Sciences University of Technology Sydney Despite musicology’s historical preoccupation with autonomy, our register of musico- PO Box 123 Broadway 2007 environmental convergences indicates that the discipline is undergoing a sea change — New South Wales one underpinned in particular by the1980s and early 1990s work of New Musicologists Australia like Joseph Kerman, Susan McClary, Lawrence Kramer, and Philip Bohlman. Their [email protected] challenges to the belief that music is essentially self-referential provoked a shift in the discipline, prompting interdisciplinary partnerships to be struck and methodologies to be rethought. Much initial activity focused on the role that politics, gender, and identity play in music.
    [Show full text]
  • Music Education and Music Psychology: What‟S the Connection? Research Studies in Music Education
    Music Psychology and Music Education: What’s the connection? By: Donald A. Hodges Hodges, D. (2003) Music education and music psychology: What‟s the connection? Research Studies in Music Education. 21, 31-44. Made available courtesy of SAGE PUBLICATIONS LTD: http://rsm.sagepub.com/ ***Note: Figures may be missing from this format of the document Abstract: Music psychology is a multidisciplinary and interdisciplinary study of the phenomenon of music. The multidisciplinary nature of the field is found in explorations of the anthropology of music, the sociology of music, the biology of music, the physics of music, the philosophy of music, and the psychology of music. Interdisciplinary aspects are found in such combinatorial studies as psychoacoustics (e.g., music perception), psychobiology (e.g., the effects of music on the immune system), or social psychology (e.g., the role of music in social relationships). The purpose of this article is to explore connections between music psychology and music education. Article: ‘What does music psychology have to do with music education?’ S poken in a harsh, accusatory tone (with several expletives deleted), this was the opening salvo in a job interview I once had. I am happy, many years later, to have the opportunity to respond to that question in a more thoughtful and thorough way than I originally did. Because this special issue of Research Studies in Music Education is directed toward graduate students in music education and their teachers, I will proceed on the assumption that most of the readers of this article are more familiar with music education than music psychology.
    [Show full text]
  • Neuromusical Research: an Overview of the Literature
    In: Neurosciences in Music Pedagogy ISBN: 978-1-60021-834-7 Editors: W. Gruhn and F. Rauscher, pp. 1-25 © 2007 Nova Science Publishers, Inc. Chapter I NEUROMUSICAL RESEARCH: AN OVERVIEW OF THE LITERATURE Richard D. Edwards and Donald A. Hodges ABSTRACT With growing interest in the neuroscience of music among both neuroscientists and music educators, the task of reviewing the extant neuromusical research has become more exciting, if not a bit more complicated due to the diversity of topics and the increasing number of available studies. We provide an overview of neuromusical research by discussing its historical foundations (especially with the advancements of imaging technologies), support from ancillary areas (anthropology, ethnomusicology, ethology, and music psychology), support from fetal and infant responses to music, and support from studies of special musicians (prodigies, savants, Williams Syndrome musicians, and Alzheimer’s patients). The main section presents findings and implications from recent neuroimaging studies by dividing the research into five categories: (1) Perception and Cognition, (2) Affective Responses, (3) Musical Performance, (4) Learning, and (5) Genetic Factors. Several broad conclusions regarding the state of human musicality are presented in the concluding section. Among these conclusions, perhaps the most valuable evidence that neuromusical research currently holds for educators is that musicality is a birthright of all people and that music processing is inherent to some degree in all humans. Humanity has long wondered about the mind. Before Descartes proposed “I think, therefore, I am” or even before Plato and Aristotle ever contemplated the psyche, the oldest brain map on record was being drawn upon papyrus in Egypt almost 5,000 years ago1.
    [Show full text]
  • Playing Panpipes in Southern Russia: History, Ethnography, and Performance Practices
    INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type o f computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely aflfect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6” x 9” black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. UMI A Bell & Howell Infonnation Company 300 North Zed) Road, Ann Aibor MI 48106-1346 USA 313/761-4700 800/521-0600 NOTE TO USERS The original manuscript received by UMI contains pages witFi slanted print. Pages were microfilmed as received. This reproduction is the best copy available UMI PLAYING PANPIPES IN SOUTHERN RUSSIA: HISTORY, ETHNOGRAPHY, AND PERFORMANCE PRACTICES VOL.
    [Show full text]
  • Graduate Studies in Acous(Cs at Northwestern University
    Graduate Studies in Acous0cs at Northwestern University 3aID1 Ann Bradlow WHO WE ARE Speech Doug Downey Pamela Communica.on Of the 13 ASA technical areas, 3 have strong representa.on at Northwestern: Research Group MaI Souza Goldrick Speech Communica.on, Psychological and Physiological Acous.cs, and Natural Hearing Language SoundLab Musical Acous.cs. Sound-related work is conducted across a wide range of Aid Lab Processing departments including Linguis.cs (in the Weinberg College of Arts and Sumitrajit Janet Sciences), Communica.on Sciences & Disorders, and Radio/Television/Film Dhar Pierrehumbert (both in the School of Communica.on), Electrical Engineering & Computer Auditory Language Science (in the McCormick School of Engineering), Music Theory & Cogni.on Research Lab SPEECH Dynamics Group (in the Bienen School of Music), and Otolaryngology (in the Feinberg School of COMMUNICATION Medicine). In addi.on, The Knowles Hearing Center involves researchers and AND NATURAL labs across the university dedicated to the preven.on, diagnosis and Tina Grieco- PSYCHOACOUSTICS Beverly LANGUAGE Calub Wright treatment of hearing disorders. Hearing and Psychoacous.cs AND SIGNAL Language Lab Lab ROCESSING P Michael Nina Kraus Sandy Bryan Pardo Honig Auditory Waxman Adap.ve Neuroscience Viorica Child Language Interacve Signal Lab Marian Development Audio Lab Bilingualism & Processing Psycholinguis.cs Research Group Speech Communica4on and Psychoacouscs Natural Language and Signal Processing • Speech percep0on (Bradlow, Marian, Pierrehumbert, Grieco-Calub,
    [Show full text]
  • Soundscape Ecology
    Soundscape Ecology Almo Farina Soundscape Ecology Principles, Patterns, Methods and Applications Almo Farina Department of Basic Sciences and Foundations Urbino University Urbino, Pesaro-Urbino Italy ISBN 978-94-007-7373-8 ISBN 978-94-007-7374-5 (eBook) DOI 10.1007/978-94-007-7374-5 Springer Dordrecht Heidelberg New York London © Springer Science+Business Media Dordrecht 2014 This work is subject to copyright. All rights are reserved by the Publisher, whether the whole or part of the material is concerned, specifically the rights of translation, reprinting, reuse of illustrations, recitation, broadcasting, reproduction on microfilms or in any other physical way, and transmission or information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed. Exempted from this legal reservation are brief excerpts in connection with reviews or scholarly analysis or material supplied specifically for the purpose of being entered and executed on a computer system, for exclusive use by the purchaser of the work. Duplication of this publication or parts thereof is permitted only under the provisions of the Copyright Law of the Publisher’s location, in its current version, and permission for use must always be obtained from Springer. Permissions for use may be obtained through RightsLink at the Copyright Clearance Center. Violations are liable to prosecution under the respective Copyright Law. The use of general descriptive names, registered names, trademarks, service marks, etc. in this publication does not imply, even in the absence of a specific statement, that such names are exempt from the relevant protective laws and regulations and therefore free for general use.
    [Show full text]
  • A Biological Rationale for Musical Consonance Daniel L
    PERSPECTIVE PERSPECTIVE A biological rationale for musical consonance Daniel L. Bowlinga,1 and Dale Purvesb,1 aDepartment of Cognitive Biology, University of Vienna, 1090 Vienna, Austria; and bDuke Institute for Brain Sciences, Duke University, Durham, NC 27708 Edited by Solomon H. Snyder, Johns Hopkins University School of Medicine, Baltimore, MD, and approved June 25, 2015 (received for review March 25, 2015) The basis of musical consonance has been debated for centuries without resolution. Three interpretations have been considered: (i) that consonance derives from the mathematical simplicity of small integer ratios; (ii) that consonance derives from the physical absence of interference between harmonic spectra; and (iii) that consonance derives from the advantages of recognizing biological vocalization and human vocalization in particular. Whereas the mathematical and physical explanations are at odds with the evidence that has now accumu- lated, biology provides a plausible explanation for this central issue in music and audition. consonance | biology | music | audition | vocalization Why we humans hear some tone combina- perfect fifth (3:2), and the perfect fourth revolution in the 17th century, which in- tions as relatively attractive (consonance) (4:3), ratios that all had spiritual and cos- troduced a physical understanding of musi- and others as less attractive (dissonance) has mological significance in Pythagorean phi- cal tones. The science of sound attracted been debated for over 2,000 years (1–4). losophy (9, 10). many scholars of that era, including Vincenzo These perceptual differences form the basis The mathematical range of Pythagorean and Galileo Galilei, Renee Descartes, and of melody when tones are played sequen- consonance was extended in the Renaissance later Daniel Bernoulli and Leonard Euler.
    [Show full text]
  • 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.
    [Show full text]
  • Modern Science and Ancient Wisdom: Tools for the 21St-Century Musician
    University of Denver Digital Commons @ DU Piano Pedagogy: Masters Research Projects Piano Pedagogy 2020 Modern Science and Ancient Wisdom: Tools for the 21st-Century Musician Seth Quay University of Denver, [email protected] Follow this and additional works at: https://digitalcommons.du.edu/pianopedagogymrp Part of the Music Pedagogy Commons, and the Music Therapy Commons Recommended Citation Quay, Seth, "Modern Science and Ancient Wisdom: Tools for the 21st-Century Musician" (2020). Piano Pedagogy: Masters Research Projects. 3. https://digitalcommons.du.edu/pianopedagogymrp/3 This work is licensed under a Creative Commons Attribution 4.0 License. This Masters Project is brought to you for free and open access by the Piano Pedagogy at Digital Commons @ DU. It has been accepted for inclusion in Piano Pedagogy: Masters Research Projects by an authorized administrator of Digital Commons @ DU. For more information, please contact [email protected],[email protected]. Seth Quay Intro to Research in Piano Pedagogy Research Project: 5244 Words. Modern Science and Ancient Wisdom: Tools for the 21st-Century Musician 1 Intro Throughout human history, music has served as a powerful tool for healing, often associated with cultural ceremony, ritual and meditation. The emergence of the Music Therapy profession in the 20th century continues to utilize the medicinal effects of music as an aid in treating psychological and physical ailments. Advanced research methods now allow us to study the brain and nervous system alongside the acoustics of music to discover principles for meaningfully applying music as therapy. How can musicians apply these principles, through practice, performance, programming, and teaching, to reach larger audiences - reaching more than the typical single-person audience of a psychotherapy session? We can begin to understand the measurable connection between music and the human ‘spirit’ through the lens of quantum physics.
    [Show full text]