Music and the Brain Course Guidebook
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Cognitive Processes for Infering Tonic
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Student Research, Creative Activity, and Performance - School of Music Music, School of 8-2011 Cognitive Processes for Infering Tonic Steven J. Kaup University of Nebraska-Lincoln, [email protected] Follow this and additional works at: https://digitalcommons.unl.edu/musicstudent Part of the Cognition and Perception Commons, Music Practice Commons, Music Theory Commons, and the Other Music Commons Kaup, Steven J., "Cognitive Processes for Infering Tonic" (2011). Student Research, Creative Activity, and Performance - School of Music. 46. https://digitalcommons.unl.edu/musicstudent/46 This Article is brought to you for free and open access by the Music, School of at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Student Research, Creative Activity, and Performance - School of Music by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. COGNITIVE PROCESSES FOR INFERRING TONIC by Steven J. Kaup A THESIS Presented to the Faculty of The Graduate College at the University of Nebraska In Partial Fulfillment of Requirements For the Degree of Master of Music Major: Music Under the Supervision of Professor Stanley V. Kleppinger Lincoln, Nebraska August, 2011 COGNITIVE PROCESSES FOR INFERRING TONIC Steven J. Kaup, M. M. University of Nebraska, 2011 Advisor: Stanley V. Kleppinger Research concerning cognitive processes for tonic inference is diverse involving approaches from several different perspectives. Outwardly, the ability to infer tonic seems fundamentally simple; yet it cannot be attributed to any single cognitive process, but is multi-faceted, engaging complex elements of the brain. This study will examine past research concerning tonic inference in light of current findings. -
Australian Music & Psychology Society Newsletter
Australian Music & Psychology Society March, 2016 Edition 2 Australian Music & Psychology Society Newsletter Welcome to our second edition After a slight delay, we are delighted to be able to bring this second edition of the AMPS newsletter to you. This newsletter is a student led publication, to facilitate discussion within the AMPS membership, and to provide a forum for researchers to write about any Inside this issue topics which may take their fancy. Music an antidote for aging? ...... 2 This issue contains some exciting submissions, including summaries of music and neuro- In Memory of Oliver Sacks .......... 3 science, the protective effect of music against cognitive aging, and a book review. We also have an obituary to Oliver Sacks, a prominent neurologist and advocate for music New AMPS Committee ................ 3 psychology. Many of the articles feature hyperlinks and web addresses, so you can access Book Review ............................... 4 additional material, or delve more deeply into this research by exploring web content if Rhythm Tracker .......................... 4 you wish. Music and Neuroscience ............. 5 This is also the last issue that Joanne Ruksenas has worked on as editor-in-chief. All of us on the AMPS Newsletter team would like to thank her for her hard work in putting Music Trust Research Award ....... 6 together this publication, and wish her all the best on her next project! Upcoming Conferences ............... 6 For future editions, please send original articles of scholarly research, book and perfor- AMPS2016 review ....................... 7 mance reviews, discussions of current research, and other items relating to music psy- About AMPS ................................ 8 chology. All are warmly welcomed. -
The Perception of Melodic Consonance: an Acoustical And
The perception of melodic consonance: an acoustical and neurophysiological explanation based on the overtone series Jared E. Anderson University of Pittsburgh Department of Mathematics Pittsburgh, PA, USA Abstract The melodic consonance of a sequence of tones is explained using the overtone series: the overtones form “flow lines” that link the tones melodically; the strength of these flow lines determines the melodic consonance. This hypothesis admits of psychoacoustical and neurophysiological interpretations that fit well with the place theory of pitch perception. The hypothesis is used to create a model for how the auditory system judges melodic consonance, which is used to algorithmically construct melodic sequences of tones. Keywords: auditory cortex, auditory system, algorithmic composition, automated com- position, consonance, dissonance, harmonics, Helmholtz, melodic consonance, melody, musical acoustics, neuroacoustics, neurophysiology, overtones, pitch perception, psy- choacoustics, tonotopy. 1. Introduction Consonance and dissonance are a basic aspect of the perception of tones, commonly de- scribed by words such as ‘pleasant/unpleasant’, ‘smooth/rough’, ‘euphonious/cacophonous’, or ‘stable/unstable’. This is just as for other aspects of the perception of tones: pitch is described by ‘high/low’; timbre by ‘brassy/reedy/percussive/etc.’; loudness by ‘loud/soft’. But consonance is a trickier concept than pitch, timbre, or loudness for three reasons: First, the single term consonance has been used to refer to different perceptions. The usual convention for distinguishing between these is to add an adjective specifying what sort arXiv:q-bio/0403031v1 [q-bio.NC] 22 Mar 2004 is being discussed. But there is not widespread agreement as to which adjectives should be used or exactly which perceptions they are supposed to refer to, because it is difficult to put complex perceptions into unambiguous language. -
A Picture Is Worth a Thousand Songs: Exploring Visual Aspects of Music
A Picture is Worth a Thousand Songs: Exploring Visual Aspects of Music Alexander Schindler Safety & Security Department AIT Austrian Institute of Technology GmbH Vienna, Austria [email protected] ABSTRACT The abstract nature of music makes it intrinsically hard to describe. To alleviate this problem we use well known songs or artists as a reference to describe new music. Music infor- mation research has mimicked this behavior by introducing Figure 1: Examples of music genres that are easy to identify in images - a) Dance, b) Rock, c) Heavy Metal, d) Rap search systems that rely on prototypical songs. Based on similarity models deducing from signal processing or collab- of music" became an important factor in people's apprecia- orative filtering an according list of songs with similar prop- tion of music and the rise of music videos in the early 80s erties is retrieved. Yet, music is often searched for a specific provided further momentum to this development. In that intention such as music for workout, to focus or for a com- period the structure of the prevalent music business changed fortable dinner with friends. Modeling music similarities completely by shifting the focus from selling whole records based on such criteria is in many cases problematic or vi- to hit singles [2]. Their accentuation and the new accompa- sionary. Despite these open research challenges a more user nied intensification of celebrity around pop music played an focused question should be raised: Which interface is ade- important role in the development of the pinup culture. This quate for describing such intentions? Traditionally queries emphasis on visual aspects of music transcended from top- are either based on text input or seed songs. -
Classical Net Review
The Internet's Premier Classical Music Source BOOK REVIEW The Psychology of Music Diana Deutsch, editor Academic Press, Third Edition, 2013, pp xvii + 765 ISBN-10: 012381460X ISBN-13: 978-0123814609 The psychology of music was first explored in detail in modern times in a book of that name by Carl E. Seashore… Psychology Of Music was published in 1919. Dover's paperback edition of almost 450 pages (ISBN- 10: 0486218511; ISBN-13: 978-0486218519) is still in print from half a century later (1967) and remains a good starting point for those wishing to understand the relationship between our minds and music, chiefly as a series of physical processes. From the last quarter of the twentieth century onwards much research and many theories have changed the models we have of the mind when listening to or playing music. Changes in music itself, of course, have dictated that the nature of human interaction with it has grown. Unsurprisingly, books covering the subject have proliferated too. These range from examinations of how memory affects our experience of music through various forms of mental disabilities, therapies and deviations from "standard" auditory reception, to attempts to explain music appreciation psychologically. Donald Hodges' and David Conrad Sebald's Music in the Human Experience: An Introduction to Music Psychology (ISBN-10: 0415881862; ISBN-13: 978- 0415881869) makes a good introduction to the subject; while Aniruddh Patel's Music, Language, and the Brain (ISBN-10: 0199755302; ISBN-13: 978-0199755301) is a good (and now classic/reference) overview. Oliver Sacks' Musicophilia: Tales of Music and the Brain (ISBN-10: 1400033535; ISBN-13: 978-1400033539) examines specific areas from a clinical perspective. -
ISSN -2347-856X ISSN -2348-0653 International Journal of Business and Administrati
Research Paper IJBARR Impact Factor: 3.072 E- ISSN -2347-856X ISSN -2348-0653 MUSIC IS AN ART AND SCIENCE Prof. P.Thenmozhi Associate Professor and Head, Department of Home Science, Seethalakshmi Ramaswami College, Tiruchirappalli,,India. Music is an art form whose medium is sound and silence. Its common elements are pitch (science which governs melody and harmony), rhythm (and its associated concepts tempo, meter, and articulation), dynamics, and the sonic qualities of timbre and texture. The word derives from Greek μουσική (mousike; "art of the Muses").The creation, performance, significance, and even the definition of music vary according to culture and social context. Music ranges from strictly organized compositions (and their recreation in performance), through improvisational music to aleatoric forms. Within the arts, music may be classified as a performing art, a fine art, and auditory art. It may also be divided among art music and folk music. There is also a strong connection between music and mathematics (Talas-counts). Music may be played and heard live, may be part of a dramatic work or film, or may be recorded. Music is a miniature of the harmony of the whole universe, for the harmony of the universe is life itself, and humans, being a miniature of the universe, show harmonious and inharmonious chords in their pulsations, in the beat of their hearts, in their vibration, rhythm and tone. Their health or illness, their joy or discomfort, all show the music or lack of music in their life.Tanjore is to Carnatic Music where Germany is to Western Music. Music is the language of our soul and the soul is the residence of our spirituality. -
Effects of Emergent-Level Structure on Melodic Processing Difficulty
96 Frank A. Russo, William Forde Thompson, & Lola L. Cuddy EFFECTS OF EMERGENT-LEVEL STRUCTURE ON MELODIC PROCESSING DIFFICULTY FRANK A. RUSSO words, does ease of processing depend in some manner Ryerson University, Toronto, Canada on emergent-level structure defined by theory? The current study investigates whether melodic processing WILLIAM FORDE THOMPSON difficulty varies with respect to music-theoretic descrip- Macquarie University, Sydney, Australia tions of emergent-level structure derived from the Implication-Realization (I-R) model (Narmour, 1990, LOLA L. CUDDY 1992). Queen’s University, Kingston, Canada Two leading cognitive approaches to understanding melodic complexity include information-theoretic and FOUR EXPERIMENTS ASSESSED THE INFLUENCE dynamic attending models. Information-theoretic mod- of emergent-level structure on melodic processing dif- els have focused on the development of coding systems ficulty. Emergent-level structure was manipulated (Cuddy, Cohen, & Mewhort, 1981; Deutsch, 1980; Leeu- across experiments and defined with reference to the wenberg, 1969; Restle, 1970; Simon, 1972). A hierarchi- Implication-Realization model of melodic expectancy cal melody with surface- and emergent-level structure (Narmour, 1990, 1992, 2000). Two measures of melodic can be described economically using nested codes that processing difficulty were used to assess the influence of exploit redundancies. The codes are assumed to capture emergent-level structure: serial-reconstruction and important aspects of mental representation, and -
Savage and Brown Final Except Pp
Toward a New Comparative Musicology Patrick E. Savage and Steven Brown omparative musicology is the academic discipline devoted to the comparative C study of music. It looks at music (broadly defined) in all of its forms across all cultures throughout time, including related phenomena in language, dance, and animal communication. As with its sister discipline of comparative linguistics, comparative musicology seeks to classify the musics of the world into stylistic families, describe the geographic distribution of these styles, elucidate universal trends in musics across cultures, and understand the causes and mechanisms shaping the biological and cultural evolution of music. While most definitions of comparative musicology put forward over the years have been limited to the study of folk and/or non-Western musics (Merriam 1977), we envision this field as an inclusive discipline devoted to the comparative study of all music, just as the name implies. The intellectual and political history of comparative musicology and its modern- day successor, ethnomusicology, is too complex to review here. It has been detailed in a number of key publications—most notably by Merriam (1964, 1977, 1982) and Nettl (2005; Nettl and Bohlman 1991)—and succinctly summarized by Toner (2007). Comparative musicology flourished during the first half of the twentieth century, and was predicated on the notion that the cross-cultural analysis of musics could shed light on fundamental questions about human evolution. But after World War II—and in large part because of it—a new field called ethnomusicology emerged in the United States based on Toward a New Comparative Musicology the paradigms of cultural anthropology. -
History of the School of Cognitive Science at Hampshire College
Stillings: History of CS 1 3-5-21 A history of the School of Cognitive Science at Hampshire College Neil Stillings Spring 2021 Preface I started teaching at Hampshire in the fall of 1971, the second year the college was open. I retired in June 2018, 47 years later. I write as a nearly founding faculty member of the college, as a founding faculty member of the School of Cognitive Science (CS), and as the School’s longest-serving member. In the fall of 2018, shortly after I retired, I began writing this history in the hope that it might inform or inspire future faculty and students as Cognitive Science approached its 50th anniversary at Hampshire. As I began writing, a series of events unfolded that threatened the survival of the college.1 In the aftermath about half of the college’s faculty left, either permanently or for indefinite “leave.” In particular all but two of 17 faculty members in Cognitive Science left the college, leaving the program with no faculty in its core areas of psychology, neuroscience, linguistics, philosophy, and computer science.2 As of Spring 2021, in the current national environment of higher education, it is extremely unlikely that Hampshire, at the moment with less than half of its former student body, could rebuild Quickly enough to re-establish Cognitive Science. Further, the faculty who remain on campus have chosen to redesign the educational program in a way that suggests that they will no longer be organized into Schools. Thus, this document has become a history of the School of Cognitive Science from its beginning to its probable end, and, I hope, a source for anyone who does research on Hampshire’s history in the future.3 What were Hampshire’s Schools? Hampshire was founded to foster students’ intellectual curiosity, independence, and initiative, to demand their active engagement with ideas, and to de-emphasize the passive memorization of textbook material and the unQuestioning acQuiescence to external expectations in the Quest for grades. -
Cognitive Science and the Cultural Nature of Music
Topics in Cognitive Science 4 (2012) 668–677 Copyright Ó 2012 Cognitive Science Society, Inc. All rights reserved. ISSN: 1756-8757 print / 1756-8765 online DOI: 10.1111/j.1756-8765.2012.01216.x Cognitive Science and the Cultural Nature of Music Ian Cross Faculty of Music, University of Cambridge Received 5 September 2010; received in revised form 8 June 2012; accepted 8 June 2012 Abstract The vast majority of experimental studies of music to date have explored music in terms of the processes involved in the perception and cognition of complex sonic patterns that can elicit emotion. This paper argues that this conception of music is at odds both with recent Western musical scholar- ship and with ethnomusicological models, and that it presents a partial and culture-specific represen- tation of what may be a generic human capacity. It argues that the cognitive sciences must actively engage with the problems of exploring music as manifested and conceived in the broad spectrum of world cultures, not only to elucidate the diversity of music in mind but also to identify potential commonalities that could illuminate the relationships between music and other domains of thought and behavior. Keywords: Music; Learning; Processing; Ethnomusicology; Culture 1. The cognitive science and neuroscience of music The study of music learning and processing seems to present a rich set of complex chal- lenges in the auditory domain, drawing on psychoacoustic, perceptual, cognitive, and neuro- scientific approaches. Music appears to manifest itself as complex and time-ordered sequences of sonic events varying in pitch, loudness, and timbre that are capable of eliciting emotion. -
Music: Broken Symmetry, Geometry, and Complexity Gary W
Music: Broken Symmetry, Geometry, and Complexity Gary W. Don, Karyn K. Muir, Gordon B. Volk, James S. Walker he relation between mathematics and Melody contains both pitch and rhythm. Is • music has a long and rich history, in- it possible to objectively describe their con- cluding: Pythagorean harmonic theory, nection? fundamentals and overtones, frequency Is it possible to objectively describe the com- • Tand pitch, and mathematical group the- plexity of musical rhythm? ory in musical scores [7, 47, 56, 15]. This article In discussing these and other questions, we shall is part of a special issue on the theme of math- outline the mathematical methods we use and ematics, creativity, and the arts. We shall explore provide some illustrative examples from a wide some of the ways that mathematics can aid in variety of music. creativity and understanding artistic expression The paper is organized as follows. We first sum- in the realm of the musical arts. In particular, we marize the mathematical method of Gabor trans- hope to provide some intriguing new insights on forms (also known as short-time Fourier trans- such questions as: forms, or spectrograms). This summary empha- sizes the use of a discrete Gabor frame to perform Does Louis Armstrong’s voice sound like his • the analysis. The section that follows illustrates trumpet? the value of spectrograms in providing objec- What do Ludwig van Beethoven, Ben- • tive descriptions of musical performance and the ny Goodman, and Jimi Hendrix have in geometric time-frequency structure of recorded common? musical sound. Our examples cover a wide range How does the brain fool us sometimes • of musical genres and interpretation styles, in- when listening to music? And how have cluding: Pavarotti singing an aria by Puccini [17], composers used such illusions? the 1982 Atlanta Symphony Orchestra recording How can mathematics help us create new of Copland’s Appalachian Spring symphony [5], • music? the 1950 Louis Armstrong recording of “La Vie en Rose” [64], the 1970 rock music introduction to Gary W. -
Speaking in Tones Music and Language Are Partners in the Brain
Speaking in Tones Music and language are partners in the brain. Our sense of song helps us learn to talk, read and even make friends By Diana Deutsch 36 SCIENTIFIC AMERICAN MIND July/August 2010 © 2010 Scientific American ne afternoon in the summer of opera resembling sung ordinary speech), the cries 1995, a curious incident occurred. of street vendors and some rap music. I was fi ne-tuning my spoken com- And yet for decades the experience of musicians mentary on a CD I was preparing and the casual observer has clashed with scientifi c ) about music and the brain. To de- opinion, which has held that separate areas of the music tect glitches in the recording, I was looping phrases brain govern speech and music. Psychologists, lin- O so that I could hear them over and over. At one point, guists and neuroscientists have recently changed their sheet ( when I was alone in the room, I put one of the phras- tune, however, as sophisticated neuroimaging tech- es, “sometimes behave so strangely,” on a loop, be- niques have helped amass evidence that the brain ar- gan working on something else and forgot about it. eas governing music and language overlap. The latest iStockphoto Suddenly it seemed to me that a strange woman was data show that the two are in fact so intertwined that singing! After glancing around and fi nding nobody an awareness of music is critical to a baby’s language there, I realized that I was hearing my own voice re- development and even helps to cement the bond be- petitively producing this phrase—but now, instead tween infant and mother.