DOCSLIB.ORG

A Game for Discovering What Makes Music Catchy

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
A Game for Discovering What Makes Music Catchy UvA-DARE (Digital Academic Repository) Hooked: A Game for Discovering What Makes Music Catchy Burgoyne, J.A.; Bountouridis, D.; Van Balen, J.; Honing, H. Publication date 2013 Document Version Final published version Published in Proceedings of the 14th International Society for Music Information Retrieval Conference Link to publication Citation for published version (APA): Burgoyne, J. A., Bountouridis, D., Van Balen, J., & Honing, H. (2013). Hooked: A Game for Discovering What Makes Music Catchy. In A. de Souza Britto Jr., F. Gouyon, & S. Dixon (Eds.), Proceedings of the 14th International Society for Music Information Retrieval Conference: November 4-8, 2013, Curitiba, Brazil (pp. 245-250). ISMIR. General rights It is not permitted to download or to forward/distribute the text or part of it without the consent of the author(s) and/or copyright holder(s), other than for strictly personal, individual use, unless the work is under an open content license (like Creative Commons). Disclaimer/Complaints regulations If you believe that digital publication of certain material infringes any of your rights or (privacy) interests, please let the Library know, stating your reasons. In case of a legitimate complaint, the Library will make the material inaccessible and/or remove it from the website. Please Ask the Library: https://uba.uva.nl/en/contact, or a letter to: Library of the University of Amsterdam, Secretariat, Singel 425, 1012 WP Amsterdam, The Netherlands. You will be contacted as soon as possible. UvA-DARE is a service provided by the library of the University of Amsterdam (https://dare.uva.nl) Download date:27 Sep 2021 14th International Society for Music Information Retrieval Conference (ISMIR 2013) HOOKED: A GAME FOR DISCOVERING WHAT MAKES MUSIC CATCHY John Ashley Burgoyne⇤ Dimitrios Bountouridis† Jan Van Balen† Henkjan Honing⇤ ⇤ Music Cognition Group, University of Amsterdam, the Netherlands † Department of Information and Computing Sciences, Utrecht University, the Netherlands {j.a.burgoyne,honing}@uva.nl {d.bountouridis,j.m.h.vanbalen}@uu.nl ABSTRACT has posited that the characteristics of hooks might vary across genres and, a fortiori, that di↵erent assortments of Although there has been some empirical research on ear- hook characteristics might constitute a working definition worms, songs that become caught and replayed in one’s of genre [11]. In mir, a better understanding of hooks and memory over and over again, there has been surprisingly catchiness would be useful for music recommendation (all little empirical research on the more general concept of the else being equal, the catchier of two tunes is probably the musical hook, the most salient moment in a piece of mu- better recommendation), measuring musical similarity (as sic, or the even more general concept of what may make estimating similarity between the hooks of two pieces of music ‘catchy’. Almost by definition, people like catchy music may be closer to human perception than estimating music, and thus this question is a natural candidate for ap- similarity over complete pieces), generating satisfying seg- proaching with ‘gamification’. We present the design of mentations of pieces of music (as hooks tend to mark the Hooked, a game we are using to study musical catchiness, start of new sections), and to some extent, fingerprinting (as as well as the theories underlying its design and the results hooks are the fingerprints for the brain’s retrieval system). of a pilot study we undertook to check its scientific validity. The boundaries between catchiness, hooks, and some We found significant di↵erences in time to recall pieces of other musical concepts are fuzzy. One related concept that music across di↵erent segments, identified parameters for has attracted a certain amount of empirical research is the making recall tasks more or less challenging, and found that earworm, songs that are so catchy that they become invol- players are not as reliable as one might expect at predicting untarily stuck in one’s mind [3, 7, 19]. Earworms are a their own recall performance. much narrower phenomenon than catchiness, too narrow, we believe, for many mir applications: Few users are look- 1. INTRODUCTION ing for playlists comprising nothing but earworms. Another ‘Aha! Yes, it’s that song!’ Many music listeners, even cas- related concept is so-called hit-song science, which aims ual listeners, have had the pleasant experience of recalling to predict the popularity of songs based on their musical a song to memory after hearing a few seconds of its ‘hook’. content [6, 16]. This area of study, in contrast, is broader Likewise, many casual listeners can tell almost immediately than our area of inquiry. Although catchiness is certainly upon hearing a new song whether it will be ‘catchy’. Des- correlated with popularity, many popular songs are quite pite the prevalence of these musical instincts, musicology forgettable, and we are most interested in music that re- (in the broadest sense, encompassing music cognition and mains in listeners’ memories for the long term. This level mir) can provide only a limited understanding of why cer- of cognitive information seems to be right for contributing tain pieces music are catchy and what is distinctive about to the widest variety of tasks in mir [9]. the hooks within these pieces of music. The concepts of the The definition of a hook itself is also fuzzy, and as musi- hook and of catchiness are vital to understanding human cologist Don Traut has observed, ‘When we go further and musical memory, but they also have implications outside ask not only “What is a hook?”, but “What is it about the of music cognition. Charles Kronengold, a musicologist, music that makes this a hook?”, the picture gets even more blurry’ [17]. From a cognitive point of view, we define The Netherlands Organisation for Scientific Research (NWO) funded this study under grant 640.005.004, ‘Cognition-Guided Interoperability a hook to be the most salient, easiest-to-recall fragment Between Collections of Musical Heritage (COGITCH)’. In addition to of a piece of music [9]; likewise, we define catchiness as comments from those who tested the prototype, we received helpful sug- long-term musical salience, the degree to which a musical gestions from many colleagues, among them Fleur Bouwer, Aline Hon- ingh, Berit Janssen, Jaap Murre, Johan Oomen, Carlos Vaquero, Remco fragment remains memorable after a period of time. By Veltkamp, Lourens Waldorp, and Frans Wiering. The data are available to our definitions, every piece of music will have a hook – http://mcg.uva.nl/ download from . the catchiest part of the piece, whatever that may be – but some pieces of music clearly have much catchier hooks Permission to make digital or hard copies of all or part of this work for than others. In principle, a piece of music may also have personal or classroom use is granted without fee provided that copies are multiple hooks: two or more fragments of equivalent sa- not made or distributed for profit or commercial advantage and that copies lience that are nonetheless more salient than all others in bear this notice and the full citation on the first page. the piece. There is agreement in the literature that hooks c 2013 International Society for Music Information Retrieval. start at points of considerable structural change, or in other 245 14th International Society for Music Information Retrieval Conference (ISMIR 2013) words, at points that we in mir would consider to be the new structural section (possibly including the beginning beginnings of new sections for the purposes of a segment- of the piece itself), and we extended this idea to limit the ation algorithm [4, 15]. There is more debate about the number of starting points to a statistically tractable subset: duration of hooks. While songwriters will often speak of Music will always start playing from the beginning of a the hook as the entire chorus, in fact, only a few seconds structural section. Then the amount of time it takes a player are necessary for most listeners to recall a catchy song to to recognise the piece is a proxy for how easy that section memory; one study has shown that after only 400 ms, listen- is to recall, or in short, how catchy it is. ers can identify familiar music with a significantly greater Figure 1a illustrates the recognition game as implemen- frequency than one would expect from chance [12]. ted in our current iOS prototype. A piece of music starts We have designed an experiment that we believe will playing from the start of a structural section, and players help to quantify the e↵ect of catchiness on musical memory. have several seconds to decide whether they know it. While Because we consider catchiness to be long-term rather than players are listening, points are counting down; the faster short-term salience, this design posed some important chal- players recognises the piece, the more points they can win. lenges. First, we needed to be able to work with well-known recordings of well-known music in order to capture frag- 2.2 Verification Task ments that have in fact remained in participants’ memories In a controlled laboratory environment, it might be justi- for potentially long periods of time. Individual listening fiable to trust subjects to be honest in claiming to have histories vary widely, however, and thus this constraint also recognised a piece of music. In a competitive game environ- entailed the ability to use quite a large set of musical stimuli, ment, it is not. We needed a task to verify that players have on the order of 1000 or more. Moreover, listening histor- truly recognised the music at the moments they claim so. ies vary with respect not only to what music participants Most music trivia games, e.g., SongPop, 1 would ask play- have heard before but also to how well they know particular ers to identify the title, composer, artist, or year of release, pieces; as such, in order to obtain reliable statistics, we but this type of question would cause serious problems for also needed to be able to support a much larger number the scientific goals of Hooked.
Load more

Recommended publications
  • ICMPC11 Schedule at a Glan
    Upadted 7/9/10 SCHEDULE AT A GLANCE 8/23-27/10 MONDAY 8/23 REGISTRATION REGISTRATION - Kane Hall Lobby REGISTRATION - Kane Hall Lobby REGISTRATION - Kane Hall Lobby REGISTRATION - Kane Hall Lobby REGISTRATION - Kane Hall Lobby REGISTRATION - Kane Hall Lobby 8:00-9:00AM Kane 130 Kane 110 Gowen 301 Smith 120 KANE - Walker Ames Room Session Rooms Gowen 201 WELCOME/KEYNOTE ADDRESS: Welcome and Opening Singing: when it hurts, when it helps, Keynote 9-10:30AM and when it changes brains. Gottfried Schlaug BREAK: 10:30-11:00AM Break Break Break Break Break Break INVITED SYMPOSIUM: SESSION 1 Effects of Musical Experience on Development During MUSIC THERAPY 1 SOCIAL PSYCHOLOGY 1 TONAL PERCEPTION 1 11-12:30 Infancy Laurel Trainor PA 021 Modeling Musical Structure from the Audience: Emergent PA027 The Effect of Structure and Rate Variation on Key-Finding SYM31:Beat Induction as a Fundamental Musical Skill PA 025 A Theory of Music and Sadness: A Role for Prolactin? 11:00 Rhythmic Models from Spontaneous Vocalizations in Samba Culture Morwaread Farbood, Gary Marcus, Panayotis Mavromatis, David Henkjan Honing David Huron Luiz Naveda, Fabien Gouyon, Marc Leman Poeppel SYM32: New Perspectives on Consonance and Dissonance PA 018 Improvisational Psychodynamic Music Therapy for PA110 Influences of Minority Status and Social Identity on the PA057 Common and Rare Musical Keys Are Absolutely Different: 11:30 Judy Plantinga, Sandra E. Trehub Depression: Randomized Controlled Trial Elaboration of Unfamiliar Music by Adolescents Implicit Absolute Pitch, Exposure
    [Show full text]
  • 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.
    [Show full text]
  • Pad and Sad: Two Awareness-Weighted Rhythmic Similarity Distances
    PAD AND SAD: TWO AWARENESS-WEIGHTED RHYTHMIC SIMILARITY DISTANCES Daniel Gomez-Mar´ ´ın Sergi Jorda` Perfecto Herrera Universitat Pompeu Fabra Universitat Pompeu Fabra Universitat Pompeu Fabra [email protected] [email protected] [email protected] ABSTRACT ties and shorter time-scales to determine similarity. In this paper we address the above-mentioned gap and propose Measuring rhythm similarity is relevant for the analysis two rhythm similarity distances that refine those currently and generation of music. Existing similarity metrics tend available (and probably rougher than desirable). The pro- to consider our perception of rhythms as being in time posed distances have been derived from music cognition without discriminating the importance of some regions knowledge and have been tuned using experiments involv- over others. In a previously reported experiment we ob- ing human listeners. We additionally show that they can served that measures of similarity may differ given the be adapted to work (at least) in a music-loop collection presence or absence of a pulse inducing sound and the im- organization context, where music creators want to orga- portance of those measures is not constant along the pat- nize their building blocks in rhythm-contrasting or rhythm tern. These results are now reinterpreted by refining the flowing ways where similarity would provide the criterion previously proposed metrics. We consider that the percep- for such concatenation of elements. tual contribution of each beat to the measured similarity Previous work has used rhythmic descriptors, computed is non-homogeneous but might indeed depend on the tem- from audio signals, to analyze song databases.
    [Show full text]
  • Honing Def.Indd
    UvA-DARE (Digital Academic Repository) The illiterate listener on music cognition, musicality and methodology Honing, H. DOI 10.26530/OAPEN_480090 Publication date 2011 Document Version Final published version Link to publication Citation for published version (APA): Honing, H. (2011). The illiterate listener: on music cognition, musicality and methodology. Vossiuspers UvA. https://doi.org/10.26530/OAPEN_480090 General rights It is not permitted to download or to forward/distribute the text or part of it without the consent of the author(s) and/or copyright holder(s), other than for strictly personal, individual use, unless the work is under an open content license (like Creative Commons). Disclaimer/Complaints regulations If you believe that digital publication of certain material infringes any of your rights or (privacy) interests, please let the Library know, stating your reasons. In case of a legitimate complaint, the Library will make the material inaccessible and/or remove it from the website. Please Ask the Library: https://uba.uva.nl/en/contact, or a letter to: Library of the University of Amsterdam, Secretariat, Singel 425, 1012 WP Amsterdam, The Netherlands. You will be contacted as soon as possible. UvA-DARE is a service provided by the library of the University of Amsterdam (https://dare.uva.nl) Download date:01 Oct 2021 henkjan honing The Illiterate Lisener On Music Cognition, Musicality and Methodology The Illiterate Listener The Illiterate Listener On Music Cognition, Musicality and Methodology Henkjan Honing Vossiuspers UvA is an imprint of Amsterdam University Press. This edition is established under the auspices of the Universiteit van Amsterdam. Cover design: Geert de Koning, Ten Post Lay-out: JAPES, Amsterdam English translation by Jonathan Reeder ISBN e-ISBN © Henkjan Honing/Vossiuspers UvA, Amsterdam, All rights reserved.
    [Show full text]
  • Music and Language Comprehension in the Brain
    Music and Language Comprehension in the Brain © Richard Kunert 2017 Cover design: Jorrit Kiel ISBN 978-90-76203-79-9 Printed and bound by Ipskamp Drukkers b.v. The research reported in this thesis was supported by a PhD grant by the Max Planck society (Max-Planck-Gesellschaft) awarded to Richard Kunert and a Spinoza Prize by the Dutch science organization (Nederlandse Organisatie voor Wetenschappelijk Onderzoek) awarded to Peter Hagoort. Music and Language Comprehension in the Brain Proefschrift ter verkrijging van de graad van doctor aan de Radboud Universiteit Nijmegen op gezag van de rector magnificus prof. dr. J.H.J.M. van Krieken, volgens besluit van het college van decanen in het openbaar te verdedigen op vrijdag 10 februari 2017 om 12:30 uur precies door Richard Kunert geboren op 3 december 1985 te Halberstadt (Duitsland) Promotor: Prof. Peter Hagoort Copromotor: Dr. Roel M. Willems Manuscriptcommissie: Prof. James McQueen (Radboud Universiteit) Prof. Sonja A. Kotz (Universiteit Maastricht) Prof. Henkjan Honing (Universiteit van Amsterdam) Table of Contents Foreword 7 Chapter 1 Introduction 9 Chapter 2 Language influences music harmony 31 perception: effects of shared syntactic integration resources beyond attention Chapter 3 Music and Language Syntax Interact in 97 Broca’s Area: An fMRI Study Chapter 4 When do Music Harmony and Language 121 Syntax Processing Interact? An MEG Study Chapter 5 Structural processing of music and 139 language: imaging domain-specific neural resources Chapter 6 An independent psychometric evaluation 171 of the PROMS measure of music perception skills Chapter 7 General discussion and conclusions 193 References 203 Samenvatting 219 Zusammenfassung 221 Acknowledgements 223 Curriculum Vitae 227 Publications 229 MPI Series in 231 Psycholinguistics Foreword Foreword Many a days during my PhD I asked myself why on earth I am doing a PhD on music and language.
    [Show full text]
  • Henkjan Honing Interview Switching on the Radio to Listen to Silky-Voiced
    Henkjan Honing interview Switching on the radio to listen to silky-voiced DJs introducing auto-tuned top- 40 music by perfectly preened pop stars with perfume lines or watching tonally challenged innocents with stars in their eyes being led to the slaughter in the cacophonous contemporary TV coliseum that is X Factor, one could be mistaken for thinking that a large percentage of human beings are far from musical. However, according to Henkjan Honing, professor of Cognitive and Computational Musicology at the University of Amsterdam (UvA), we are all musical creatures and this sets humans apart from the other creatures roaming this planet.* Music Cognition is a relatively new field of study, having risen in prominence in the last 20 years. It uses an interdisciplinary approach, combining fields ranging from computer science and psychology to chemistry and medicine, in its quest to understand the cognitive processes that underpin musical behaviour, such as perception, comprehension, memory, attention and performance. Honing gave a highly entertaining presentation in the Glass House of Science and Scholarship on 3 September 2012, an event which saw UvA professors deliver lectures to the general public in the centre of Amsterdam. Spectators were treated to videos of apes playing percussion, parakeets dancing in time to the Backstreet Boys and babies wired up with electrodes so that they resembled tiny Russian cosmonauts (although Honing was quick to assure us they were not harmed or in any discomfort). In this interview, Prof. Honing gives more insight into his innovative research, which has attracted worldwide media attention and explains the science behind man’s innate musicality and how it can be harnessed for the common good.
    [Show full text]
  • 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,
    [Show full text]
  • Border Crossings: a Commentary on Henkjan Honing's "On the Growing Role of Observation, Formalization and Experimental Method in Musicology"
    Empirical Musicology Review Vol. 1, No. 1, 2006 Border Crossings: A Commentary on Henkjan Honing's "On the Growing Role of Observation, Formalization and Experimental Method in Musicology" NICHOLAS COOK Royal Holloway, University of London ABSTRACT: In the early twentieth century systematic musicology, which was based on the comparative method, played a prominent role in the discipline: however it was appropriated by the Nazis and fell out of favour after the war. It was replaced by ethnomusicology and structuralist music theory, both of which emphasized the individual context (cultural or structural) and eschewed comparison between contexts. Both also developed an epistemology based on the generation of meaning through the act of "experiencing and understanding music" (Titon 1997: 87): this epistemology, characteristic of cultural musicology and theory (CMT) in general, is quite distinct from that of the cognitive sciences of music (CSM). The otherwise confusing variety of musicological practices subsumed under the category "systematic musicology", as set out in Honing's article on which this is a commentary, can be usefully seen in terms of two distinct dimensions, those of method and of epistemology. It follows from this that empirical methods are as consistent with, and as potentially valuable to, CMT as they are to CSM, and that EMR has the potential to reach both constituencies. Submitted 2005 November 14; accepted 2005 November 30. KEYWORDS: systematic, musicology, method, epistemology ONE of the good things about a new journal like Empirical Musicology Review is that it stimulates efforts to define, or redefine, the field. In his article "On the growing role of observation, formalization and experimental method in musicology" Henkjan Honing situates "empirical" musicology within the context of "computational" and "cognitive" musicology: these are the three main headings into which his article falls, and he links them to observational, formalized, and experimental approaches to the study of music.
    [Show full text]
  • A Cognitive Approach to Medieval Mode
    Empirical Musicology Review Vol. 5, No. 4, 2010 Hooked on Music Information Retrieval W. BAS DE HAAS [1] Utrecht University FRANS WIERING Utrecht University ABSTRACT: This article provides a reply to „Lure(d) into listening: The potential of cognition-based music information retrieval,‟ in which Henkjan Honing discusses the potential impact of his proposed Listen, Lure & Locate project on Music Information Retrieval (MIR). Honing presents some critical remarks on data-oriented approaches in MIR, which we endorse. To place these remarks in context, we first give a brief overview of the state of the art of MIR research. Then we present a series of arguments that show why purely data-oriented approaches are unlikely to take MIR research and applications to a more advanced level. Next, we propose our view on MIR research, in which the modelling of musical knowledge has a central role. Finally, we elaborate on the ideas in Honing‟s paper from a MIR perspective in this paper and propose some additions to the Listen, Lure & Locate project. Submitted 2010 November 12; accepted 2010 November 17. KEYWORDS: music information retrieval, music cognition, musical data, hook, tagging INTRODUCTION FROM its shady beginnings in the 1960s, Music Information Retrieval (MIR) has evolved into a flourishing “multidisciplinary research endeavor that strives to develop innovative content-based searching schemes, novel interfaces, and evolving networked delivery mechanisms in an effort to make the world‟s vast store of music accessible to all” (Downie, 2004, p. 12). This store is indeed vast, especially in the digital domain. Reportedly, iTunes has over 13,000,000 songs for sale [2].
    [Show full text]
  • “Always Already Technological”: New Views of Music and the Human In
    Loughridge, Deirdre. 2021. “Always “Always Already Technological”: Already Technological”: New Views of Music and the Human in Musicology New Views of Music and the Human in and the Cognitive Sciences.” Music Research Annual 2: 1–22. Musicology and the Cognitive Sciences ISSN 2563-7290 deirdre loughridge ABSTRACT: The relationship between nature and culture has been a traditional battleground for the humanities and the sciences. Now, however, new compatibilities and tensions are emerging between the fields of musicology and music psychology, neuroscience, and cognition, spurred by the incorporation of “technology” into conceptions of “the human.” This essay aims to surface and compare changing assumptions about technology in relation to music and the human across these fields. It surveys musicological attention to technology and how this attention has segued into posthumanist paradigms, and it charts the rise of biotechnological conceptions of human nature in music cognition and neuroscience. It finds that while posthumanist and biotechnological frameworks share the premise of an “always already technological” human, and with that an interest in how biology and culture work together, the fields have drawn different implications from this new vision. Musicology and music sciences may both benefit by taking stock of the shifts in conceptualizing the human in each discipline, reflecting on what discrepancies between them reveal about the benefits and limitations of each perspective, and considering anew the possibilities for dialogue and collaboration. KEYWORDS: music cognition, music and neuroscience, music and technology, musicology, music science, posthumanism, psychology of music, neurohumanities, vocal music DEIRDRE LOUGHRIDGE is an Associate Professor in the Department of Music at Northeastern University.
    [Show full text]
  • The Benefits of Musical Creation: Improving Education and Encouraging Innovation Martin Guerpin, Jonathan Goldman
    The Benefits of Musical Creation: Improving Education and Encouraging Innovation Martin Guerpin, Jonathan Goldman To cite this version: Martin Guerpin, Jonathan Goldman. The Benefits of Musical Creation: Improving Education and Encouraging Innovation. [Research Report] Réseau canadien pour les musiques nouvelles - Canadian New Music Network 2014. halshs-01560789 HAL Id: halshs-01560789 https://halshs.archives-ouvertes.fr/halshs-01560789 Submitted on 12 Jul 2017 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Distributed under a Creative Commons Attribution| 4.0 International License Led by Tim Brady, the Digital Content Initiative (DCI) recently commissioned a research document in order to give academic and scientific support to their arguments as to the value of “specialized” music. This document includes an analysis and bibliography of a wide range of studies that have been published on the importance and benefits of music and creativity. CNMN members are welcome to freely use this document, and these arguments, when helping to support the cause of creative new music in Canada. The Benefits of Musical Creation: Improving Education and Encouraging Innovation Martin Guerpin (Université Paris-Sorbonne/ Université de Montréal/ OICRM) et Jonathan Goldman (Université de Montréal/ OICRM) December 2014 Discussion A number of recent studies (see Bibliography below) have demonstrated the value and benefits which can be generated by initiatives supporting musical creation.
    [Show full text]
  • Semiótica, Semiótica De La Música Y Semiótica Cognitivo- Enactiva De La Música Notas Para Un Manual De Usuario
    Semiótica, semiótica de la música y semiótica cognitivo- enactiva de la música Notas para un manual de usuario. Rubén López Cano [email protected], www.lopezcano.net Escola Superior de Música de Catalunya Rubén López Cano 2007 Los contenidos de este texto están bajo una licencia Creative Commons. Consúltela antes de usarlo. The content on this text is under a Creative Commons license. Consult it before using this article. Cómo citar este artículo: How to cite this article: López Cano, Rubén. 2007. “Semiótica, semiótica de la música y semiótica cognitivo-enactiva de la música. Notas para un manual de usuario”. Texto didáctico (actualizado junio 2007). www.lopezcano.net (Consultado o descargado [día, mes y año]) (Accessed [Day Month Year of access]) Semiótica de la música Rubén López Cano Índice: • Advertencia • Semiótica de la Música • El Signo • ¿Qué es significado en música? • Fundamentos • Saussure y Peirce • Semiótica cognitiva de la música • ¿Semiología o semiótica? • Persuasiones y disuasiones: oferta y problemas de la semiótica de la música • Las ciencias cognitivas • La musicología cognitiva • La cognición enactiva • Como introducirse en el estudio de esto… o Semiótica de la música Algunos autores importantes en el ámbito de la semiótica de la música: Primer encontronazo con la semiótica Introducción a la semiótica general Semiótica de Peirce Semióticas particulares: Eco y Greimas Historia de la semiótica musical Introducción a la semiótica de la música Bibliografia fundamental de algunos maestros de la semiótica musical
    [Show full text]