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M U§TIC ISSN 1022-9299

NEWSLETTER No. 10, October 1996

Contents

Editorial

Celestin Deliege Review of Schoenberg, A. (1) Coherence, 2 Counterpoint, Instrumentation, lnstruction in Form ... (2) The Musical /dea and the Logic, Technique, and Art of its Presentation

Gery d'Ydewalle Review of Evers, F. , Jansma, M., Mak, P. & de Vries, 5 8 . (eds.) Muziekpsychologie: Musica/e ontwickeling, schepping, be/eving, waameming

Nicola Phillips Review of Christensen, E. The Musical Timespace: 8 A Theory of Music Listening

Patrik Juslin, Conference review of 4th International Conference 13 Alison McNeil and on Music Perception and Cognition, Montreal, Matthew Royal Canada, August 1996

Elena Ungeheuer Conference review of 12th Annual Meeting of the 19 German Society for Psychology of Music and 2nd International Symposium of Music Psychology, . Freiburg/Bremen, September 1996

Elizabeth Giai

This is th e last issue of the ESCOM Newsletter in its present form . II is intended The Newsletter is the official communication of the European Society tor the that th e functions of the Newsletter - to present re search and revi ews of books and conferences by members, and to inform members of the activities of ESCOM and of Cognitive Seiences of Music. oth er re lated bodies - will be Iaken over in part by ESCOM's new journ al, Musicae Scientiae , and in part by th e ESCOM World-Wide Web page which is accessible at: Executive Council: (University of Keele, UK) John Sloboda, president (University of Rome "La http://www.mus.cam.ac.uk/ESCOM/ Marta Olivetti-Belardinelli, Sapienza", ltaly) vice-president (University ot Liege, Belgium) This last issue of the Newsletter presents reviews of recently published works by lrene Deliege, permanent secretary (University ot Liege, Belgium) Arnold Schoenberg, of a new book by Eric Christensen, and of the first Dutch Andre Riotte, treasurer (University of Cambridge, UK) textbook (edited by Evers, Jansma, Mak and de Vries) on psychology of mu sic, as lan Cross, Newsletter Editor (Uppsala University, Sweden) weil as reviews of the 4th ICMPC held in Montreal in August 1996 and of the 12th Alt Gabrielsson, organiser ot the next Annual Meeting of the DGM in Freiburg in September 1996. While the review of th e ESCOM Conterence ICMPC implies !hat the different disciplines !hat make up the cognitive sciences of (Chopin Academy of Music, Warsaw, Andrezj Rakowski, member music are beginning to grow ever more close, that of the Freiburg Conference Poland) suggests that deep divergences of method and of ideology are still to be found . We have thus two different views of the state of the evoluti on of our domain of Associate Editors: research ; perhaps in such a broad field it is inevitable !hat such different views will (University of Liege, Belgium) Daisy Bertrand be found. Nevertheless, the different perspectives revealed in these two reviews (University of Cambridge, UK) Alexandra Lamont point up the continuing need for ESCOM to act as a bridge facilitating effective (University of Liege, Belgium) Mare Melen communication and understanding between different disciplines and research traditions in the cognitive sciences of music, and as an umbrella under which these Information about the Society and subscriptions can be obtained trom: different disciplines and traditions ca n grow and interact. We hope that these ESCOM Secretariat aspirations will be continue to be met by Musicae Scientiae and by our pages on 16 Place du Vingt Aout the World-Wide Web. B-4000 Liege We apologise to readers of Elizabeth Giakoumaki's paper in Newsletter 9 (April Belgium 1996) and to the author herseit for a printing mi x- up in the Engli sh version of this paper, and have reprinted the entire article within thi s iss ue. This is the final issue of the ESCOM Newsletter. The World-Wide Web page ot the Societ at http://www.mus.cam.ac.uk/ESCOM/ a~d t~e Journ~l . of the Soc~ety, Music~e Scientiae, will continue to publish contnbut1ons t_hat 1n111ate or contlnue !an Cross Newsletter Editor debate on topics in the field of the cognitive sciences of mus1c. Daisy Bertrand Gontributions to the World-Wide-Web page must be in English and in French; a Alexandra Lamont version in both languages should be submitted. They should not exceed gener~lly Mare Melen word s. They should be submitted by e-ma1l to l an Cross at 2500 Associate Editors ic1 08@ cam.ac.uk.

Information tor contributors to Musicae Scientiae can be tound on page 34 of the Newsletter, or on the World-Wide-Web page. Book Review: Arnold SCHOENBERG: c. Deliege E-3 (1) Coherence, Counterpoint, Instrumentation, lnstruction in Form. Zusammenhang, Kontrapunkt, Instrumentation, Formenlehre) (ZKIF). keen foliower of the activities of the musician. However, Schoenberg's remarks on Severine Netf, ed., trans. by Ch. Cross & S. Neff. University of science are no more sophisticated than tho se of the man in the street: Nebraska Press, Lincoln and London, 1994, lxxii + 135 pp. (2) The Musicalldea and the Logic, Technique, and Art of its "The difference between art and science lies herein: that even where both aim to Presentation. ( Der musikalische Gedanke, und die Logik, Technik, und represent the same area, scie nce must try to include all conceivable cases, whereas art confines it se lf to those that are characteristi c, appropriate, or otherwise 'fitting'. Kunst seiner Darstellung) (MGKD). Patricia Carpenter & Severin Neff While science will therefore have to place every case in the clearest light, art may eds., trans, and Commentary. Columbia University Press, New York, change the relationships of meaning to heighten their effect. While sc ience proceeds 1995, xxiv + 462 pp. toward an all-encompassing and all-explaining goal, through the laying down and ordering of its principles, art will focus on bringing its main points into the Celestin Deliege foreground of attention through its manner of presentation. II science provides facts that it orders according to common principles, art produces images in which facts are freely joined to common principies , so that the sense of what is to be stated can be This review is concerned with two previously unpublished volumes by Schoenberg clearly grasped and at once' (MGKD : 114-15). from the archives of the Schoenberg Institute. 8oth te xts will be of interest to anyone with a serious interest in music. They will be referred to here respectively by "How does one become a man on one's own?", Schoenberg wendered one day; "by their German initials: ZKIF and MGKD. The editions are in both German and English, thinking beyond any reference point", one might misch ievously have suggested. and the editorials are in English. The bilingual sections are laid out on facing pages, Few scientists would be content with such comparative definitions. thus making it easy to compare the vocabulary employed, which may help to clarify problems of terminology !hat previous works only in eilher English or French have The archives of the Arnold Schoenberg Institute contain twelve manuscripts defining not managed to resolve. or developing on the theme of musical thought and its presentation which were drafted between 1917 and 1937, including two undated manuscripts (MGKD : xv­ Historians will find the opportunity for a new approach in understanding the genesis xvi). ln their commentary (ibid.: 1-86), the editors review this collection by of Schoenbergian concepts in these two manuscripts dating from 1917 (ZKIF) and evaluating its relationship with the different perspectives considered by the author 1934-6 (MGKD). The two works can be read in two different ways: the way in his desire to unify music theory. Three appendices outline these manuscripts; the preferred by the editors, which is to arrange the material according to thematic contents of the tenth (transcribed and translated in MGKD) are indexed in their content conforming to the index established by Schoenberg, or according to a order of succession. Figures and musical examples support and clarify the theory. chronological reconstitution which is not only possible but both tempting and easy due to the meticulousness of the author in dating and paginating his manuscripts. Why did Schoenberg write these manuscripts and why did he proceed with so much care and assiduity, when his perspicacity as a composer would appear to have been Psychologists, in approaching these texts, will become aware that Schoenberg, who able to Iead him towards effective teaching activities without the need to follow !hat is ollen reproached for the invention of a system which is unrelated to perception, particular path? II seems likely that the answer lies as much in the domain of logic has often been misrepresented. Perception was, on the contrary, one of his as in that of psychology. The 1917 manuscript (ZKIF) can be seen as a lesson plan obsessions: as a primary concern for him since the time of ZKIF, the issue of written down by the master for his own use, as something !hat he could refer to coherence is related to !hat of comprehensibility. And psychoanalysts, no less than throughout his life. historians, may find it fruitful to reconsider the texts chronologically. We know quite weil that Schoenberg was a tormented man and there is a good chance that the ln 1917 Schoenberg was in Vienna, had just been demobilised, and was preoccupied chronicles of this "involuntary patient" might provide a roundabout route to the with the project of founding the future Private Society of Musical Execution and with discovery of the unconscious origins of some of his works. researching a grammatical system which for him became confounded with a primary concern for coherence relating to both writing and form through counterpoint and Finally, it is teachers, and primarily teachers of musical composition, who should pay variation. He Iook up this manuscript in April, and left it at the stage of a sketch, most attention to these manuscripts, and especially to the writings in MGKD which which, with no aim of publication in mind, may have seemed sufficient for him. When are more developed and comprehensive than Models for Beginners in Garnposition other manuscripts were added to this in the 1930s, the ideas and educational and Fundamentals of Musical Composition. Of course these do not replace these project were virtually unchanged, but new explanations and digressions enriched the works but complement them, especially in clarifying the more obscure issues - context. meaning those which primarily concern the author's motivations. One comment which might be made by scholars of Schoenberg's writings is !hat So who might not gain anything from reading these texts? Perhaps scientists. there is nothing truly new in these materials in comparison with what we already Schoenberg seemed to delight in moving in scholarly circles; a photograph shows know from reading previously published te xts by Schoenberg. This can be countered him with Einstein at Carnegie Hall in 1934 (MGKD, full page plate), and we know straight away by noting th at the 1917 manuscript enables us, through its 75 pages, from Willgenstein that amongst the members of the Wienerkries he hirnself was a to follow the process of generation of ideas and that often the calendar of the most fundamental propositions appears as a sequence of implications, each of which can be explained by th e preceding one or Ieads to th e following one. The works known E-4 c. Deliege Book Review: Muziekpsychologie: Musica/e ontwickeling, schepping, beleving, waarneming F. Evers, M. Jansma, P. Mak & 8. de Vries (eds}, to date extend the oral pedagogy of the master; the bringing to light of these van Gorcum/Koninklijk Conservatorium: The Hague. 1994, pp 293-312 manuscripts, due to Severine Nelf and Patricia Carpenter, gives us access to the (ISBN 90 232 2879 0) methodology wh il st complementing the more familiar material. Gery d'Ydewalle The 200 pages of the 1934-6 manuscript, viewed from a time in which composition Department of Psychology, Leuven University lessons have a tendency to be reduced to trivial discussions of drall scores, serve as a reminder of how, if interpreted by a particular strategy, they could fulfil a function Muziekpsychologie: Musikale ontwickeling, schepping, beleving, waarneming [Music that is today highly desirable. in my opinion an intel li gent application of this psychology: Musical development, creation, experience, perception] is a large book, manuscript, which seems to me to be the best treatise of composition conceived to about 340 pages in unusually small print, including a compact disc. lt involves date, provides a means of recreating a pedagogy which is itself coherent and contributions from 17 authors, mainly from Europe (8 from the Netherlands, 5 trom diversified. Without a doubt, Schoenberg's theoretical thought remains linked to the United Kingdom, 1 from Poland, 1 from ltaly, 1 from Germany) and one trom outside logic of classical music, but this is not to imply pastiche. Invention is never an Europe (from Argentina). One wonde rs why such a book has been published in object of learning; if it were otherwise, it would be ruined immediately. Yet Dutch, which necessarily Iimits the circulation of the book due to this rather small coherence, logic, the techniques of writing and orchestration still call for schooling language community. However, the primary goal of the book is to reach the and transition through the model. As the ed itors note at the conclusion of their le cturers and students at music schools in the Netherlands. ln fact, the book commentary: developed from an initiative in the 1980s by the Deputy Director of the Royal Music Conservatory in Den Hague who wished to make the research Iiterature from various "Schoenberg believed that the artist's gilt cou ld not be taughl. Nevertheless, in this scientific disciplines available to this audience. Considering the nature of this manuscript, with his delineation of the organic nature of the musical work he provides audience, the choice of language is perfectly understandable. I do congratulate the a basis for the construction of a viable work, for the relalion of functional parts publisher for having accepted the risk of publishing such a large book for a rather within the whole, and for the derivation of its unity from an inner necessity, a 'life limited number of readers. Several chapters were obviously written in another principle'" (ibid .: 73). language, and I found the Iransialions excellent. As I found th e book of high quality Several well-known concepts in Schoenberg's thought find here a useful clarification: (excepting a Iew critical comments, see below), it is on ly hoped that an English thus, Grundgestalt versus Motif, the first relates to the construction of the phrase, version will be made available in the near future so that more readers can benefit the second to thematic structure; Gestalt versus Phrase (MGKD: 168-71 ). Analher from this major publication enterprise. issue is the necessity of recourse to constant variation, which perhaps Webern alone out of the members of the Viennese School made perceptible without swamping it; As stated by the editors (F . Evers, M. Jansma, P. Mak, and B. De Vries, al l from the he perfectly understood that the idea of constantly developing variation originated Netherlands) in the preface, the book aims to achieve four subgoals: (1) to acquaint with Schoenberg from its opposite, an obsession with repetition. The source of the readers with the most recent developments in the field of music perception and coherence for Schoenberg is delinitely there, but as much as he wanted to have it cognition research; (2) to provide a Iiterature database, allowing lecturers and he still distrusted it; without variation, repetition could only be a sterile element: students to have access to new developments; (3) to develop course materials which are then available for music education; and finally (4) to publish introductory "One may say: coherence is based on repetition, inasmuch as parts of A recur in 8, C, surveys from various approaches and disciplines written by national and international etc. And: experts. Coherence comes into being when parts that are somewhat the same, somewhat different, are connected so thatthose parts that are the same become prominent. The introductory pages by Konrad Boehmer give a valu able summary of the several Cantrast (relational) is likewise based on coherence, in sofar as the sa me parts as contributions which I will also summarise here to give a flavour of the content of the mentioned above are connected so thatthe unlike parts predominanlly attract attention . book. The book is divided into four main sections: musical development, aptitude, Change and varia tion are based on repetition, insofar as several of the like parts as weil as several of the dissimilar parts become discernible. and le arning; creation of music; socio-cultural and emotional dimensions in the Development is one such succession of related ideas, in wh ich disparate parts that are musical experience; and the perception of music. ln the first section, Hargreaves initially subordinate in importance gradually become the principal ideas. (ZKIF: 20· proposes several distinctive stages of musical (or more generally, artistic) 23) development in children with their implications for the educational practice. Although the chapter is informative and weil written, it is, at Iimes, highly speculative and not Translated into English by Alexandra Lamont tightly based on sulficient empirical bases. Thereafter, Sloboda defends his wel l­ known thesis on the importance of motivation, sustained practice and other external factors to explain music achievements, beyond the doubtful issue of innate talents. Considering his excellent and detailed research in this field, I found it rather a pity that the chapter remains at the Ievei of generalities. Miklaszewski focuses on learning processes themselves. Unfortunately, he starts with a rather outd ated E- 6 G. d'Ydewalle G. d'Ydewalle E- 7 definition of learning as a more or less permanent change in behavi our whi ch occurs section closes with a chapter by Evers on syn aesth eti c se nsations, focusing on th e as a resu lt of practice. He does not Iake into account rece nt prog ress in cognitive sensory fu sion of music perception and colour. psychology and information processing model s, giving a much more articulated view on the process involved in learning. He makes a useful distinction between three ln conclusion, I found the book excellent but as usual the quality varies from chapter domains of music learning: "audition" (i.e. nonverbal and emotional processing of to chapter. Some chapters are highly speculative, whilst other chapters are based on acoustic information), music literacy, and mu sic performance. Some interesting hardcore empirical evidence. The book is intended to be read and studied by our empirical studies are described, but I was rather surprised not to see references to students in music schools, but I fear that some chapters will be too demanding. some better known "classic" studies (e.g. Kramer). From an educational perspective, Tafuri highlights the complicated interaction between children's performance, the educational practice and the teaching goals.

ln Section 2, Mak and Jansma explore several ways to provide analytic means in unravelling the processes involved in composition and improvisation. One of these is to rely on verbal reports from composers. ln the introduction to the book, Boehmer expresses strong doubts about the value of such verbal reports. I do not share this opinion. Analysing verbal reports can give us useful clues. 01 course, composers are ollen unaware of the processes involved in their composing activities. Nevertheless, their conscious experiences, accumulated over several years of composing practice, may reveal some of the problems they are facing, suggesting underlying unconscious ongoing mental activities. Clarke successfully applies generative theories to explain expression in music performance. This chapter contains good descriptions of some empirical studies in support of generative theories. The chapter by Widlund is almost a clinical one, providing useful suggestions concerning how to overcome performance anxiety, tension and stress. She also points to the positive effects of those negative emotional factors. ln the education of improvisation, Hemsy de Gainza strongly emphasises the developmental aspects, distinguishing three stages: the syncretic (i.e. the encoding of music sensation), analytic (the differentiation into music components), and finally synthetic stages. She encourages educators not to dissociate the learning of improvisation skills from general music training.

Section 3 starts with a chapter by Heins on music in its cultural context. This chapter may almost be considered as an introduction to the other chapters in the section. The author's main thesis is that music belongs to a collective, societal setting rather than to individual aesthetic assessment. Logically, there follows a chapter by Mayer on music sociology, defining the discipline and exemplifying the functional and structural relationships in society as expressed in music. Jansma and de Vries analyse from a more psychological viewpoint how emotions are related to characteristics of music, and how those characteristics are able to generate emotions. The authors focus more directly on the emotions of listeners than on the emotions of music performers, acknowledging that research on the emotions of music performers is scarce, if not non-existent. The empirical research in the chapter is weil presented, to the point, and easy to follow. Bunt describes how in pre-modern Iimes music has been sometimes used as a therapeutic tool. He then introduces and defines modern music therapy, providing a single case as an example.

I found the last section of the book on the perception of music outstanding. The chapters, from psychoacoustics (Van Dijk), perception and production of rhythm (Povel), and perception of melody and harmony (Cross), are extremely weil written but at Iimes hard to follow. Their style is more in line with chapters in a handbook than with chapters in an introductory textbook such as this book aims to be . The Book Review: E. Christensen (1996) The Musical Timespace: A Theor'y N. Ph illips E-9 of Music Listening. Aalborg: Aalborg University Press perception, pulse and movement perception, and intensity perception are thoroughly Nicola Phillips inadequate. The most conspicuou s deficit in this regard is the Iack of detailed Faculty of Music, Cambridge University reference to and examples from the cognitive-scientific literature. Speculative contentions are frequently presented as fact, with neither acknowledgement of the Erik Christensen's The Musical Timespace: A Theory of Music Listening is a briet Iiterature nor of the multifarious issues pertinent to discussion of each perceptual work, presented in two volumes (the first introducing a theory of music li stening, phenomenon. For example, Christensen states th at, "Distinct pitch height is a the second th e associated music examples), dealing with a topic that may attract prominent feature in the art music of Europe and the We ste rn World. Consequently, th e interest of cognitive psychologists, mu sicologists and keen music listeners alike. pitch height is often considered the basic element in music and music perception, The th eory is written with the express aim of answering lngmar Bengtsson's but as a matter of fact, it is not. Timbre is the substance of music, and pitch height question, "What kind of theory will you apply to this (contemporary] music?" (p.B), is an aspect of timbre." (p . 16) without any reference to the cognitive sc ientific and in doing this, Christensen claims that the book seeks to "illuminate connections Iiterature in support of this bald assertion between music theory and the findings of research in music psychology." (p.B) Observing that, "There is a gap between classical music th eory and the theories of Christensen develops his discussion of "listening dimensions" with an account of contemporary music," Christensen boldly states his "intention to contribute to the what he calls "secondary" listening dimensions. These dimensions are melody, closing of that gap." (p.B) Following this ambitious preface, the contents page rhythm , and harmony, constituting subdivisions which "arise from the interactions of promises discussion of diverse issues, ranging from: "lntensity, the arousal of basic dimensions." (p.21) He asserts that melody is the spatial aspect of attention," (p.11) and "Pitch height is an aspect of timbre" (16) to "Fiow, expansion movement, rhythm the temporal correlate of movement, while harmony is an and emotion" (p .130), and "Ludwig van Beethoven: Eroica (1804) -- A symphonic "e mergent" quality, "a ri sing between the source-specific quality of timbre and the fairy tale" (p.11 0). For the musicalogist or avid music- li stener, th e Ii st of works focusing qualities of several pitches." A ninth listening dimension "micromodulation" analysed is impressive bait: Xenakis' Metastasis and Pithoprakta, Ligeti 's Apparitions, is characterised as arising "from the interaction between timbre and pulsation." Atmospheres, Confinuum and the 2nd String Quartet, lves' The Unanswered (p .144) According to Christensen, "Micromodulation conveys musical expression" Question and Centrat Park in the Dark, Schoenberg's Summer Morning by a Lake (p .14 7; this statement is made without discussion of the complex topic of (Co/ors), Lutoslawski's Livre pour orchestre, Langgaard's The Music of the Spheres perception and cognition of emotion in music). A major pitfall with Christensen's and Train Moving Away, Reich's Music for 18 Musicians, Nielsen's Jans Vejamd, characterisation of the listening dimensions is that the simplistic descriptions of Messiaen's The Abyss of the Birds from Quar1et for the End of Time, N0rgard's temporal and "spatial" aspects of music perception and cog nition are vague and Second Symphony, Beethoven's Eroica, Pink Floyd's Set the Cantrots for the Heart insufficiently informed by research findings in cognitive science to allow empirical of the Sun and Coleman Hawkins's Body and Soul. testing of Christensen's assertions.

Christensen presents a theory of music listening that is predicated on ecological Armed with characterisations of the "listening dimensions" , Christensen introduces precepts. lt re lies upon the assumption that "Hearing is not designed for music his centrar concept, th at of the "musical timespace", a "virtual" space. The mu sica l li stening. Hearing is designed for survival in a natural environment."(p .1 0) ln works discussed are conceived as originators of this "virtual space". According to adopting this ecological perspective (somewhat reminiscent of Shepard's (1981) Christensen, "Mu sic does not "unfold in time." Music cre ates time." (p .48) This theory of "psychophysical complementarity"), Christensen argues that hea ring (as it concept simply enables Christense n to describe his own experience of the works is employed in music listening) may be described in terms of "li stening dimensions" analysed in terms of his intuitive understanding of the "time" they create. As with that are determined by the needs of interpreting the physical natu re of th e sound. Christensen's discussion of the basic and the secondary li stening dimensions, th e He posits that there are live li stening dimensions, which he identifies as intensity, microtemporal and the macrotemporal, the discussion of the "musical timespace" is timbre, space, movement, and pulse. Th ese are embedded in a !wo-dimensional in sufficiently founded in re search in music perception and cognition, philosophy or model, which segreg ates "macrotemporal" and "microtemporal" listening dimensions. musicology to provide a convin cing argument. Citation to support hi s more According to Christensen, timbre and pitch height space are microtemporal; pulse speculative assertions and introspections might not make Christensen's account and movement are macrotempora l, while intensity is "placed in th e center of the more credible for the cog nitive psychologist or musicologist, but at it would enable model .. . the core of all listening dimensions. Understood as a physical phenomenon, the reader more re adily to understand the source or rationale of his co nvictions. the natural continuum of sound is nothing but a continuum of energy spectra of variable intensity distribution, which can be measured as air pressure varying in With th e notion of "virtual timespace" (p.40), Christensen's theory is arguably too time." (p.21) indulgent in its reception and promotion of th e intuitive/introspective theories generated by composers' accounts of th ei r compositional practice. One particularly Christensen describes perceptual thresholds for each listening dimension (see pag e damaging oversight in this regard is the Iaiiure to cons ider th e influence of id eology 20), however this is without satisfactory reference or discussion of th e problems of in compositional practice. Christensen appears to conclud e th at compositiona l establishing such absolute thresholds. Apart from these meagre qualifications th eo ry equals compositional practice, and that arti stic practice and introspective provided in th e early section of the account, his accounts of pitch perception, timbre rationalisation of practice by compose rs correlate in a necessary and fund amental way with perceptual and cognitive processes. Discussion of th e relationship between th e products of introspection in li stening and pe rception and cognition may E- 10 N. Phillips N. Phillips E-11 have yielded a st imulating debate. Ch ri stensen appears neither to recognise the questions of why and how this is heard . Christensen's method and theory is problems involved in extrapolating a general musical analysis or lheo ry of music incapable of explicitly describing experience of such "subjective" phe nomena as the listening from introspective rationalisation of personal listening experience, nor to organisation of intens ity, pitch, rhythm and timbre in the works discussed. Similar acknowledge the melhodological significance in lhis reg ard of the cognitive attempts to formulate an analytical method capable of investigating musica l psychology/folk psychology dichotomy. This flaw undermines the entire bas is for structures in terms of what may be heard in music listening have been attempted. Christensen's theory. Pascal! (1996) has produced a "pattern-matching" model of analysis which aims to elucidate the "hearable in music", rather than the "heard". Based in a synthesis of The analyses of musical works refer to specific recordings, and timings of recordings findings from research into music perception and cognition and analytical theory, are used for reference, rather than detailed musical examples in score formal. Pascall's theory provides a more persuasive account of music listening than Whilst this practice enables Christensen to indicate with accuracy the moments in Christensen's. Pascall's is a theory of music analysis based in music listening that the "musical timespace" which he is discussing in his analyses, it is unhelpful if the contributes to closing of the gap between music theory and music psychology, reader is unable to acquire these recordings. Additionally, in discussing at some thanks to integration of ideas from music theory with research findings in pattern length the timbral qualities exhibited in specific performances, Christensen is perception in music listening. The strength of Pascall's account is the integration of entering into a practice which he neither acknowledges nor appears aware of. the theoretical model and analytical method, a synthesis !hat Christensen fails to Christensen's descriptive, introspective accounts of the works analysed amounts to achieve. performance analysis. Especially when one is using specific performances alone to produce an analysis, and when considerable emphasis is placed on such subjectively­ Christensen's theory is undermined at its foundations . First, Christensen fails to determined perceptual phenomena as timbre, then the ideological aspects of integrale his theory of music listening and his music analyses persuasively, resulting performance analysis should be discussed. Christensen's work is by no means the in tendentiously linked theoretical and analytical material. Rather than closing the first to undertake performance analysis (see, e.g ., Cook, 1996), and the Iack of gaps between music theory and music psychology, contemporary music theory and reference to other accounts which have attempted to unite theories of music classical music theory, Christensen forges the gaps anew. As Lydia Goehr describes psychology and of analysis is another major oversight. As Christensen, in working the problem, "a basic tension in analysis regards the chasm it threatens to force with specific recordings, is conducting performance analysis, 1 it is appropriate that between philosophical theory and practice (p. 69). Inslead of addressing the the ideology surrounding performance analysis, the problems and the advantages problern of unifying theories of music and of music listening, Christensen neglects should be discussed. discussion of the considerable musicological (Cook, 1994), philosophical (Goehr, 1992) and music-psychological (Ciarke, 1989) Iiterature regarding the gaps he Christensen's music analyses consist of descriptive, chronological catalogues of describes in his preface. instrumental entries and effects, and perceived divisions during the "m usical timespace" of each piece. in view of the nature this analytical method, detailed Following the fulsome promises of its opening, the book is an anti-climax. For the consideration of the work of Bregman (1990) and others in the field of auditory music psychologist, the proliferation of speculative statements claiming scene analysis would be informative for the reader; however no such reference is psychological-scientific insight (in the absence of citation) is likely to become made .2 This produces a theory of music listening which, in its attempt to relate infuriating. Many issues of central importance to discussion of music perception and music theory to ecological perspectives, implies !hat perception of rhythm, melody cognition are thrown up by Christensen's discussion, only to be ignored or skirted and harmony is insignificant in a listener's experience of the "musical timespace". araund as though there were no debate and answers too obvious too mention. For Even if one does accept Christensen's assertion !hat in purely physical terms, the the musicologist, the agenda of canon-formation will be apparent in Christensen's perception of pitch is nothing more complex than variety of timbre, then one could rhapsodic description of many of the works (see, for example the discussion of claim that in terms of perception and cognition (!hat is to say, in terms of the Ligeti's Atmospheres, p.86, or of Schoenberg's Summer Morning by a Lake (Calors), listening processes adopted by the average listener brought up in weslern culture p. 87). For the music analyst, the production of a series of loosely connected, who is likely to be exposed to the works Christensen analyses), the perception of "closed" analyses, based in descriptions of unfolding timbre may seem a somewhat pitch, harmony and rhythm within the context of possession of theoretical shallow and naive attempt to formulate a theory for analysis of contemporary music understanding gained through varying degrees of formal training in and exposure to, based in music listening. music, are too important tobe neglected in this way. The music listener without formal music training may find the theory easy to read Additionally, Christensen does not deal with the philosophical issues involved in the and grasp, for it is indeed very concisely formulated and, at the surface, simply development of a theory of music based in mu sic listening. Cultural factors and the presented (it is only when one asks questions about the Christensen's speculations interaction of conceptually-driven and data-driven processing are not addressed. !hat the incredible vagueness of the theory becomes apparent) and may find th at it Christensen recommends the reader should Iisten to each of the pieces he describes helps their understanding of the mu sic discussed, in which case it has performed an at least seven Iimes. lt is almost as though he says, "Listen to these pieces alten evangelical function. However, it does little to advance our understanding of enough, read what I say, and eventually you too will hear what I hear." This method perception and cognition of contemporary music. This book is recommended for may be fruitful in guiding the novice listener, but it merely supplies a personal anyone seeking readily accessible analyses of contemporary music to re ad while account of what Christensen hears, with little insight into the more stimulating listening or for the twentieth-century music fan. The musicalogist or cognitive E- 12 N. Phillips Conference Review: Fourth International Conference on Music Perception and Cognition (ICMPC), McGill University, Montreal, Canada, psychelog ist may find thi s book infuriating in its re peated Iaiiure to address th e 11 -15 August 1996 questions clearly posed by its asserti ons about music li stening. The Fourth International Conference on Music Perception and Cognition in Montreal comprised a varied but integrated set of presentations and posters on music References perception and cognition, psychoacoustics, rnu sic performance, musical Bregman, A.S. (1990) Auditorv Scene Analysis Cambridge, MA: MIT Press development, music modelling, music analysis, neuropsychology, psychomusicology Clarke, E.F. (1989) 'Mind the gap: formal structures and psychological processes in music' and music sociology. The Conference was distinguished by the ease with which ln Contemporary Music Review, 3, pp.1-13 participants working in different research areas communicated with each other, Cook, N. (1994) ln R. Ai ello and J. Sloboda (Eds.), Musical Perce ptions Oxlord: Oxford leading to the conclusion !hat a unified field of research is beginning to emerge. University Press Cook, N. (1996, forthcoming) 'Analysing performance, and performing analysis'. ln N. Cook and M. Everist {eds .), Rethinking Music Oxlord: Glarendon Press ln a briet review it is impossible to do justice to the range and the quality of the Goehr, L. (1992) The lmaginary Museum of Musical Works Oxford: Glarendon Press presentations; accordingly, "snapshots" of th e Conference by three young Krumhansl, C.L . (1990) The Cognitive Foundations of Musical Pitch Oxford : Oxlord researchers are presented below in order to give a flavour of the work !hat was University Press presented and of the quality of the research reported. (Details of the availability McAdams, S. and Bigand, E. (1993) Thinking in Sound - The Cognitive Psychology of Human and price of the complete Conference Proceedings (on CO-ROM) can be obtained by Audition Oxford: Glarendon e-mailing [email protected]). Pascall, R. (1996) Paper presented at Graduale Research Seminar, University of Garnbridge Shepard , R.N. (1981) 'Psychophysical Complementarity' ln M. Kubovy and J.R. Pomerantz {eds.), Perceptual Organization Hillsdale, N.J. : Erlbaum. pp. 279-341 The last decade has seen a steady increase of interest in the important albeil notoriously difficult issue concerning music and emotion. The Fourth ICMPC in Montreal featured several noteworthy contributions, in particular during the session 1 This methodological deviation occurs in spite of the fact that Christensen was aiming to delineate a theory of music listening based in "listening of contemporary music" {p .8), on "expression and emotion". which has inadvertently been diverted in its early stages to a theory of music listening based in compositional theory. First, Emory Schubert presented his Two Dimensional Emotion Space (2DES), a 2 There appears to be an almest wilful avoidance of the most appropriate texts for computer program for continuous registration of a listener's perception of the discussion; for example, in discussion of pitch perception, discussion of the work of emotional expression in music or other stimuli (apparently, a similar device has been Krumhansl (1990) appears imperative. ln discussion of auditory stream segregation, the developed by Clifford Madsen). Based on the two emotion dimensions, arousal and most appropriate reference volume must surely be Bregman (1990), but no such reference valence, found in multidimensional studies of emotion similarity by James Ausseil and is made. Christensen apparently prefers to rely upon the summaries of relevant topics in music perception and cognition provided by, for example , McAdams and Bigand (1993), others, the 2DES allows a listener to indicate his or her real time judgements of the rather than rigorously investigating the primary reference literature. emotional expression directly onto the !wo-dimensional emotion space. The device was criticised on the grounds !hat a quick change in the listener's perception of the expression only can be registered as a gradual move through a number of intermediate points, and not as a move directly from one point to another. Nonetheless, it seems !hat this innovative tool can turn out to be highly useful in the exploration of musical experience, especially if combined with physiological measurements of emotional reactions.

Tobey and Fujinaga presented a conductor-following software system for use in live interactive performance and in the training of student conductors. Continuous extraction of data from the conductor's baton is used to interpret the conductor's expressive intentions. This allows the system to effect real-time control over such musical parameters as tempo, dynamics, and articulation. While it is arguably the case !hat conducting involves more than merely arm movements, this system represents a fascinating attempt to digitise musical expression.

Commenting on the previous Iack of studies con cerned with how singers express emotions in pertormance, Ohgushi and Hattori reported a study in which three singers were instructed to perform a piece of music so as to convey four basic emotions ("sorrow", "joy", "anger", and "fear") or a "neutral" expression to E- 14 P. Juslin, A. McNeil, M. Royal P. Juslin, A. McNeil, M. Royal E- 15 li steners. ln the foll ow in g ex perim ents, it was revealed !hat recognition of th e ln th e isol ation task, two Iones were presented where th e second tone co uld differ emoti onal expression was best when subj ects were provi ded wi th both audio and in pitch and/or timbre, the Fo remaining the same or being altered so as to be 17, vid eo rec ordings of the performances. However, the video recordings were 35, or 52 cents higher than the first tone presented. Subjects were required to surprisingly more influenti al th an the audio reco rdings on th e li steners' judgements indicate whether the second tone was the same as or different from the first, of th e expre ssion. Performance measurements are also in progress, and th e results making judgements on pitch perception only. ln the melodic context, the Fo and trom these will be presented at the joint meeting of ASA and ASJ in Hawaii, 2-6 timbre of the last tone were altered as in the isolated context. The results indicate December 1996. This wi ll allow for some interesting cross-cu ltural camparisans with that in isolation, timbre influences pitch perception; in the context of a melody, this the results from earlier studies of emotional communication in music performance. interaction is not significant. Subjects were non musicians.

Same charming sound examples were given in the paper by Adachi and Trehub. The study continued by exploring the importance of reference pitch points within a Children, 8-10 years old, were instructed to sing simple melodies (e .g., "Twinkle, melody and the application of Iang-term memory traces. Warrier and Zatorre found Twinkle, Little Star", "The Alphabet Song") to make the experimenter "sad" or that when a pitch is a part of melodic context, or a familiar tune, subjects' ability to "happy". Gestural, vocal, linguistic, and musical attributes of their performances identify pitch was unaffected by timbre. However, in isolation, with no point of were coded from video and audio recordings. lt was found !hat the children's reference or memory trace, timbre differences eclipsed pitch perception. expressive devices included manipulations of facial expressions, eye/head positions, body posture, tempo, rhythm, and articulation. Good singers differed from ordinary Warrier and Zatorre assert that spectral elements of timbre can affect pitch singers in their use of subtle gestures, such as breathiness. perception, yet do not derive from their findings any practical implications for the realm of 'real' music and real musicians. Potentially, their study has great This is just a sample of the papers on music and emotion. However, all of these ramifications for applied musical training, particularly in respect of the design of papers testify to the importance of music as a means of emotional expression and aural assessment for performing musicians. II , in isolation, timbre does dominate communication. pitch perception, then one must consider the implications for the assessment of aural ability of using a piano - the usual procedure - to present aural stimuli; indeed Patrik N. Juslin one must examine the whole concept of presenting lsolated melodies for the Department of Psychology purpose of the aural assessment of performing musicians. Uppsala University Sweden However, various issues need to be researched further before these results can be appli ed . Firstly, Warrier and Zatorre used non-musicians as subjects; a study comprising both musicians and non-musicians would be likely to yield much more The distribution between sessions of posters and papers concerned with the reliable conclusions about the consequences of timbre differences and pitch significance of listening skills for the performing musician - my own special area of perception for musicians (perhaps using performers, and composers, for example, as interest - was diverse yet pleasingly integrated. lt can be argued that not since the comparison groups). Secondly, the stimu li used were synthesised Iones, enabling Iimes in which Helmholtz was writing have psychologists, musicians, educationalists, easy manipulation of the harmonics within a given tone; however, musicians, physicists, acousticians, and physiologists exhibited so much ability to communicate particularly 'traditional' performing musicians, operate with 'real' timbres of with each other in a common language. At previous events of this type it has acoustical instruments, not primarily with synthetic Iones. Utilising the timbre of a seemed that ideas to be communicated have been presented in forms that are too variety of real acoustical instruments could produce some interesting results for widely disparate; this conference has greatly advanced the project of uniting our comparison. Thirdly, as this study examined the relation between pitch and spectral understanding of music gained from these scientific domains. elements of timbre perhaps we need a broader context in order to determine these effects in the 'real' world of music. Warrier and Zatorre's paper, entitled 'The Effect of Melodie Gontext on lnteractions Between Pitch and Timbre', was delivered with zeal and charisma; the audience much Throughout this century, aural skills have been assumed to be pertinent to a amused by the presentation of experimental stimuli. Based upon the interaction of musicians' training. The assessment of performance ability, musicality, and pitch and timbre within differing contexts, Warrier and Zatorre extend the research musicianship all incorporate tests to assess aural ability through an oral response to of Se mal and Demany (1991) and of Singh and Hirsh (1992). The dependence of aural stimuli. ln particular, aural acuity has been, and is, an expected part of a pitch perception upon timbre was examined using the presentation of two ISI Iones performer's ability, demonstrated through the variety of aural tests present in the in isolation, and in the context of a familiar melody. Three timbres were presented assessment of performing musicians. A timely study that touched on central issues created by varying the relative intensities of 11 harmonics. Each timbre emphasised in aural acuity, splendidly presented under the session heading 'Spectra and Tuning', the lower, middle, and upper harmonics respectively. The fundamental frequency was Perry Cook's paper on 'Hearing, fee ling, and performing: masking studies with (Fo) of each complex tone ranged from 261-494 Hz. (C4-B4), all Iones being trombone players'. equated for loudness. Examining the ro le of feedback and feedforward strategies used by experts whilst performin g, Cook set out to identify the auditory, haptic, and memory control E-16 P. Juslin, A. McNeil, M. Royal P. Juslin, A. McNeil, M. Royal E-17 mechanisms necessary to regu late an effective mu sical performance. Two Echoes of Carlsen's question were noted in responses to Acker and Pastore's stud conditions were presented: a masking task (using headphones emitting 11 OdB}, and 'Melodyperception in homophonic and polyphonic contexts', in which one member :r a non masking task. Subjects, ranging from 7- 45 years of performing experience, the a.ud 1ence made the po int that 'we alt do ear tests but nobody knows why we do prepared three short extracts based around the harmonic series of the trombone. them to know111g laughs from the remainder of the audience. Wider issues These were rehearsed with a metronome at 72bpm, then at 96bpm. The extracts generated from Cook's research must concern th e issue of what aural skills we rely consisted of: a warm-up exercise; large execution of the slide; and large adjustments ?n 1n order to perform effect1vely as mus1cians. Sloboda (1987) notes how in lip tension. These were then performed, again with a metronome at 72bpm and 1mportant 1t 1s for the performing musician to Iisten to him/herself, but what aural then at 96 bpm, first non-masked and then masked for each condition. skllls/percept1ons are needed in order to achieve a re sponsive performance? Further resear~h employing less experienced musicians, and performers on other in struments Cook found that the number of missed notes between masked and non masked 1s requ1red. performances was negligible, the subjects immediately identifying the note they had played in place of the correct note, turning on its head similar research for vocal Alison McNeil performers (Campbell & Michel, 1980; Sundberg, 1981; Ward and Burns, 1978; Department of Music Ternstrom et al., 1983; Shipp et al., 1984). ln the masked task, all subjects University of Huddersfield performed louder than in the non masked task, with the exception of the expert with UK 40 years experience. However, this increase in intensity was not significant (mean increase in intensity = 3.75dB, sd=2.611 dB} . When deprived of auditory feedback the performance became rigid, notably with Iack of vibrato. All subjects performed The following papers from the 1996 ICMPC conference in Montreal have been chosen with an increased sense of pulse during the masked task, reporting to play, primarily, because they alt focus on the psychology of rhythm in some way, yet embody 'by feel' . contrast111g approaches to that subject. These papers sample the increasingly wide vanety of methodolog1es used by researchers in music psychology: here we find Cook adduces that haptic channels dominate feedback or suffice when auditory examples of perceptual and performance experimentation, a neuropathological case feedback is inhibited, the rote of memory being important for setting up the pitch study, computer modelling and music theory. positions in order to produce a haptic sensory response (Seashore, 1939). Cook

conclu des that auditory feedback is not necessary for an expert trombonist to Using a ~igna l-d etectio~ paradigm, Hasan Gürkan Tekman asked subjects to detect perform effectively and musically. Contrary to Cook's findings, Sloboda (1988) dev1ant t1me 1ntervals 1n predominantly isochronaus sequences. The inclusion of suggests that our aural faculties are vital for se lf monitoring and subsequent accented (louder) tones made Ionger deviant Iones more difficult to detect but not adjustment of our performance. Evelyn Giennie (1992}, asserts that whi lst shorter deviant Iones. Accented Iones also lowered listener sensitivity but only performing we are continuously perceiving, responding, and adapting to what our when these accents occurred at regular (rather than irregular) intervals. Tekman's ears are telling us, aural feedback being imperative for an effective musical rendition. research bespeaks the perceptual interaction between loudness and duration. Perhaps with the high Ievei of decibels used in the masking task (11 0) it is not surprising that brass players rely less on auditory feedback when performing. Cook's Geoffrey Collier presented a study of the performance of the rhythm "crotchet, Observation of the 'rigid' performances elicited from trombonists during the masked tnplet-crotchet, tnplet-quaver" (3:2: 1) by professional jazz drummers. The condition may provide the key to this apparent disparity. Can one really classify an ?rummers were asked to play this rhythm at a range of tempi (from 25 to 280 bpm) inflexible performance as musical? lndeed, has not this issue of defining musicality 1n both "swing" and strict styles on a MIDI drum pad. The ratio of the 2:1 part of this proved an area of !Iux and contention since Seashore (1919)? ln addition, Cook's rh~thm was analysed. ln the strict-rhythm condition, alt three drummers produced subjects were presented with the stimuli in the same order, having performed the rat1os nearest to. 2:1 at moderate tempos, while at Iaster tempos they moved extracts unmasked first. This may account for the Iack of auditory fe edback towards a 1:1 rat1o . ln the swing condition, there was a tendency for more extreme necessary to effectuate a performance as subjects had already been exposed to the rat1os at moderate tempi. Contrary to popular belief, swing ratios were more auditory feedback. Randomisation of the presentation of conditions needs to be extreme than strict triplets. implemented before one can draw such conclusions. Willi S~einke related the case study of KB, a 66 year-o ld right-handed male with One can argue that the masked trombonists reported to perform 'by feel', yet this stroke-lllduced amusia without impairment of language abilities. Steinke et al found must not be misrepresented. By 'feel', Cook's subjects were referring to their that KB cou l? correctly identify pairs of rhythms as same/different and classify memory and haptic feedback mechanisms, not the ability to feel the music in an melod1es as 1n e1ther waltz or march time, both above chance Ievei, although hi s interpretative sense. One fundamental question arising out of Cook's research p~rformance was be low th at of a control group of neurologically intact subjects of concerns aural abi lity. Gartsen (1969} in the JRME spring conference held at Reading s1m 1lar age and mus1cal background. This difference between KB and the control University, UK., raised a question which is directly relevant to Cook's work: "We group. was most marked on a further lest where subjects were asked to familiar teach ear training and we have taught it for some time , but what degrees of melod1e.s presented as rhythms on ly, a task which KB found impossible. tn terms of perceptual faculty are required in order to be "effective" as a musician?" product1on, KB could tap back a lt but the two stowest of live metronome pulses, and could reproduce short rhythm1c patterns with mixed success. From these findings E- 18 P. Ju slin , A. McNeil , M. Royal Conference Review: The Future ln Retrospect: 12th Annual Meeting of the German Society for Psychology of Music (DG M) and 2nd and from other tests of melody perception, Steinke et al co nclu de !hat KB has lost Intern ational Symposium of Mu sic Psychology in Freiburg/Bremen th e use of a spec iali se d music processor and in stead has to empl oy oth er (p ossibly (R FA), 12-14 September 1996 speech-) processing mechani sms. Elena Ungeheuer Leigh Smith reported re search on the computer processing and analysis of mu sical rhythms. Using a continuous wavelet transform, rhythmic frequencies spanning 0.1 There is nothing sentimental about the general title of this event, Musical Reception to 100 Hz were extracted from an input rhythm. The program generated two types Across a Century, it rather indicates that it is possible to take a critical Iook at the of output, a scalogram, which represented the varying magnitude of different metric evolution of an area where research has greatly expanded and is concerned with Ieveis over time, and a phasogram, which represented the phase relations of these both the conditions of perception and also the relationships !hat professionals and metric Ieveis. Smith illustrated the operation of the program with the ostinato amateurs have with music. Heiner Gembris (Münster) opened the debate by rhythm from Ravel's Bolero. outlining the evolution of the discipline whilst also acknowledging a distance between his own research and research which is strictly cognitive in nature. He Justin London discussed the prevalence of simple binary over compound binary and pinpointed the inherent polarisation within psychoacoustical sciences which divides ternary meters. London proposed !hat meters that group the shortest note value the scientific community into two 'camps': the first, based on a "reductionist" into threes are perceptually more problematic since they run counter to the basic science, is the benchmark, whilst the other, of a more philosophical or aesthetic tendency to mark alternating Iones as strong-weak-strong-weak etc. The meter of nature, draws upon the social and biological sciences. So, Carol Krumhansl (lthaca, 9/8 is most difficult because, with alternating strong and weak quavers, a strong NY), one of the very Iew to have prolonged her visit in Europe following the JIC96 quaver and a downbeat will only coincide every two bars (every 6 dotted-crotchet conference (Joint International Conference) in Bruges at the start of the week beats). London pointed out !hat the preference for duple metrical organisation has (where the true cognitivists were strongly in evidence), presented the results of a arisen since the rise of instrumental dance music in the Baroque era. study where she attempted to measure the relevance of segmentation and 'musical tension' within a Mozart sonata at the same time. ln the discussion following her Dr Matthew Royal presentation, Gembris, looking for clarification about her interpretation of 'musical Faculty of Music tension', received the reply that she took measurements before questioning complex University of Western Ontario meanings and the intricacies of words. Gembris' view, on the contrary, is that it is Canada important to balance the Anglo-American predominance in this discipline, because this is responsible for limiting the field of investigation to the experimental approach. He proposed in Opposition to this approach those that explicitly Iake account of real-life Situations, socio-cultural contexts or individual circumstances, as weil as a historiography appropriate to research !hat focuses on reception which offers a perspective on the results of the research and of the circumstances in which they were obtained within the framewerk of an account of the evolution of the receptive viewpoint. From this standpoint it can be envisaged that the two research directions could progressively approach one another, particularly as breakthroughs can be seen in American research which 'revisits' the European pioneers of the discipline, such as Ernst Kurth.

Out of the three invited speakers, the presence of Robert Frances (Paris) should be noted, an almost mythical figure whose Perception of Music dates from 1958, but who, with the exception of the 3rd ICMPC in Liege in 1994, has not been heard from in such a context for several decades.

lt is clear !hat multimedia already exists as an artistic reality, and one which requires original lines of enquiry when considering its reception. However, we seem to be faced with a simple effect of method when, in a promisingly-titled presentation 'The Reception of Multimedia: A Framewerk for Analysis', Nicholas Cook (Southampton) lingered over record sleeves grandly promoted to the Ievei of multimedia artistic phenomena. This seems especially true as one finds nothing but cliches; for example, the expression 'Cu bist Painting and Petroushka '. Besides, th ere is a confusion here between multimedia and the use of compositions already written as E-20 E. Ungeheuer Molhering in tune to women's musical preferences in the immediate post-parturn period: a musical, exploratory approach film music. One wonders what is so unusual, from a multimedia perspective, about the se qu ence from Wall Di sney's Fantasia where prehi storic Iimes are accompanied Elizabeth S Giakoumaki by extracts from the Rite of Spring, if we Iake into account that the issue to be 1st Clinic of Obstetrics and Gynaecology, University of Athens, solved is !hat of the rhythmic synchronisation between vi sual images and mu sical Alexandra Maternity Hospital, Athens, Greece phrases. Furthermore, is Nicholas Cook truly unaware !hat Stravinsky - contrary to what one might have expec\ed - was in fact prepared to accept a mantage that lntroduction "betrayed " his music (by omitting certain passages and repeating others), and that, even without comparing the original music with the 'comic-strip' version, this Sensitive mathering has been described as the matemal characteristic, promoting a example is probably the most insane !hat could have been chosen as the basis of a child 's emotional, social and cognitive growth (Ciarke-Stewart, 1978; Belsky, 1984; 'framework for the analysis of multimedia'? lrrespective of the foregoing, the Bates et al, 1985). Therefore one of the most basic aims of hospital perinatal care fundamental question remains: 'what about multimedia'? services is to mediate in such a way to promote the mother's sensitive involvement with her baby from the very beginning. Otherwise, the individual research presented in Freiburg provided an interesting panorama of the discipline. Renata Müller (Ludwigsburg) gave some valuable Klaus & Kenneil (1982) suggested !hat hospital procedures separating mothers and indications of the possibilities and the real Iimits of computer analysis in empirical their babies alter birth have an adverse effect on their relationship' on the contrary, research. Ulrike Karrer (Würzburg) investigated 'relaxing music' cassettes, they advocated that the mother-baby relationship is promoted through the hospital concluding that no particular or specific effect could be assigned to them . An procedure of 'early physical contact' (physical contact of molher and baby extended study into advertising music was conducted by Klaus-Ernst Behne immediately alter birth) and 'rooming-in' (the baby is placed in its crib next to the (Hanover), focusing on young people's habituation to classical music. The finding is mother's bed). However, further research into this area suggests that these two !hat positive responses to classical music significantly increase alter an hospital procedures supposed to band mothers and babies better do not seem to advertisement for yoghurt had used Tchaikovsky's famous piano concerto. Further suffice for this (Siegel et al, 1980). research is needed to explore this phenomenon, which will be henceforth known as the 'Tchaikovsky-yoghurt-effect'. Parallel to this fact, mothers in the period following birth, i.e. the immediate post­ parturn period, Iack in self-confidence and fee l ignorant as to how to tune in Several studies expanded our knowledge of cognitive representation of music. One practically to the first steps of mathering (Giakoumaki, 1990). Molhering does not considered the predominance of global structures over local organisation in seem to be lived in tune to the woman's natural instincts, her intuitive behaviour perception, and observed that they could undergo permutations without modifying and/or her matemal predispositions. the deep meaning (Barbara Tillmann, Dijon). Another study focused on the consequences of repeated listening or the absence of any such kind of lt is this writer's opinion that there seems to be a need for more individuality in familiarisation, a topic which Christoph Louven (Cologne) studied on the basis of his mothering. Perhaps mathering should be tackled in a more optimistic way; mothers own music using typical stylistic formulas: he thus approached the different phases should be helped to learn, to rely more on themselves, feeling confident while of contact with the music and was ab le to compare different types of li steners. A exercising this creative task, so that the expression of parental intuitive behaviour further study, resulting from collaboration between researchers in Freiburg and may be facilitated. Hanover, was presented by Willried Gruhn (Freiburg/Bremen); this study measured Ieveis of neural excitation whilst listening with a view to differentiating between Music may be regarded as one option through which a mother can be helped to different types of musical representation, the figural and global versus th e formal, or express her interest to her baby and her intuitive behaviour. Further, one may rather, analytic, which is structured by linguistic prin cip les. These two types of hypothesise !hat if a molher chooses the rhythmic pattern of her preference to representation are mirrored in the two kinds of education administered to children. escort the 'dance' (Stern, 1977) with her baby, then this may prove even more Gruhn concluded !hat their results provided cortical evidence in favour of formal helpful for the expression of sensitive mothering. education. The questions !hat may accordingly be formulated are: Whether their aims are oriented towards an artistic or a pedagogic reality, the a) What kind of music mothers choose to escort their behavioural dance with research on reception was weil chosen to provide the full range of diversity at this their baby, and second International Symposium for Mu sic Psychology at Freiburg, which fortuitously b) Whether music facilitates the expression of the mother's sensitive followed directly alter the annual meeting of the DGM. involvement with her baby from the very beginning.

The following data has to be considered as an exploratory approach that attempts to integrale developmental-clinical issu es with music; therefore, it should be E-22 E. Giakoumaki E. Giakoumaki E-23 regarded only as a pilot study, and as an option !hat demands thorough recording of the mother-baby session was taking place. The intensity of the investigation. rhythmic patterns ranged between 50 and 59 dB; all the women were asked to choose the rhythmic pattern of their preference at the same time of day, namely Method 11am.

Nineteen Greek primiparaus mothers constitute the sample of the current study. The factor of matemal sensitivity was defined in the current study through the The mothers' and infants' characteristics appear in Table 1. behavioural pattern of 'body contact' !hat occurs between a molher and her newborn baby. The mother's contact behaviour with her baby, during interaction Table 1· Mothers' and lnfants' Characteristics with the infant, is believed to be one of the techniques particularly important during Mothers' Characteristics lnfants' Characteristics this period (Winnicott, 1984). The mother's contact behaviour seems to be one index of matemal interest and/or affectionate behaviour towards her baby. And, . primiparaus . full-term according to Bowlby (1969) 'close body contact' is considered to be one of the . no history of abortion or . apgar score (Apgar 1953) most useful proximity-maintaining interactive behaviours. miscarriage between 8 and 10 at 1 and 5 min . between the ages of 20 and 35 alter birth . uncomplicated pregnancy . with no disease or infection at the For the play session, type of contact was subdivided into several behavioural . delivered vag inally without time of birth or du ring the categories on the basis of different types of contact, i.e. horizontal close contact, complications postparturn period diagonal/vertical close contact, shoulder close contact, encompassing, or on mother's knees (Giakoumaki, 1990). The matemal behaviours assessed appear in The mothers were video-recorded in a counterbalanced order on the 7th day alter Table 2. Matemal behaviour was evaluated at a time interval of every 10 seconds the infant's delivery at home on two occasions: a) a 4-minute play session with no during each 4-minute play session. music and b) a 4-minute play session with music. Table 2: Maternal Behaviours Assessed in the Current Studv Apparatus Close Physical Contact 1. horizontal close contact 2. diagonal/vertical close contact The apparatus used in the current study to assess the women's different musical 3. shoulder close contact preferences is a keyboard synthesiser. Music specific to this includes, among others, 4. encompassing a hundred different rhythmic patterns, i.e. waltz, samba, etc; each rhythmic pattern has its own beat characteristic (i.e . 3, 4 beats) and its own preset tempo No Close Physical Contact characteristic (!hat is the default initial setting, as produced by the manufacturer). 5. on mother's knees However, the tempo for each rhythmic pattern may be adjusted within a range of 40 to 240 beats per minute as shown on the multidisplay screen of the instrument. Results

The triads used to implement all rhythmic patterns were those of C major (C-E-G), F Part A: Rhythmic Patterns Selected major (F-A-C) and G major (G-B-D); the criterion for choosing particular chords is that, in music theory, the major triads (1, IV, and V) are considered to be Table 3 presents the rhythmic pattern selected by each woman, its preset tempo prototypical of tonal structure (Schenker, 1906/1954) and represent a good, and the tempo selected. optimally stable structure occurring frequently in Western music (Trehub et al, 1990). The specific chords were changed every two bars of each rhythmic pattern . Table 3: Frequency Distribution of Rhythmic Patterns Selected and their Corresponding Tempo (Preset and Selected) Rhythmic Pattern Preset Tempo N % Selected Tempo (bpm) Procedure Se Ieeted (bpm)_ Poo bailad 100 2 10 .5 94, 100 ln the play session with music, the mothers were instructed to Iisten to the 100 New Aae bailad 90 2 10 .5 100, 103 different rhythmic patterns; each rhythmic pattern was heard at the beat of its Techno Groovie 130 1 5.3 73 preset tempo and was accompanied by a C major triad. Booaie Wooaie 2 140 1 5.3 82 Booaie Wooaie 3 120 1 5.3 70 Each woman selected her preferred rhythmic pattern, adjusting its tempo to a beat Jazz Baroque 130 3 15 .8 77, 102, 168 of her preference as weil. For the rhythmic pattern selected, the researcher played Tanao 100 1 5.3 71 a sequence of C major, F major and G major triads, which were changed every two Beauine 120 1 5.3 45 bars of the specific rhythmic pattern; then the rhythmic pattern selected Lullabv 100 7 36 .8 62, 66, 69 , 75, 81' 91' 95 accompanied by the specific chords was recorded for the 4-minute interaction time through the song memory of the instrument, and was then played back whilst video- E-24 E. Giakoumaki E. Giakoumaki E- 25

The rhythmic pattern s sel ected by wo men are th e most preferred out of th e 1 00; Discussion th e majority of warn en (1 2 out of 19) se lected soft rhythmic pattern s, i. e. ballads, tango, Iuiiaby. The results of the current study can only be regarded as preliminary; however, they suggest the following conclusions: To te st the above suggestion further, a statistical analysis was carried out to examine whether the selected tempo of the preferred rhythmic patterns differs from a) The effect of music facilitated, to a certain extent, the mothers' sensitive the preset tempo. A Wilcoxon matched-pairs signed-ranks analysis showed involvement with their babies; the mothers seemed to be preoccupied with their statistically significant differences between the preset tempo for the specific babies, as demonstrated by the behaviou ral state of 'embracing'. rhythmic patterns and the selected tempo (Table 4) . This finding is very important because, according to Bowlby (1969), 'close body contact' is considered to be amongst the most useful proximity-maintaining interactive behaviours; Winnicott (1987) also suggests !hat 'holding' is very important in the establishment of personality, in the facilitation of maturational processes, as auxiliary ego-function and as communication.

These results suggest !hat the women adjusted the tempo of the rhythmic patterns From another perspective Papousek and Papousek (1987) consider 'body contact' chosen to a slower beat than the corresponding preset one . as one behavioural category potentially significant for intuitive didactic interventions. Part B: The Mothers' Behaviour Observed and Assessed during the Two Play Sessions b) However, it is not any kind of music, but the music the mothers themselves A series of one-way analyses of variance were conducted on 3 out of the 5 prefer. Specifically, in the current study the mothers preferred slow rhythmic behavioural states; two matemal behaviours (shoulder close contact and horizontal patterns to escort the play sessions with their babies; furthermore, they adjusted close contact) were excluded because they were not observed in eilher of the two the tempo of the rhythmic pattern chosen to a slower beat than the corresponding play sessions. preset tempo. One possible explanation is !hat mothers, whilst interacting with their babies, prefer to Iisten to softer melodies that make them feel more relaxed and therefore more emotionally open to the situation. The resu lts (Table 5) revealed statistically significant differences between the two sessions on 2 out of the 3 behavioural measures. Specifically, whilst listening to the rhythmic pattern of their preference the mothers tended to place their baby more Therefore, music may be used as one didactic 'tool' to facilitate the initial ollen in a close contact position (i.e. encompassing) and less often in a no close requirements of the mother-baby relationship. However, two points require further contact position (i.e. on mother's knees). research : the mechanism through which music facilitates the mother-baby behavioural 'dance', and the effect of music upon the baby's state, as weil as on mother-baby synchronicity. Table 5: Matemal Behaviour as Assesse d .mt h e T wo PI av Sess1ons Play session Play session F p with music without music I {1,181 Specific musical instruments may be used as exploratory tools: a) to facilitate Maternal Mean so Mean so several methodological difficulties inherent in the assessment of music and b) to behaviours assess different research hypotheses in a variety of settings in the area of Diagonal/vertical 6 .79 7.79 7 .63 8.24 0.17 NS psychology. contact Encom_])_assinCJ 11 .63 9.45 3 .21 6 .38 22.04 <.001 However, music should be viewed as only one option in the hospital perinatal On mother's knees 3.26 6 .76 10 .58 10.08 12.94 <.01 practice to implement and facilitate a harmonious mother-baby interaction. This means !hat music should not be exercised unanimously, i.e. indiscriminately to all Even though we do not know about the infants' ongoing behavioural state and thus mothers (without reference to their personality, situational characteristics and their cannot proceed to any firm assumptions, we can however suggest !hat the mothers, willingness to accordingly implement their relationship with their baby). while listening to the rhythmic pattern of their preference, seem to be preoccupied with their baby to a certain extent, sensitively involved with its presence, as As we all know, human affairs are extremely complex and vulnerable; therefore, a demonstrated by the behavioural state of 'embracing'. 'mis-step' in the mathering 'dance' may easily happen. Research should tune in harmonically to wom en's own preferences, allowing more space for individuality in mathering and then translating these preferences into corresponding research schemes. E- 26 E. Giakoumaki ANNOUNCEMENTS

References Bates, J.E., Maslin, C.A. & Frankel, K.A. (1985) 'Attachm en t security, mother-child interaction and temperament as pred ictors of behavior-problem ratings at age three years' in Breth erton & Waters {eds.) Growing Points in Attachment Th eory and Research Monographs of th e Society for Research in Child Development, 5 0 , 1-2 IM PORTANT (serial no. 209) Belsky, S.M. & Ainsworth, M.D.S. (1972) 'Infant crying and matern al responsiveness' Child Oevelopment, 43, 83-96 The telephone and fax numbers of the ESCOM office in Liege will be changed from Bowlby, J. (1969) Attachment and Lass, vol. 1: Attachment London: Hogarth Press NOVEMBER 1996. Clarke-Stewart, K.A. (1978) 'And daddy makes three: The father's impact on molher and young child' Child Development, 54, 185-193 Piease use the following numbers: Giakoumaki, E. (1990) Determinants of Mother-Newborn Interaction PhD Thesis, University of Strathclyde Klaus, M. & Kennell, J. (1982) Parent-lnfant Bonding (2nd edition) London: Mosby TELEPHON E: 32 4 223 22 89 Company FAX: 32 4 222 06 68 Papousek, H. & Papousek, M. (1987) 'Intuitive parenting: A dialectic counterpart to the infant's integrative competence' in Osofsky, J.D. (ed .) Handbook of Infant The e-mail address was changed in June and some people have experienced Development, (2nd edition) New York: John Wiley & Sons communication problems. Piease use the Permanent Secretary's address, which is Schenker, H. (1954) Harmony (Jones, 0 ., ed. , Borgese, E.M. transl.) Cambridge, MA: MIT now: Press (originally published in 1906) Siegel, E., Bauman, K.E. , Schaefer, E.S. , Saunders, M.M. & lngram, D.D. (1980) 'Hospital and home support during infancy: impact on maternal attachment, child abuse and [email protected] neglect, and health care utilization' Pediatrics, 66, 183-190 Stern, D. {1977) The first relationship: infant and molher London: Fontana/Open Books You should be careful to avoid any characters with accents when typing e-mail Trehub, S.E., Thorpe, L.A. & Trainer, L.J . (1990) 'lnfants' perception of good and bad addresses. melodies' Psychomusicology, 9, 5-19 Winnicott, D.W. (1984) The child, the family and the outside world Harmondsworth: Penguin Books Winnicott, D.W. (1987) Babies and Their Mothers (Winnicott, C., Shepherd, R. & Davies, M., eds.) New York: Addison-Wesley

INTERNATIONAL CONGRESS FOR APPLIED PSYCHOLOGY CALLS FOR PAPERS

The Scientific Program Committee for the 24th International Congress of Psychology, taking place August 9-14, 1998 in San Francisco, has issued the call for papers. Hosted by the American Psychological Association (APA) on behalf of the International Association of Applied Psychology, the Congress will feature an array of individual and group presentations on : organizational psychology; psychological evaluati on and assessment; psychology and national development; educational, instructional and school psychology; clinical and commu nity psychology; applied gerontology; health psychology; economic psychology; psychology and law; political psychology; sport psychology; traffic and Iransportalion psychology; and other areas such as applied social, applied developmental, human factors and ergonomics, and social issues. To request a copy of the ca ll, contact: Congress Secretariat, APA Office of International Affairs, 750 First Street, NE, Washington DC 200002-4242; fax 202-336-5956; e-mail [email protected] . E- 28 Announcements Announcements E- 29

ES C OM OFFI C I AL A NN O U NCEM E N TS

1. Not i ce of General Assemb ly 1997

Notice is hereby given that the third General Assembly of the European Society for PSYCHOLOGY the Cognitive Seiences of Music will be held between 7 and 12 June 1997 in Uppsala, Sweden. All Full Members are entitled to attend, participate in discussions, propose resolutions, and cast votes, in accordance with the Constitution and By­ of MU SIC Laws, as detailed below . Vol. 24, No. 2, 1996 2 . Nominations for the Executive Counc il FULL CONTENTS Nominalions are invited for the elected positions of President, Vice-President, Robert Walker 103 Open Peer Commentary: Can We Understand the Music of Another Culture ? Commentaries by Treasurer, and Newsletter Editor, to be received by the Permanent Secretary by 7 John Baily, Drek Blackman, David Huron and February 1997. Neil Sorrell and reply by Robert Walker.

lrenc Deliege 131 Cue Abstraction as a Component of Only full members of ESCOM are eligible to hold office. The nomination of a Categorisation Processes in Music Listening. candidate must be proposed by two Full Members of the Society who have previously obtained the consent of the candidate. The nomination should be Gerard Fogerty, 15 7 Assessing Intonation Skills in a Tertiary Music Louise ßuttsworth Training Programme. accompanied by a commentary of not more than 500 words prepared and signed by and PhiHip Gearing the proposing members. ln general proposers should assure themselves that candidates have the capacities, experience, time, and personal or institulianal Susan O'Neill and 171 Boys' and Girls' Preferences for Musical resources to carry out their duties effectively. Michael Bolton Instruments: A Function of Gender ?

Voting for elected Council positions will be by secret ballot of all Full Members, who Eugenia Costa-Giomi 184 Mode Discrimination Abilities of Young may appoint proxies to represent them at the meeting. Childrcn.

ßruno Repp 199 Pedal Timing and Tempo in Expressive Piano The President is th e official representative of the Society. The President directs Performance: A Preliminary lnvestigation. and supervises the activities of the Society and maintains permanent contact with Robert Cutietta 222 The lnlluence of Metre, Mode, Interval Type and its officers. The President's duties are to preside at the General Assernblies and and Grcgory Booth Contour in Repeated Melodie Free-Recall. Executive Counci! meetings. The President may not serve two consecutive terms.

237 Research Note: Case Study of a First-Year Charles Schmidt The Vice-President serves in place of the President when necessary or as and Moya Andrews University Voice Major: A Multi·Discplinary Perspective. requested by the President. The Vice-President is responsible for actively seeking to increase the membership of the Society. John Sloboda 244 Review of Genius: The Natural History of Creativity, by H. j. Eysenck. The Treasurer is responsible for the funds of the Society which can be disbursed Leslie Bunt 245 Review of The Art and Science of Music upon his or her request and upon the signature of the Permanent Secretary. The Therapy, edited by Tony Wigram, ßrucc Treasurer present to the Executive Council an account of the finances of the Society Saperson and Robert West. whenever requested to do so. At each General Assembly the Treasurer reports on 248 Acknowledgmcnt of External Reviewcrs. the finances of the past triennium and presents a projected budget of the coming triennium. 249 Announcements The Newsletter Editor organises the publication of the official Society News/etter. ISSN 0305-7356 ~ tJAI !® i lt> 3 . Proposed amendments to the constitution and by-Jaws Amendments to the Constitution or By-Laws may be proposed by the Executive Society for Research in Psychology of Music and Music Education Council or in a petition signed by ten Full Members from at least three countries. A proposed amendment may be accompanied by a commentary of not more than 500 E-30 Announcements Announcements E-31 words prepared by the proposers of the amendment. Any such proposals must be ARTICLE 4. ACTIVITIES. received by the Permanent Secretary on or before 7 February 1997. The society may undertake any lawful activity consistent with its objective s. These may include: encouraging the scholarly, educational and practical development of Piease note that amendments to the Constitution are very expensive, and where the cognitive sciences of music by holding reg ular meetings, furthering publica tions possible members should try to achieve their ends by proposing amendments to the in music cognition, organising educational programmes, seeking resources to By-Laws. support young researchers in their training and research activities, establishment of good public relations and mainlenance of relationships wilh other national and Voting on proposed amendments will be by secret ballot of all Full Members, who international organisations !hat share lhe main goals described in the Constitution. may appoint proxies to represent them at the meeting. The Society operates on a non-profit-making basis.

4. Resolutions on matters of policy or procedure ARTICLE 5. MEMBERSHIP. a. The Society is comprised of the founding members at the date of its Resolutions concerning other matters of policy or procedure may be discussed and constitution and such other persons, corporations or organisations as shall voted upon the General Assembly provided that they are proposed and seconded by have been thereafter admitted to membership. two Full Members and submitted in writing to the Permanent Secretary on or before b. The membership categories are: Full Member, Honorary Member, Student 7 February 1997. Member, Affiliated Member, and Sustaining Member. c. To be eligible for active membership in the Society, an individual shall have shown interest in th e aims of the Society through re search, publications or training. Amended Constitution d. A new member of the Society may be elected by a majority vote of th e Executive Council on submission of a completed application form. Membership EUROPEAN SOCIETY will become effective upon payment of the appropriate dues. Elections to FOR membership shall Iake place not less often than once a year. THE COGNITIVE SCIENCES OF MUSIC e. No less than three quarters of the full members of the society must reside and international society work in a European country. f . A member who has retired from major academic commitments may be ART/CLE 1. NAME. proposed to the Exe cutive Council for Honorary Membership in the Society. The name of the society is the European Society for the Cognitive Seiences of Honorary Members shall be elected by a unanimous vote of the Executive Music. This society is governed by the Belgian law dated 25 October 1919, Council. modified by the law dated 6 December 1954. g. Students of institutes of higher education engaged in relevant training may be elected to Student Membership by the Executive Council. ARTICLE 2. HEAD OFFICE. h. ln the case where a quarter of the full members of the society are not re sident The registered office of the society is officially established at the Centre de or practising in a European country, individuals who meet the conditions of Recherehes et de Formation Musicafes de Wallonie, a non-profit-making organisation, eligibility to full member status, but who are not primarily residing or working in at place du Vingt-AoOt, 16, 4000 Liege, Belgium. This office may be transferred to a European country, may apply for Affiliate Membership. any other place in Belgium by a simple decision of the General As sembly published in i. Sustaining Members are those individuals, corporations, or organisations who the Annexes au Moniteur Beige . give major donations to the Society and are elected to Sustaining Membership by the Executive Council. The Executive Council shall define "major donation." ARTICLE 3. OBJECTIVES. j. Only Full Members have the right to vote upon re so lutions presented to th e The objectives of the Society are as follows: General Assembly and to hold office in th e Society. a. the furtherance of theoretical, empirical and applied research and teaching in k. Membership may be terminated by the Executive Council if the membership the cognitive sciences of music, which are defined as those which study the dues are more than one year in arrears. ln this case, the member has no rights perceptual and mental processes underlying musical experience and activity. with re spect to the assets of the Society. The same holds for any person who b. the development and dissemination of knowledge of music perception and ceases to be a member of the Society. cognition and the promotion of its practical applications. I. Any member may at any time resign from th e Society by address ing a c. the encouragement of European and international communication and CO­ registered Ietter to the Permanent Secretary. operation wilhin the field of the co gnitive sciences of mu sic. This field is considered to include those sub-disciplines within musicolog y, music theory, ARTICLE 6. GOVERNANCE. psychology, acoustics, neuropsychology, philosophy, mathematics, artificial a. The society is governed by an Executive Counci l. The Council has the authority intelligence, pedagogy and any others that have as their central focus the to manage and administ rate the Society within the Iimits of its Constitution and cog nitive sciences of music. By-Laws. E- 32 Announcements Announcements E- 33 b. The Executive Council mu st contain nati onals of at least four European c. Every year th e Treas urer will submit a statemen t of accounts and a pro jected countries. budget to th e Executive Council which, upon acceptance, submit s it to th e next c. The members of the Executive Council are nominated by the General Assembly General Assembly for approval. for a period of at least three years. The General Assembly also elects, for the d. The projected budget will contain a full record of income, particularly for du es same period, a Full Member of Belgian nationality as member of the Executive for each membership category and for each country or region fixed by the Council; this person is the Permanent Secretary of the Society. The Permanent General Assembly , as weil as the funds and subsidies for which the Executive Secretary is responsible for the archives of the Society, notably the Minutes. Council is authorised to solieil from third parlies in support of the activities of Furthermore, the specific structure of the Executive Council and mode of the society. election are sei forth in the By-Laws. e. On the request of the Executive Council, the Treasurer will submit a separate d. The basic principles of the governance of the Society shall include maximal project budget for each official Seienlilie Conference of the Society, although participation by the membership in all policy and operalienal decisions, and the Executive Council may decide to make contributions to specific Conference direct election of all Members of the Executive Council by the Full Membership. activities from the general budget. e. All acts binding the Society must be signed by two members of the Executive Council, or by the Permanent Secretary, who are not obliged to justify to third ARTICLE 9. BY-LA WS. parlies the rights centerred on them to this end. a. The Executive Council may, by majority vote, adopt a By-Law which specifies f . Both plaintiff and defendant lawsuits will be made by the Executive Council, the internal organisation and the ways of functioning of the Society as weil as represented by its President or analher Council member assigned to this task its activities. ln the same way it may also modify such a By-Law. by the Council. b. The Executive Council will inform each of its members of any modifications g. The Executive Council can only validly deliberate if at least half of its members made to the By-Law. are present or represented. Resolutions of the Council are adopted by a c. The By-Law and any modifications are subject to the approval of the next majority vote of its members and are entered in the minutes of the Council General Assembly. meeting, signed by two members present. ARTICLE 10. AMENDMENTS. ARTICLE 7. GENERAL ASSEMBL Y. a. Amendments to the Constitution or By-Laws may be proposed by the a. The General Assembly has full powers to fulfil the Society's objectives. II shall Executive Council or in a petition signed by at least ten Full Members from at approve the policies of the Society as presented by the Executive Council. least three countries. Amendments may only be executed at a General Officers' reports will be delivered and all major decisions required by Assembly meeting held in accordance with Article 7. Approval of an circumstances and by the Constitution shall be undertaken. amendment shall require a two-thirds majority of Full Members present or b. All Full Members shall have the right to propese and second resolutions, having represented at the General Assembly. given due notice as required, and to Iake part in the discussions. b. Modifications to the Constitution will only Iake effect Bpon approval by Royal c. Election of officers of the Executive Council will also be conducted at General Decree and upon completion of the publication conditions as required by Article Assembly meetings as provided for in the By-Laws. 3 of the Belgian law dated 25 October 1919. d. Members can be expelled and Executive Council officers can be dismissed by the General Assembly ruling by a two-thirds majority of the voting members ARTICLE 11. DISSOLUTION. alter having heard the defence of the party in question. Dissolution of the Society follows the same rules as amendments to the e. The General Assembly may only validly deliberate if at least half of the Full Constitution. The means of dissolution and Iiquidation are established by the Members are present or represented. The deliberations of the Assembly are General Assembly. Any net assets remaining to the Society shall be disposed of by adopted by the majority of those voting unless otherwise required by the General Assembly on recommendation of the Executive Council. ln this case the provisions of the present Constitution. Deliberations are recorded in the assets of the Society must be donated to a non-profit Organisation pursuing aims minutes of the Assembly meeting, signed by two Full Members. similar to those of the Society, and may in no event be distributed among the f . II less than half the Full Members are not present or represented at the General members. Assembly, the President may convene, without delay and by any means possible, a further General Assembly which may validly deliberate irrespective ARTICLE 12. GENERAL CLAUSES. of the number of Full Members present or represented. Any item not specifically Ioreseen by the present Constitution and By-Laws shall be determined by the Belgian law dated 25 October 1919. ARTICLE 8. FINANCES AND DUES. a. The fiscal year begins on 1 January and ends on 31 December. 18 December 1990 b. Every three years the Treasurer will submit a report on the financial position of Liege (Belgium) the Society, as weil as a triennial projected budget of income and expenditure, to the general assembly for approval. Modilied 20 January 1991, upon reque st of the Belgian Minister of Justice Amended by the General As sembly of 17 December 1994. E- 34 Announcements Announcements E- 35

MUS/CA E SC/ENTIA E Meyer, L. B. (1 967). Music, the arts, and ideas. Patternsand predictions in twentieth century culture. Chicago: Th e University of Chicago Press. INFORMATION FOR AUTHORS Longuet-Higgins, H. C. (1962). Letter to a mu sical friend. Music Review , 23 , 244-48. MUSICAE SCIENTIAE (the Journal of the European Society for the Cognitive Seiences of Music) publishes empirical, theoretical and critical articles directed at Papousek, H. (1979). From adaptive responses to social cognition: The learning view increasing understanding of how music is perceived, represented and generated. of development. ln M.H . Bornstein and W. Kessen (ed s), Psychological development Any systematic work within the domains of psychology, philosophy, aesthetics, from infancy: Image to intention (pp . 251-67). Hillsdale, NJ : Erlbaum. music analysis, musicology, cognitive science, education, artificial intelligence, modelling and neuropsychology that advances that aim will be considered for acceptance.

Gontributions will be published in one of three languages, French, German, or English, with abstracts presented in all three languages as weil as in ltalian and Spanish. Articles should be submitted as eilher Reports (between 1000 and 2000 words in length) or as Papers (between 5000 and 7000 words); both categories of article must be accompanied by abstracts of between 200 and 250 words in length.

Material should be submitted in electronic form wherever possible. Text should be submitted on diskette (3 .5" Mac or MSDOS!Windows formal) or by e-mail, while Figures should be submitted eilher as camera-ready hard copy or as PostscriptTM compatible files on diskette or by e-mail. All submissions on diskette or hard copy should be sent to the Editor, lrene DELIEGE, URPM, Laboratoire de Psychologie cognitive, 5 Bd du Rectorat, 8 32, B-4000 LIEGE (Belgium) II hard copy is submitted live copies must be sent to the above address. Submissions by e-mail should be sent as attachments to the Editor at [email protected]. Submissions must be in one of the following languages: English, French or German. Materials submitted must not have been published elsewhere nor should they be presently under review for publication in any other journal.

Submissions in hard copy must be typed double-spaced throughout (including references, figure captions, footnotes and tables), with margins of 2.5-4 cm on all sides. All submissions (electronic or hard copy) must Iake the following form: (a) pages should be numbered consecutively throughout, page 1 consisting of the title of the article and the authors' names and affiliations, with the name and complete address for correspondence at the bot1om of the page. ( b) page 2 should consist of an abstract of between 200 and 250 words summarising the principal hypotheses, methodologies, findings and conclusions of the article (c) the full text of the article should start on a separate page; references, footnotes, table captions and figure captions should follow the main body of the text in the order given, each category of ancillary material starting on a new page, with Tables and Figures following , each on aseparate page.

All references should be provided according to the guidelines of the American Psychological Association, as per the following examples:

Frances, R. (1958). La perception de Ia musique. [The perception of mu sic (W.J. Dowling, Irans.). Hillsdale, NJ: Erlbaum, 1988) Paris: J. Vrin. End of the Engli sh part LG SIU8W8::>unouu\f E 1IJIR 0 JFJEAN 40eoJdde AJOieJOidX8 'le::>!snw e :pop8d wn)Jed-1sod 81e!P8WW! 841 U! SOCTIJE'fY IFO R 'fiHIJE S80U8J8j8Jd leO!SnW S,U8WOM 01 8Unl U! 5U!J8410V'J !>iewno)le!8 418qeZ!13 ~G C OGNTI'fTIVJE §CTIJENCJE§ 966 ~ J8qW8Id8S 'u8W8J8f5Jnq!8J::J · 'A501040ASd O!SnVIJ jO Wn!SOdWAS leUO!IeUJ81UI ÜIF puG pue O!SnVIJ 10 A50I040ASd JOj AI8!00S uewJ88 6 ~ 841 jO 5U!l88V'J 1enUU\{ 41G ~ jO M8!118J 80U8J8jUO:) J8n8485un eu813 M1U§TIC ISSN 1022-9299

966 ~ 1sn6n\f 'epeueo leAOl::J M84HeV'J 'le8JIUOVIJ 'UO!I!U50:) pue UO!Id80J8d O!SnV'j UO pue 1!8NOV'J UOS!I\f 8~ 8::>U8J8jUO:) 1euo!leUJ8IUI 4111 10 M8!118J 8::>U8J8jUO:J 'u11snr >i!Jied BULLETIN D'INFORMATION No. 10, Octobre 1996 f5UJU8JSf7 :JfSnVIJ JO Al08L{_l V' 8 .'8:J8dS&Wf_li8:JfSnVIJ 8L{_l '3 'U8SU81S!J4:) jO M8!118l::J Sd!ll!4d eiOO!N

f5UJW8W88M 'f5UJ118I&q 'ßUJdd&L{:JS 'ßuua>J:JfMJUO &I8:Jfsnvv :aJßOIOLf:Jifsd>JaJznvv ('spa) ·s 'sa!JA ap 'II 'd '>ieVIJ '' V'J 'ewsuer '·::J 'sJa113 10 M8!118l::J aueMapA,,P AJ98 s Contenu UOJJ8JU8S81d SJI JO JlV' Editorial pue 'anbJULf:J&.l ':Jfl507 &LfJ pue eap1 18:Jfsnvv &Lf.l (G) WJO,d UJ UOJJ:JnlJSUI 'UO!J8JU&Wn1JSUI 'JUJOdl&JUnOQ Gelestin Deliege Compte-rendu: Schoenberg, A. (1) Coherence, 2 G 'aauaJaL{OQ ü) '\>' '6Jaquao4os 10 M8!118l::J Counterpoint, Instrumentation, lnstruction in Form (2) The Musicalldea and the Logic, Technique, and le!JOI!P3 Art of its Presentation

Gery d'Ydewalle Compte-rendu: Evers, F., Jansma, M., Mak, P. & 5 de Vries, 8. (eds.) Muziekpsychologie: Musicale ontwickeling, schepping, beleving, waameming 966 ~ JaQOl:>Q '0 ~ "ON l:::t3.l.l31SM3N Nicola Phillips Compte-rendu: Christensen, E. The Musical 8 Timespace: A Theory of Music Listening

Patrik Juslin, Compte-rendu de Ia 4e Conference sur Perception 1 3 Alison McNeil & et Ia Cognition de Ia Musique (ICMPC), Montreal, 66~6-~~0 ~ NSSI JlTI§fll li\1 Matthew Royal Canada, AoOt 1996

Elena Ungeheuer Compte-rendu de Ia 12e session annuelle de Ia 1 9 ill Q Societe allemande de psychologie de Ia musique §EIJlNEITIJl§ EIATIJLTIND0 3 et 2e symposium international de psychologie de Ia musique, Freiburg/Bremen, Septembre 1996

EIIHIJL d:li Oill AJLEITIJlO S Annonces 21 NVEI cl[ 0 d:llfll3: Editorial

Ceci es! le dern ier numero de Ia Nexsletter d'ESCOM dans sa forme actuelle. II es! Le Bulletin d'lnformation est le periodique officiel de Ia Societe Europeenne des prevu que les fonctions de Ia Newsletter qui est de presenter aux membres des Seiences Cognitives de Ia Musique (ESCOM). recherches et commentaires a propos de livres et de conferences, ainsi que de les informer au sujet des activites d'ESCOM et d'autres Societes, sera dorenavant repris Conseil d'Administration en partie dans Ia nouvelle revue de I'ESCOM, MUSICAE SCIENTIAE, et en partie par Ia World-Wide Webpage de I'ESCOM, accessible a l'adresse suivante : John Sloboda, president (Universite de Keele, UK) Maria Olivetti-Belardinelli, (Universite de Rome "La http://www.mus.cam.ac.uk/ESCOM/ vice-president Sapienza", ltalie) lreme Delh3ge, secretaire permanent (Universite de Liege, Belgique) Ce dernier numero de Ia Newsletter presente des commentaires a propos de travaux Andre Riotte, tresorier (Universite de Liege, Belgique) de Arnold Schoenberg recemment publies, un nouvel ouvrage de Eric Christensen, et lan Cross, editeur du Bulletin (Universite de Cambridge, UK) un premier ouvrage collectif publie en neerlandais (sous Ia direction de Evers, Alt Gabrielsson, organisateur de Ia (Universite de Uppsala, Suede) Jansma, Mak and de Vries) sur Ia psychologie de Ia musique, ainsi que des rapports prochaine Conference de I'ESCOM au sujet de Ia 4me Conference Internationale pour Ia Perception et Ia Cognition Andrezj Rakowski, membre (Academie de Musique Chopin, Musicales qui s'est tenue a Montreal en Aoüt 1996 et Ia 12me Rencontre annuelle Pologne) de Ia DGM tenue a Freiburg en Septembre 1996. Alors que le rapport au sujet du ICMPC implique que les differentes disciplines qui constituent les sciences cognitives Editeurs-associes : de Ia musique semblent tenter de se rapprocher, celui qui concerne Freiburg suggere Daisy Bertrand (Universite de Liege, Belgique) que des divergences methodologiques et ideologiques persistent. Nous avons donc Alexandra Lamont (Universite de Cambridge, UK) deux vues differentes de l'etat d'evolution de notre domaine de recherche ; peut­ Mare Melen (Universite de Liege, Belgique) iHre dans un domaine aussi vaste est-il inevitable de rencontrer de telles differences? Neanmoins, les perspectives de ces deux rapports indiquent Ia Information et inscriptions a Ia Societe : necessite pour I'ESCOM d'agir en tant qu 'espace visant a faciliter Ia communication ESCOM Secretariat et Ia comprehension entre les differentes disciplines et recherches traditionnelles 16 Place du Vingt Aoüt dans les sciences cognitives de Ia musique : une sorte de toile protectrice sous B-4000 Liege laquelle ces differentes disciplines et traditions pourront croitre et interagir. Nous Belgique esperons que ces aspirations seront poursuivies dans MUSICAE SCIENTIAE et dans notre World-Wide Web.

Ceci est le dernier numero du Bulletin d'lnformation de I'ESCOM. Le site WWW de Ia Societe (a l'adresse http://www.mus.cam.ac.uk/ESCOM/) et Ia Revue de Ia lan Cross Societe, Musicae Scientiae, seront ouverts toute contribution qui genere ou a Editeur du Bulletin d'lnformation prolonge un debat sur des themes propres aux sciences cognitives de Ia musique. Daisy Bertrand Les articles pour le site WWW seront soumis en franvais et en anglais, les deux Alexandra Lamont langues officielles de Ia Societe. ll s n'excederont pas 2500 mots (sauf cas Mare Melen exceptionnels). Toute copie d'article doit eHre soumis par courrier electronique a Editeurs Associes lan Cross: [email protected] lnstructions aux auteurs pour Musicae Scientiae se trouvent a Ia page 28 du Bulletin d'lnformation, ou au site WWW. Compte-rendu: Arnold SCHOENBERG : c. Deliege F-3 (1) Coherence, Counterpoint, Instrumentation, lnstruction in Form. {Zusammenhang, Kontrapunkt, Instrumentation, Formenlehre} (ZKI F). du Wienerkreis lui , au moins, suivait les activites du musicien. Mais les propos de Severine Neff, ed., trans. by Ch. Cross & S. Neff. University of Schoenberg sur Ia science ne depassent pas ceux de l'homme de Ia rue : Nebraska Press, Lincoln and London, 1994, lxxii + 135 pp. (2) The Musical ldea and the Logic, Technique, and Art of its " ... La diffe\rence entre art et science tient en ceci : que bien que l'un et l'autre aient Presentation. { Der musikalische Gedanke, und die Logik, Technik, und comme but Ia repre\sentation d'un meme domaine, Ia science doit essayer d'inclure tous les cas pensables, tandis que l'art se confine lui-meme a ceux qui sont Kunst seiner Darstellung}. Patricia Carpenter & Severin Neff eds., caracte\ristiques, approprie\s ou simplement "adaptables". Pendant <1ue Ia science trans, and Commentary. Columbia University Press, New York, 1995, devra e\clairer tous les cas de Ia plus grande lumiere, l'art transformera les relations xxiv + 462 pp. de signification en vue de les e\lever. Et alors que Ia science tend vers Ia description et l'explication de Ia totalite\ par l'exposition et l'ordonnance de ses principes, l'art se Celestin Deliege focalisera sur les points principaux dans l'avant-plan de l'attention a travers son mode de pre\sentation. SI Ia science apporte des faits qu'elle ordonne selon des principes communs, l'art produit des faits qui sont joints de tels principes, de sorte Deux inedits de Schoenberg, provenant des archives du Schoenberg Institute. L'un a que le sens de ce qui est e\nonce\ peut etre clairement saisi imme\diatement ... " et l'autre concernent taute personne entretenant avec Ia musique un rapport (MGKD: 114-15). serieux. lls seront ici respectivement designes par les initiales allemandes : ZKIF et

MGKD. L'edition est bilingue allemand-anglais et les textes des editeurs sont en << Comment devient-on un homme seul ? •• s'etait un jour demande Schoenberg ; anglais. La mise en page met les parlies bilingues en regard facilitant . ainsi le ,, en pensant en dehors de taute reference "• aurait pu repondre le coquin. Peu de contröle du vocabulaire, lequel a parfois une certaine importance pour fixer une scientifiques se contenteront de telles definitions comparatives. terminologie dont les ouvrages precedents unilingues anglais ou franc;:ais n'ont pas Iaujours dissipe les enigmes. Les archives de I'Arnold Schoenberg Institute contiennent douze manuscrits precisant ou variant le theme de Ia pensee musicale et sa presentation dont Ia L'historien verra dans ces manuscrits datant de 1917 (ZKIF) et de 1934-36 (MGKD) redaction s'echelonne de 1917 a 1937 en ce compris deux manuscrits non dates l'occasion d'une nouvelle approche de Ia genese des concepts schoenbergiens. Les (MGKD : xv-xvi). Dans le commentaire (ibid. : 1-86), les editeurs en ont recense deux ouvrages permettent en eilet deux lectures : celle qu'ont privilegiee les l'ensemble en les examinant en relation avec les differents aspects envisages par editeurs et qui regroupe les matieres selon les contenus thematiques et l'auteur desireux d'unifier Ia theorie musicale. Trois appendices decrivent les conformement a l'index etabli par Schoenberg, ou selon une reconstitution manuscrits ; les matieres du 1oe (transcrit et traduit dans MGKD) sont indexees chronologique que Ia minutie de l'auteur dans les datations et Ia pagination des dans l'ordre de succession. Des graphiques et des exemples musicaux appuient et manuscrits rend non seulement possible mais tentante et aisee. explicitent Ia theorie.

Le psychologue, abordant ces textes, s'apercevra que Schoenberg, a qui on a Pourquoi Schoenberg a-t-il redige ces manuscrits et avec autant de soin et reproche l'invention d'un systeme qui serait indifferent a Ia perception, tut souvent d'assiduite, alors qu'en fait son bagage de compositeur semblait pouvoir le conduire calomnie. La perception etait au contraire pour lui une obsess1on : son souc1 vers une activite pedagogique efficace sans en passer par Ia ? Probablement faut-il dominant de coherence des ZKIF, il le lie a celui de comprehensibilite. Quant au voir Ia une question de logique autant que psychologique. Le manuscrit de 1917 psychanalyste, non moins que l'historien, il pourrait trouver. quelque moisso~ dans (ZKIF) apparait comme un plan de cours redige par le maitre a son propre usage, il une reprise chronologique des textes. Schoenberg, on le sa1t .suf11samment: eta1t un pourra s'y referer sa vie durant. homme tourmente, et il y a bien peu de chance qu'on ne decouvre au detour des pages de ce patient involontaire l'origine inconsciente de quelque projet. En 1917, Schoenberg est a Vienne, il vient d'etre demobilise, il est preoccupe par le projet de fondation de Ia future Societe privee d'execution musicale et par I a C'est enfin le pedagogue, et en taut premier lieu le pedagogue de Ia composition recherche d'un systeme grammatical qui pour lui se confond avec un souci majeur de musicale, qui devrait porter le plus d'attention a ces manuscrits, et taut coherence touchant a Ia fois l'ecriture et Ia forme a travers le contrepoint et Ia particulierement a ceux de MGKD qui en disent plus que ce qu'ont. dit Ies Models for variation. II entreprend le manuscrit en avril, et finit par le laisser dans un etat Beginners in Composition et les Faundamentals of Musical Compostflon. ~ertes, 1ls ne d'esquisse, ce qui, en dehors de taute idee de publication, put lui paraitre suffisant. remplacent pas ces ouvrages, mais ils les completent et surtout en ecla1rent les Quand dans les annees 30 d'autres manuscrits viendront s'ajouter, les idees et le points d'ombre - entendons ceux qui principalement concernent les mot1vat1ons de projet pedagogique n'auront guere varie mais de nouvelles explicitations et l'auteur. digressions viendront enrichir le contexte.

Qui, finalement, pourrait ne pas trauver son campte a cette Ieeiure ? peut~etre le Une remarque des praticiens des ecrits de Schoenberg pourrait etre qu'il n'y a rien scientifique. Schoenberg frequentait probablement avec un certa1n pla1s1r les en ces matieres de bien neu! en regard de ce que l'on a pu Iire jusqu'ici saus Ia savants ; une photo (MGKD, hors texte) le montre en compagnie d'Einstein a signature de Schoenberg. Cela demande de preciser immediatemehnt que le Carnegie Hall en 1934, et a Vienne, on sait par Wittgenstein que, parmi les membres manuscrit de 1917 nous fait vivre, a travers ses 75 feuillets, le processus de Ia generation des idees et que souvent le calendrier des propositions le s plus .----

F-4 c. Deliege Compte-rendu: Muziekpsychologie: Musica/e ontwickeling, schepping, be/eving, waarneming. F. Evers, M. Jansma, P. Mak & 8. de Vries Iondamentales se donne comme une suite d'implications ou chacune s'explique par (Eds), van Gorcum/Koninklijk Conservatorium: The Hague. 1994, pp Ia precedente ou induit Ia suivante. Les ouvrages connus jusqu'ici prolongeaient Ia 293-312 (I SBN 90 232 2879 0). pedagogie orale du maTtre ; Ia mise au jour des manuscrits due a Severine Neff et Patricia Carpenter nous donne acces a Ia methodologie tout en completant une Gery d'Ydewalle matiere plus familiere. Di recteur du Laboratoire de Psychologie Experimentale Katholieke Universiteit Leuven Les quelque 200 pages de manuscrit de 1934-36, a l'heure actuelle ou les cours de composition ont tendance a se reduire a de oiseuses discussions devant des "Muziekpsychologie : Musicale ontwickeling, schepping, beleving, waarnem ing" partitions mises a l'essai, rappellent comment, interpretees avec quelque strategie, (Psychologie de Ia musique : developpement, creation, experience, perception) est elles permettraient que soit rendue a l'ecriture une fonction aujourd'hui fort un gros ouvrage d'environ 340 pages ecrit en caracteres exceptionnellement petits souhaitable. Je vois dans une application intelligente de ce manuscrit, qui m'apparalt et accompagne d'un disque compact. II reunit les contributi on de dix-sept auteurs comme le meilleur traite de composition jusqu'ici convu. le moyen de recreer une dont seize europeens (huit originaires des Pays-Bas, cinq du Royaume-Uni, un de pedagogie elle-meme coherente et diversifiee. Sans doute, Ia pensee theorique de Pologne, un d'ltalie, un d'AIIemagne) et un non europeen (originaire d'Argentine). Schoenberg reste-t-eile liee a Ia logique musicale classique, mais eile n'implique en rien le pastiche. Jamais l'invention ne sera un objet d'apprentissage ; s'il devait en On peut se demander pourquoi un tel ouvrage es! publie en neerlandais, ce qui en etre autrement, eile serait aussit6t ruinee. Mais Ia coherence, Ia logique, les Iimite necessairement Ia diffusion a cette communaute relativement petite. techniques d'ecriture et d'orchestration appellent encore l'ecolage et le passage par Cependant, le but premier de l'ouvrage est de taueher les professeurs et les le modele. Comme le notent les editeurs en conclusion de leur commentaire : etudiants des Academies de musique neerlandaises. En Iai!, le Iivre concretise une initiative prise dans les annees quatre-vingt par le Depute-Directeur du Conservatoire " Schoenberg croyait que le don de l'artiste ne pouvait pas etre enseigne. Neanmoins Royal de Musique de La Haye, pour rendre accessible a ce public Ia Iitterature dans ce manusc rit avec cette ebauche de Ia nature organique de l'oeuvre mu sicale, il scientifique emanant de divers domaines de recherche. Le public vise justifie donc apporte une base pour Ia construction d'une oeuvre viable dans Ia relation des parlies pleinement Ia Iangue choisie. Je felicite vivement Ia maison d'edition d'avoir pris le tonctionnelles a l'interieur du tout, et pour une derivation de cette unite a partir risque de publier un si gras ouvrage pour un nombre aussi restreint de lecteurs. d'une necessite interne, un "principe de vie" » (ibid. : 73).

Quelques notions familieres de Ia pensee de Schoenberg trouvent ici une utile Plusieurs chapitres ont manifestement ete ecrits dans une autre Iangue et, selon clarification : ainsi Grundgestalt versus Motif, l'un relevant de Ia construction de Ia moi, les traductions sont excellentes. Comme, a mon sens, le Iivre est de fort banne phrase, l'autre de Ia structure thematique. Gestalt versus Phrase (MGKD : 168-71 ). tenue (hormis quelques commentaires critiques, cl. infra) , il laut esperer qu'une Aussi Ia necessite d'un recours a Ia variation constante que peut-etre seul Webern version anglaise sera disponible dans un proehe avenir, afin qu'un public plus large dans I'Ecole viennoise a rendue perceptible sans Ia noyer ; il avait parfaitement puisse beneficier de cette publication majeure. compris que l'idee de variation developpante et permanente etait nee chez Schoenberg de son contraire, une obsession de Ia repetition. La source de Ia Comme precise dans Ia preface par les editeurs (F . Evers, M. Jansma, P. Mak, & B. de coherence pour Schoenberg est bien Ia, mais autant il Ia voulait presente autant il Vries, tous originaires des Pays-Bas), le Iivre poursuit quatre objectifs : 1) faire s'en mefiait ; sans Ia Variation Ia repetition ne pouvait etre qu'un facteur de connaitre aux lecteurs les developpements les plus recents de Ia recherche en sterilite: perception et en cognition de Ia musique ; 2) mettre a Ia disposition des professeurs et des etudiants une base de donnees bibliographiques permettant " On peut dire que Ia coherence nait de Ia nipetition auss i longtemps que les parlies d'acceder aux developpements le s plus recents [de Ia recherche] ; tournir des de A soient recurrentes en B, C etc. Et : instruments didactiques pour l'education musicale ; 4) publier des introductions a La coherence s'etablit quand les parlies partiell ement se mblables et partiellement differentes approches et disciplines emanant d'experts nationaux et internationaux. differentes s'enchainent de mani ere teile que le s parlies semblables dominent. Dans l'introduction, Konrad Boehmer dresse une banne synthese de plusieurs La relation de contrasie est fond ee sur Ia coherence aussi longtemps que le s parlies contributions que je vai s egalement re sumer, afin de donner un avant-gout de se mblables sus·mentionnees soient enchainees de maniere teil e que les parlies l'ouvrage. Le Iivre campte quatre sections : developpement musical, aptitudes et differentes emporlent l'att ention . Transformation et Variation sont basees sur Ia repetition aussi longtemps qu e apprentissage, creation musicale, dimensions socioculturelles et emotionnelles de Ia quelques parli es semblables aussi bien qu e quelques parlies differentes soient musique, perception musicale. discernables Le developpement es t un e teile suite d' id ees reunies dans lesq uell es le s parlies Dans Ia premiere section, Hargreaves propose differents stades du developpement differentes initialement de significa ti on subordonnee accedent aux parlies principales musical (et, plus generalement, du developpement artistique) chez l'enfant et (ZKIF : 20-23) . 1 precise leurs implications pour le s pratiques educatives. Bien que le chapitre soit informatif et bien ecrit, il est parfois speculatif et ne repose pas Iaujours fermement J'ai traduit de l' all emand le s cit ati ons en franva is ; les citati ons en anglais so nt Ia su r des bases empiriques. Ensuite, Sloboda deiend sa the se bien connue, selon tradu ction des ed iteurs. F-6 G. d'Ydewalle G. d'Ydewalle F-7 laquelle Ia motivation, Ia perseverance dans l'exercice et d'autres facteurs reconnaissent que les recherches relatives aux emotions de l'interprete sont rares, extrinseques sont plus importants pour le developpement de l'excellence musicale sinon inex istantes. La recherche empirique rapportee dans le chapitre est bien ecrite, que les dons pretendus innes . Compte tenu de son excellente recherche approfondie pertinente et facil e a sa isir. Bunt decrit comment Ia musique a parfois ete utilisee dans ce domaine, il es! dommage, a mon se ns, que le chapitre n' aille pas au-dela co mme moyen therapeutique a l'epoque premoderne. II introduit et definit ensuite Ia d'un tel niveau de generalites. Miklaszewski s' interesse aux processus musicotherapie actuelle et fournit un exemple d'etude de cas. d'apprentissage eux-memes. Malheureusement, il part d'une definition assez depassee de l'apprentissage vu comme un changement plus ou moins permanent A mon sens, Ia derniere section, consacree a Ia perception de Ia mu sique, es! des comportements suite a l'exercice. II n'integre pas les recents progres de Ia remarquable. Les chapitres relatifs a Ia psychoacoustique (Van Dijk), a Ia perception psychologie cognitive ou des modeles de traitement de l'information, lesquels et a Ia production du rythme (Povel) et a Ia perception de Ia melodie et de donnent une vision plus nuancee des processus d'apprentissage. II distingue l'harmonie (Cross) sont extremement bien ecrits mais parfois difficiles a comprendre. utilement trois domaines d'apprentissage de Ia musique : I' audiation (c'est-a-dire le Leur style correspond davantage a celui d'un manuel qu'a celui d'un ouvrage traitement non verbal et emotionnel de l'information acoustique), l'apprentissage de d'introduction, ce vers quoi !end le present ouvrage. La section s'acheve par un Ia Ieeiure et de l'ecriture, l'execution mu sicale. Quelques etudes empiriqu es chapitre d'Evers sur les sensations synethesiques qui met l'accent sur Ia fusion interessantes sont decrites, mais je m'etonne que ne soient pas mentionnees des sensorielle entre Ia perception de Ia musique et des couleurs. etudes classiques mieux connues (p. e., Kramer) . Dans une perspective educationnelle, Tafuri illustre les interactions complexes entre l'interpretation par En conclusion, je trouve l'ouvrage excellent, meme si, comme d'habitude, Ia qualite l'enfant, les pratiques et les objectifs educatifs. varie d'un chapitre a l'autre. Certains chapitres sont tres speculatifs, d'autres s'appuient sur des bases empiriques solides. Le Iivre est cense etre Iu et etudie par Dans Ia section 2, Mak et Jansma explorent plusieurs voies, pour tenter de demeler nos etudiants de Conservatoire mais je crains que certains chapitres soient trop les processus impliques dans Ia composition et l'improvisation. Un des moyens exigeants. [proposes] es! de s'appuyer sur les rapports verbaux des compositeurs. Dans l'introduction du Iivre , Boehmer exprime de fortes suspicions a l'egard de leis Traduit de l'anglais par Mare Melen rapports verbaux. Je ne partage pas cette opinion. An alyser les rapports verbaux peut fournir des indices utiles. Certes, les co mpositeurs sont so uvent inconscients des processus impliques dans leurs activites. Neanmoins, leurs experiences conscientes, accumulees au cours de plusieurs annees de pratique compositionnelle, peuvent reveler certains problemes auxquels ils sont confrontes et suggerer des activites mentales inconscientes sous-jacentes. Clarke applique avec succes les theories generatives a l'explication de l'expression dans l'interpretation musicale. Le chapitre comprend un e bonne description de quelques recherches empiriques confortant les theories generatives. Le chapitre de Widlund es! un chapitre presque clinique qui fournit d'utiles suggestion s pour Iutter contre l'anxiete, Ia tension et le stress accompagnant l'interpretation . Eile souligne egalement les effets positifs de ces facte urs emotionnels negatifs. Dans l'apprenti ssage de l'improvisation, Hemsy de Gainza insiste fortement sur les aspects developpementaux et distingue trois stades : les stades syncretique (c'est-a-dire l'encodage de Ia sensation musicale), analytique (I a differenciation en composantes musicales) et, enfin , synth etique. Eile invite les educateurs de mu sique a ne pas dissocier l'apprentissage de l'improvi sation de Ia formation musicale generale.

La section 3 s'ouvre avec un chapit re de Heins repla<;:ant Ia musique dans son contexte culturel. Le chapitre apparait quasiment comme une introduct ion aux autres chapitres de Ia section. La th ese principale de l'auteur es! que Ia musique releve davantage d'une situati on societa le col lective que d'une evaluation esthetiqu e individuelle. Su it alors, logiquement, un chapitre de Mayer a propos de Ia sociolog ie de Ia musique ou il definit Ia discipline et fournit des exemples sur Ia fa<;:on dont les relations sociales st ru cturelles et fonctionnelles s'expriment dans Ia musique. Jansma et de Vries analysent, d'un point de vue plus psychologique, les Ii ens entre les emotions et les caracteristiques de Ia musique et comment ces caracteristiques peuvent generer des emotions. Les auteurs se concentrent plus directement sur les emotions ressenlies par l' auditeur que sur celles vecues par l'interprete et Compte-rendu: Erik Christensen (1996). The Musical Timespace: A N. Phi llips F-9 Theory of Music Listening. Aalborg: Aalborg Universty Press Christensen decrit les seu il s perceptifs de chaque dimension d'ecoute (voir p. 20), Nicola Ph illips mais sans discussion satisfaisante des problemes lies au calcul de ces seuil s. Hormis Faculty of Music, University of Cambridge quelques nuances mineures dans l'introduction, son resume de Ia perception des hauteurs, du timbre, de Ia pulsation, du mouvement et de l'intensite est The Musical Timespace: A Theory of Music Listening de Erik Christensen est un court completement inadequat. Le defaut le plus manifeste, a ce niveau, est l'absence de ouvrage comportant deux volumes : le premier expose une theorie de l'ecoute reference precise ou d'exemple emanant de Ia Iitterature en psychologie cognitive. musicale, le second comprend les exemples musicaux illustrant Ia theorie. Le Iivre Des affirmations speculatives sont souvent presentees comme des faits, sans aborde un sujet susceptible d'interesser, !out a Ia fois, les psychologues mention de Ia Ii tterature ou des questions relatives aux differents phenomenes cognitivistes, les musicologues et les melomanes. La theorie vise expressement a perceptifs. Par exemple, selon Christensen "Les hauteurs distinctes sont une repondre a Ia question de lngmar Bengtsson "Quelle genre de theorie appliqueriez­ caracteristique majeure de l'art musical europeen et occidental. En consequence, Ia vous a cette musique (contemporaine] ?" (p. 8). Ce faisant, le Iivre, selon hauteur est souvent consideree comme l'element Iondamental de Ia musique et de Christensen, "fait Ia turniere sur les Iiens entre Ia theorie musicale et les resultats de Ia perception musicale alors que, en realite, eile n'est pas un element IondamentaL Ia recherche en psychologie." (p. 8) . Constatant que "il y a un hiatus entre Ia theorie Le timbre est l'essence de Ia musique et Ia hauteur est un aspect du timbre." (p. de Ia musique classique et les theories de Ia musique contemporain e", Christensen 16). Or il ne eile aucune reference de psychologie cognitive pour etayer cette enonce fermement son "intention de contribuer a combler cette faille" (p. 8). Apres affirmation sans nuance. cette ambitieuse preface, le sommaire promet des discussions sur des sujets divers, depuis "L'intensite, l'excitation de l'attention" (p. 11) et "La hauteur est un aspect Christensen poursuit sa discussion des "dimensions de l'ecoute" en exposant ce qu'il du timbre" (p. 16} jusqu'a "Fiux, expansion et emotion" (p. 130) et "Ludwig van appelle les dimensions "secondaires" de l'ecoute. Ces dimensions sont Ia melodie, le Beethoven: Eroica (1804) -- Un conte de Iee symphonique" (p. 11 0). Po ur le rythme et l'harmonie. Elles constituent des Subdivisions "resu ltant des interactions musicologue ou le melomane avide (de savoir], Ia Iiste des oeuvres analysees est un entre I es dimensions fondamentales" (p. 21 ). Selon lui, Ia melodie est l'aspect appät impressionnant : Metastaisis et Pithoprakata de Xenakis; Apparitions, spatial du mouvement, le rythme le correlat temporel du mouvement, tandis que Atmospheres, Continuum et le Oeuxieme Quatuor a Cordes de Ligeti ; The l'harmonie est une qualite emergente "situee entre Ia qualite de timbre specifique a Unanswered Question et Centrat Park in the Dark de lves ; Summer morning by a Ia source et I es qualites de focalisation de plusieurs sons" ( arising between the Lake (Calors) de Schoenberg ; Livre pour Orchestre de Lutoslawski ; The Music of source-specific qua/ity of timbre and the focusing qualities of several pitches). Une the Spheres et Train Moving Away de Langgaard; Music for 18 musicians de Reich; neuvieme dimension musicale, Ia "m icromodulation", est decrite comme resultant de Jans Vejamd de Nietsen ; Le catalogue des Oiseaux et le Quatuor pour Ia fin des "l'interaction entre le timbre et Ia pulsation." (p. 144). Se Ion Christensen, "La temps de Messiaen ; La Deuxieme Symphonie de N0rgärd ; Eroica de Beethoven ; micromodulation Iransmet l'expression musicale" (p . 14 7 ; cette affirmation est Set the Contra/ for the Heart of the Sun de Pink Floyd ; Body and Soul de Coleman enoncee sans discussion du theme complexe de Ia perception et de Ia cognition en Hawkin. musique). La caracterisation des dimensions de Ia musique par Christensen presente un defaut majeur : Ia description simpliste des aspects temporeis et "spatiaux" de Ia La theorie musicale proposee par Christensen se fonde sur des preceptes perception et de Ia cognition musicales est vague et ne repose pas suffisamment sur ecologiques. Eil e repose sur le postulat selon lequel "L'oreille n'est pas con<;:ue pour les resultats des recherches en sciences cognitives pour permeitre une evalu ation ecouter de Ia musique. L'oreille est destinee a assurer Ia survie dans l'environnement empirique. nature I." (p. 1 0). Se Ion cette perspective ecologique (qui fait quelque peu echo a Ia theorie de Ia complementarite psychophysique de Shepard, 1981 ), Christensen Apres avoir caracterise les "dimensions de l'ecoute", Christensen introduit son decrit l'ecoute (teile qu'elle apparait dans l'ecoute de Ia musique) en termes de concept central, celui de "l'espace-temps musical", un espace "virtuel". Les oeuvres "dimensions d'ecoute" determinees par le besoin d'interpreter Ia nature physique du musicales discutee sont congues comme les sources de cet "espace virtuel" . Selon son. II postute cinq dimensions d'ecoute : l'intensite, le timbre, l'espace, le Christensen, "Ia musique ne 'se deroule pas dans le temps'. La musique cree le mouvement et Ia pulsation. Ces cinq dimensions sont integrees dans un modele a temps." (p . 48). Ce concept permet simplement a Christensen de decrire sa propre bidimensionnel distinguant les dimensions "macrotemporel les" et experience des oeuvres analysees en reference a sa comprehension du "temps" "microtemporelles". Se Ion Christensen, le timbre et l'espace des hauteurs sont qu'elles creent. Tout comme Ia discussion des dimensions Iondamentales et microtemporels ; Ia pulsation et le mouvement sont macrotemporels, tandis que secondaires de l'ecoute, le micro- et le macrotemporel, Ia discussion de "l'espace­ l'intensite est placee "au centre du modele ... le coeur de toutes Ies dimensions temps musical" est insuffisamment fondee sur Ia recherche en perception et d'ecoute. Compris comme un phenomene physique, le continuum naturel du son cognition musicales, en philosophie ou en musicologie pour etre convaincante. Les n'est rien d'autre que le continuum d'energie spectrale de Ia distribution variable citations etayant les affirmations les plus speculatives ne rendent pas l'expose de d'intensite, lequel peut eire mesure comme une pression d'air variant dans le Christensen plus credible pour le psychologue cognitiviste ou le musicologue, mais temps." (p. 21) . elles rendent plus comprehensible au lecteur Ia source ou Ia logique de ses convictions.

Avec cette notion "d'espace-temps virtuel" (p. 40), Ia theorie de Christensen est certainement trop prompte a relayer et a promouvoir les theories intuitivo- F-10 N. Phillips N. Phillips F-11

introspectives des compositeurs a propos de leur activite compositionnelle. Une ne iraite pas des questions philosophiques lies a l'elaboration d'une th eorie de Ia omission particulierement regrettable, de ce point de vue, est de negliger l'influence musique. Les facteurs cu lturels et l'interaction entre les elements derives des faits de l'ideologie sur Ia pratique compositionnelle. Christensen semble conclure que les et ceux derives de Ia theorie ne sont pas abordes. Christensen recommande au theories compositionnell es equivalent aux pratiques compositionnelles et que Ia lecteur d'ecouter chaque oeuvre decrite au moins sept fois. Cela revient presque a pratique artistique ou Ia rationalisation introspective de Ia pratique par les dire "Ecouter ces morceaux assez souvent, li sez ce que je dis et finalement vous compositeurs correle d'une maniere necessaire et Iondamentale avec les processus aussi vous entendrez ce que j'entends". Cette methode peut etre be nefique pour perceptifs et cognitifs. Une discussion des relations entre les produits de guider l'auditeur naH. Mais ei le fournit simplement un campte rendu personnel de ce l'introspection de l'ecoute, d'une part, et Ia perception et Ia cognition, d'autre part, que Christensen entend et renseigne peu sur le pourquoi et le comment ce la est aurait pu conduire a un debat stimulant. Christensen semble meconnaitre Ia difficulte entendu. La theorie et Ia methode de Christensen sont incapables de rendre explicite d'elaborer une analyse musicale generale ou une theorie de Ia musique au depart des l'experience de pMnomenes "subjectifs" tels l'organisation de l'intensite, de Ia rationalisations introspectives de l'experience d'ecoute personneile ; de meme il hauteur, du rythme et du timbre des oeuvres discutees. D'autres auteurs ont semble meconnaitre l'importance methodologique de Ia dichotomie psychologie egalement suggere des methodes pour analyser les st ructu res musicales en termes cognitive/psychologie na"lve. Ce defaut sape completement les bases de Ia tMorie de ce qui peut eire entendu a l'ecoute de Ia musique. Pascal! (1996) a propose un de Christensen. modele d'analyse de type "appariement de patterns" qui tente d'expl iquer "l'audible en musique" plutöt que "l'entendu". Basee sur une synthese des recherches en Les analyses des oeuvres musicales renvoient a des enregistrements specifiques et perception et cognition de Ia musique et sur Ia theorie analytique, Ia theorie de le chronometrage des enregistrements, plutöt que des exemples musicaux precis Pascal! fournit un campte rendu plus convaincant de l'ecoute de Ia musique que celu i SOUS forme de partition, sert de reference. Si cette pratique permet a Christensen de Christensen. La theorie de Pascall est une theorie d'analyse musicale basee sur d'indiquer avec precision les moments de "l'espace-temps musical" dont il discute l'ecoute de Ia musique qui contribue a combler l'espace entre Ia theorie de Ia dans l'analyse, eile suppose que le lecteur acquiert ces enregistrements. De plus; en musique et Ia psychologie de Ia musique, gräce a l'integration d'idees issues de Ia discutant assez longuement les qualites de timbre d'interpretations specifiques, theorie musicale et de resultats de recherche relatifs a Ia perception de patterns Christensen adopte une approche qu'il ne reconnait jamais ou dont il ne semble pas musicaux. La force de Ia theorie de Pascall est l'integration d'un modele theorique et conscient : ses analyses descriptives et introspectives des oeuvres reviennent a d'une methode analytique, une synthese que Christensen echoue a realiser. analyser l'interpretation. Fonder l'analyse sur Ia seule interpretation et insister fortement sur des phenomenes aussi subjectifs que le timbre, rendent La theorie de Christensen est minee dans ses fondements. Premierement, particulierement souhaitable une discussion sur les aspects ideologiques de l'analyse Christensen n'integre pas sa theorie de l'ecoute de Ia musique et ses analyses et de l'i nterpretation. Christensen n'est pas du taut le premier a analyser musicales de fa<;:on convaincante, de sorte que les materiaux theoriques et l'interpretation (cf. Cook, 1996) et l'absence de reference a d'autres travaux analytiques sont reunis de fa<;:on tendancieuse. Plutöt que de combler le hiatus entre tentant d'unifier les theories de Ia psychologie de Ia musique et de l'analyse musicale Ia psychologie et Ia theorie de Ia musique, Ia theorie de Ia musique classique et de Ia represente une autre omission majeure. Puisque Christensen, en travaillant au depart musique contemporaine, Christensen elargit le fasse. Ain si que Lydia Goehr decrit le d'enregistrements specifiques, realise une analyse de l'interpretation, 1 il convient de probleme, "une tension Iondamentale en analyse concerne le gouffre qu'elle menace discuter l'ideologie entourant l'analyse de l'interpretation, ses problemes et ses d'imposer entre Ia theorie philodophique et Ia pratique" (p. 69). Plutöt que avantages. d'aborder le problerne de l'unification des theories de Ia musique et de l'ecoute de Ia musique, Christensen neglige de discuter Ia Iitterature musicologique (Cook, 1994), Les analyses musicales de Christensen consistent en un catalogue descriptif et philosophique (Goehr, 1992) ou musicopsychologique (Ciarke, 1989) relative au chronologique des entrees musicales, des effets et des divisions de "l'espace-temps fasse decrit dans Ia preface. musical" de chaque oeuvre. Campte tenu de Ia nature de Ia methode analytique, les travaux de Bregman (1990) et d'autres dans le domaine de l'analyse des scenes Apres les Iausses promesses formulees dans l'introduction, le Iivre est l'antithese du auditives auraient ete informatifs pour le lecteur ; malheureuse ment cette reference clim ax. Pour le psychologue de Ia musique, Ia proliferation d'affirmations speculatives manque.2 II en resulte une theorie de l'ecoute musicale qui, dans sa tentative de presentees comme des intuitions psychologiques scientifiques peuvent, en l'absence mettre en relation Ia theorie musicale avec des perspectives ecologiques, suggere de citation, devenir exasperantes. Plusieurs questions d'importance capitale en que Ia perception du rythme, de Ia melodie et de l'harmonie ne participe pas a perception et en cognition de Ia musique sont eliminees par Ia discussion de l'experience qu'a l'auditeur de "l'espace-temps musical". On peut peut-etre Christensen, ignorees ou contournees comme s' il n'y avait pas de debat ou comme admettre l'affirmation de Christensen selon laq uelle, en termes purement physiques, si les reponses etaient trop evidentes pour eire exposees. Pour le musicologue, Ia perception de Ia hauteur n'est qu'une variete du timbre. Mais il n'en reste pas l'agenda de Ia formation en canon apparaltra dans Ia description rhapsodique de moins que, en termes de perception et de cognition (c'est-a-dire en termes de Christensen de plusieurs oeuvres (voir, par exemple, Ia discussion de Atmospheres processus d'ecoute adoptes par l'auditeur moyen eleve dans Ia culture occidentale de Ligeti, p. 86, ou Summer morning by a Iake (Calors) de Schoenberg, p. 87). Pour susceptible d'etre expose aux oeuvres analyses par Christensen), Ia comprehension l'analyste, Ia production d'une serie d'analyses "fermees", peu liees entre ell es et theorique de Ia perception de Ia hauteur, de l'harmonie et du rythme progresse basees sur des descriptions du timbre peut apparaltre comme une tentative quelque gräce a l'apprentissage formel et a l'exposition a Ia musique d'une maniere si peu superficieil e et na·lve de formuler une theorie d'analyse de Ia musique importante qu'ils ne peuvent etre negliges de cette far;:on. Au surplu s, Christensen Gontemporaine basee sur l' ecoute musicale. Simple et concise en apparence (ce Commentaires sur le 4 e ICMPC N. Phillips McGill University, Montreal, Canada, 11 -15 Aout 1996 F-12 . lations de Christensen que le des questions sur les specu 'lomane sans La Quatrieme Conlerence sur Perception et Ia Cognition de Ia Musique (ICMPC) n'est que quand on pose Ia theorie devient apparent), le me ut organisee a Montreal regroupait un ensemble varie mais integre de communications caractere inc~~r:a~~e~::! ~:Cguuv~rd~a tneo~ie lacHe ~. lireD=~sa c~o:~~e~~:eace:o~~lit orales et allichees relatives a Ia perception et a Ia cognition de Ia musique, Ia psychoacoustique, l'interpretation musicale, le developpement musical, Ia modelisation musicale, l'analyse musicale, Ia neuropsychologie, Ia psychomusicologie ~~~~::~~2~~:~~~e~qcuoe~6=~~~~t~~t~~~~~~~~~~~:~:~~;~~~:~~~;~~n~~m~:el~ver~s~~ et Ia sociologie de ia musique. La conference s'est signalee par Ia lacilite avec de Ia perception et de Ia cogmdtonxxe siecle ou a taute personne _cnerchant dde~ laquelle les participants evo lu ants dans divers domaines de recherche d. u !an de mustque u . . prendre et a ltre pen an communiquerent entre eux, ce qui suggere qu'un champ de recherche unilie recomm:n d: ~a musique contemporaine lactles ~it~~~e peuvent trauver ce Iivre commence a emerger. ~~~~~t:. Le musicologue et le _psy~ho logduees ~~~blemes manilestement poses par e . t par l'evitement systemattque exasperan · ale Un brel commentaire ne saurait rendre justice ni a Ia diversite ni a Ia qualite des ses allirmations sur l'ecoute mustc . presentations. Des "instantanes" de Ia Conlerence rediges par des jeunes chercheurs sont des lors reunis ci-dessous afin de donner un apen;;u des travaux 'f · nces · c mbridge MA· MIT Press · ' Re ere A S (1990) Auditorv Scene Analvsts a d s~chological processes in mustc realises et de Ia qualite des recherches presentees (des details concernant Ia Bregman, · · 'Mind the gap: form al structures an P disponibilite et le prix des Actes [sur CD-Rom] peuvent etre obtenus par courrier 989 Clark~~ ~·~~t~~por~rv Music Review, 3, pp.H: (Eds .), Musical Perceptions Oxford: Oxford electronique a l'adresse [email protected]). 1994) in R. Aiello and J. Slobo a . ' Coo k , N · ( . analysts . in N. Cook Universtty Press • ) 'Analysing pertormance, and pertormtng k N ( 1996 a parattre . O f d· Glarendon Press L'interet pour les questions importantes mais notoirement delicates sur les relations Coo ' & M. Everi'st (eds.), Rethinking Mustc f Mxu~:c~l Werks Oxford· Glarendon Press d· Oxford entre musique et emotion ont progresse de lar;:on constante. Le quatrieme ICMPC oehr L. (1992) The lmaginarv Museumot. Foundations of Mustcal Pttch Oxfor G ' (1990) The Cognt tve de Montreal comprenait plusieurs contributions remarquables, en particulier dans Ia Krumhansl, G.L. . Cognitive Psychology of Session intitulee "expression et emotion". Universtty Press (1993) ( eds.) Tihtlii!Dn!s:ki[!n&JqJt!DnJS~oQJUJ!nl(dL:.-JTJ:hl.§e~QQ'Q!!!YJL...c.;~'-""'=,_"- d s & Btgand, E. Emery Schuber!, tout d'abord, a presente son Espace Emotionnel Bidimensionnel (2DES) : un programme d'ordinateur destine a enregistrer en continu Ia perception ::~c:;a(~·:9u~i=:nf~~~E~~~~;~~;ag~~~~~::~~r~t~e~i:~· ~ii~ii~n~ ~~;b~i~~~rantz qu'a l'auditeur de l'expression emotionnelle liee Ia musique ou a d'autres stimuli Shepard, R.N. (1 I Oraanization Hillsdale, N.J.: Erlbaum. PP· a (eds.), Perceptua - (apparemment, Clillord Madsen aurait realise un appareil semblable). Base sur les deux dimensions emotionnelles revelees par les etude multidimensionnelles sur Ia Traduit de /'anglais par Mare Melen . . . similarite des emotions de James Russe\ et d'autres, i'excitation et Ia valence, ie ------. Ch istensen veuille dehmtter 2DES permet a un auditeur d'indiquer ses jugements en temps reel de l'expression - . . se roduit malgre le fatt que r oraine" (p. 8), un emotionnelle directe dans un espace emotionnel bidimensionnel. L'appareil a ete 1 Gelt~ deviatio.~ me:no~~~~;~~~ase~ sur "l'ecoute de Ia n;ustqu;e c~~~~:~~ musicale basee une theone de I ecou .e . "d mment transforme en une theone . critique parce qu'un rapide changement de perception de l'expression par l'auditeur ob'ectif qui est btentot tnct e . our Ia est enregistre comme une transition passant par un certain nombre de points su~ Ia theorie composition~e."e. res ue volontaire des textes les plus p~rt~:;~:sfon des intermediaires et non comme un mouvement direct d'un point a un autre. 2 II semble y avoir uni evttnemc!nqtuf co!erne Ia perception des hautenu~s~ ~~ segregation des Neanmoins, il semble que cet outil novateur peut etre utile dans l'exploration de . . . par exemp e, e . Dans Ia dtscussto 990) dtscusston . sl (1990) semble s'tmposer. . • nt celui de Bregman (1 • l'experience musicale, en particulier s'il est combine avec des mesures travaux de Kru~han'ference le plus pertinent seratt sure~le preferer s'appuyer sur des electrophysiologiques de l'emotion. flux, l'ouvrage e. re nce est absente. Christensen sem _e e tels que ceux fournis par mais une teile re ere . t Ia cognition de Ia mustqu resumes relatifs a Ia per)c~p:~~~uee de consulter les textes originaux. Tobey et Fujinaga ont presente un systeme informatique suiveur de ehe! McAdams et Bigand (1993 p u o d'orchestre. Les intentions expressives du ehe! d'orchestre sont interpretees au depart de donnees extraites en continu de sa baguette. Ce systeme contröle en temps reel les parametres musicaux comme le tempo, Ia dynamique, et i'articulation. Bien que diriger un orchestre ne se Iimite pas aux mouvements des bras, le systeme represente une lascinante tentative de digitalisation de l'expression musicale.

Constatant l'absence d'interet pour Ia lar;:on dont les chanteurs expriment les emotions dans leur interpretation, Ogushi et Hattori ont rapparte une etude dans F-14 P. Juslin, A. McNeil, M. Royal P. Ju slin, A. McNeil, M. Royal F-15 laquelle trois chanteurs devaient realiser un" morceau.. d~ ~a~o~ a :ra~s~ettr~. aux a 494 Hz (D o4-Si4), tous les sons etaient rendu s equivalent du point de vu e de Ia auditeurs quatre emotions Iondamentales ( tnstesse , JOie , colere , peur) ou sonie. une expression neutre. Les experimentations realisees au moyen de ce materiel montrent que Ia reconnaissance de l'expression est meilleure lorsque des Dans Ia lache des sons isol es, deux sons etaient presentes et le second pouvait enregistrements audio et video sont proposes. Cependant, etonnamment, les differer du premier par Ia hauteur et/ou le timbre, Ia Fo restant constante ou etant enregistrements video influencent davantage les jugements des_ auditeurs su_r augmentee ou diminuee de 17, 35, 52 cents par rapport a celle du premier son . l'expression que les enregistrements audio. L'analyse des donnees relatives a Les sujets devaient indiquer si le second son etait identique ou different du premier, l'interpretation est en cours et les resultats seront communiques a Ia reunion du point de vue de Ia hauteur uniquement. Dans le contexte melodique, Ia Fo et le organisee conjointement par I'ASA et I'ASJ a Hawaii (2-6 decembre 1996). Cela timbre du dernier son etaient modifies de Ia meme maniere que le contexte des permettra d'interessantes comparaisons interculturelles avec les resultats d'etudes sons isoles. Les resultats indiquent que pour les sons isoles, le timbre influence Ia anterieures sur Ia communication emotionnell e li ee a l'interpretation mu sicale. perception de Ia hauteur. Dans le contexte melodique, cette interaction n'est pas significative. Les sujets etaient des non-musiciens. Adachi et Trehub agrementerent leur expose de charmants exemples musicaux. Des enfants de 8-1 0 ans devaient chanter des melodies simples (telles Twinkle, Twinkle, L'etude explorait egalement le röle de certains sons comme hauteur de reference Little Star, The Alphabet Song,) a l'experimentateur de fa9on a le rendre "triste" ou dans une melodie et le röle des traces mnesiques a long terme. Warrier et Zatorre "heureux". Les caracteristiques gestuelles, vocales, linguistiques et musicales de montrent que si un son fait partie d'une melodie ou d'un air familier, l'aptitude des leur interpretation etaient enregistrees sur bandes audio et video. II apparaTt que les sujets a identifier Ia hauteur n'est pas affectee par le timbre. Au contraire, dans le techniques d'expression des enfants manipulent les expressions faciales, Ia position cas de sons isoles depourvus de point de reference ou de trace mnesique, les des yeux et de Ia tele, Ia posture corporelle, le tempo, le rythme et l'articulation. differences de timbre alterent Ia perception des hauteurs. Les bons chanteurs se demarquent des moins bons chanteurs par leur utilisation subtile des gestes, comme Ia respiration. Selon Warrier et Zatorre, les composantes spectrales du timbre peuvent affecter Ia perception de Ia hauteur. Toutefois, ils ne tirent aucune consequence pratique pour 11 ne s'agit que d'un aper9u des exposes consacres aux relations musique-emotion. Ia perception de Ia musique "reelle" par des musiciens reels. Leur etude pourrait Cependant, tous ces exposes temoignent de l'importance de Ia musique en tant que avoir des implications importantes pour Ia formation musicale, en particulier pour Ia moyen d'expression et de communication emotionnelles. conception de l'evaluation auditive des musiciens interpretes. Si, pour les sons isoles, le timbre domine Ia perception des hauteurs, les implications pour Patrick Juslin l'evaluation auditive au moyen d'un piano - Ia procedure habituelle - doivent etre Department de Psychologie, Universite d'Uppsala, Suede examinees. En realite, il conviendrait de reflechir sur Ia pratique qui consiste a evaluer les musiciens-interpretes au moyen de melodies isolees. Cependant, plusieurs questions doivent eire davantage explorees avant d'appliquer les Orales ou affichees, les communications concernant l'incidence des aptitudes resultats. Premierement, les sujets de Warrier et Zatorre etaient non-musiciens. Une d'ecoute sur le musicien-interprete - mon propre domaine d'interet - presentaient etude comportant des musiciens et des non-musiciens procurerait probablement une certaine diversite mais etaient neanmoins agreablement integrees. On peut des conclusions plus fiables sur les consequences de Ia perception des difference de estimer que psychologues, musiciens, pedagogues, physiciens et physiologistes timbre et de hauteur pour les musiciens (peut-etre des interpretes et des n'avaient plus manifester autant d'aptitude a communiquer entre eux dans un compositeurs pourraient-ils eire in clus a titre de groupe de comparaison). Iangage commun depuis l'epoque de Helmholtz. Au cours d'autres evenements Deuxiemement, les stimuli utilises etaient des sons de synthese, ce qui facilitait Ia anterieurs du meme type, les idees etaient apparemment exprimees sous des manipulation des harmoniques d'un son donne. Cependant, les musiciens, et en formes trop disparates ; Ia presente conference a fortement contribue a unifier les particulier les musiciens interpretes "traditionnels", jouent avec des timbres "reels" apports de cesdiverses disciplines scientifiques a Ia comprehension de Ia musique. d'instruments acoustiques plutöt qu'avec des sons de synthese. Comparer les resultats generes par une variete de timbre d'instruments acoustiques pourrait eire Warrier et Zatorre ont expose leur communication, intitulee "The Effect of Melodie interessant. Troisiemement, pui sque cette etude portait sur les relations entre Ia Gontext on lnteractions Between Pitch and Timbre", avec zele et charisme : le perception de Ia hauteur et des composantes spectrales du timbre, il conviendrait public s'est beaucoup amu se des stimuli experimentaux presentes. Warrier et peut-etre d'elargir le contexte de recherche de fa9on a en cerner les effets sur Ia Zatorre ont poursuivi les recherches de Se mal et Demany (1991) et de S1ngh et perception de Ia musique du monde "reel". Hirsh (1992) a propos des interactions entre Ia hauteur et le timbre dans differents contextes. L'incidence du timbre sur Ia perception de s hauteurs etait etudiee dans Tout au long de ce siecle, Ia formation musicale a mis l'accent sur les aptitudes deux contextes : en modifiant les param etres dans l'intervall e interstimuli (1 8 1) entre d'ecoute. L'evaluation de l'interpretation, de Ia mu sicalite et du talent musical deux sons isoles ou dans le contexte d'une melodie familiere. Trois timbres etaient repose sur des testes destines a evaluer les aptitudes auditives au moyen de crees en manipulant l'intensite relative de onze harmoniques. Selon le timbre, les reponses orales a des Stimuli auditifs. En particulier, l'acuite auditive a ete, et est harmoniques inferieures, moyennes ou superieures, et aient successivement encore, une qualite attendue chez l'interprete et est censee etre revelee par Ia renforcees . La frequ ence Iondamentale (Fo) de chaque son complexe all ait de 261 vari ete des tests auditifs servant a l'evaluation du musicien-interprete. Perry Cook a F-16 P. Juslin, A. McNeil, M. Royal P. Juslin, A. McNeil, M. Royal F-17 justement brillamment presente une etude relative aux problemes fondamentaux de La suggestion selon laquell e les trombonistes, selon leur propre aveu, jouaient "a l'acuite auditive intitulee "Hearing, feeling, and performing: masking studies with l'intuition" ne doit pas etre mal comprise. Par "intuition", Cook entend que les trombone players". sujets s'appuient sur les mecanismes mnesiques et sur le feedback haptique, non sur l'aptitude a sentir Ia musique dans un sens interpretatif. La recherche de Cook Examinant le röle des strategies de feedback et de feedforward utilisees par des pose Ia question Iondamentale des aptitudes auditives . Carlsen a Ia conference experts en cours d'interpretation, Cook eherehe a identifier les mecanismes de JRME tenue au printemps a l'universite de Reading (UK), posait une question contröle auditifs, haptiques et mnesiques necessaires a Ia regulation d'une bonne directement liee au travail de Cook : "Nous enseignons Ia formation de l'oreille et ce interpretation musicale. Deux conditions sont mises en place : une tache de depuis un certain temps, mais quel est le degre de faculte perceptive requis pour masquage (realise a l'aide 'un casque d'ecoute emettant a 110 dB) et une tache etre un bon musicien ?". sans masquage. Les sujets, qui avaient entre sept et quarante-cinq ans d'experience en tant qu'interprete, devaient preparer trois courts extraits articules Des reponses a l'expose de Acker et Pastore ("Melody perception in homophonic autour de Ia series des harmoniques du trombone. lls repetaient le morceau avec un and polyphonic contexts") faisaient echo a Ia question posee par Carlsen. Un metronome regle a 72 bpm puis a 96 bpm . Les extraits consistaient en un exercice membre du public fit remarquer que "nous evaluons tous l'oreille mais personne ne d'echauffement, un grand mouvement de Ia coulisse, des ajustements de Ia tension sait pourquoi nous le faisons", ce qui suscita les rires du reste de l'auditoire. La des levres. Les extraits etaient ensuite executes avec un metronome regle a 72 recherche de Cook tauche a des questions plus larges comme Ia mesure dans bpm puis a 96 bpm, d'abord avec masquage puis sans masquage. laquelle nous nous appuyons sur les aptitudes auditives pour etre un bon musicien. Sloboda (1987) insiste sur l'importance pour le musicien-interprete de s'ecouter, Cook observe que le nombre de notes manquees varie de faQon negligeable entre Ia mais quelles sont les aptitudes auditives necessaires pour produire une condition avec masquage et sans masquage. Les sujets identifient immediatement interpretation qui reponde adequatement a cette ecoute ? De plus amples Ia note substituee a Ia note correcte. Des etudes sur les vocalistes rapportent des recherches recourant a des musiciens moins experimentes et d'autres resultats similaires (Campbell & Michel, 1980; Sundberg, 1981 ; Ward & Burns, instrumentistes s'averent necessaires. 1978; Ternstrom et al., 1983; Shipp et al., 1984). Dans Ia lache avec masquage, tous les sujets jouaient plus fort que dans Ia condition sans masquage, a l'exception Alison McNeil de !'expert ayant accumule quarante ans d'experience. Cependant, l'augmentation Departement de Musique, Universite de Huddersfield, UK d'intensite n'etait pas significative (augmentation moyenne de l'intensite = 3,75 dB, ecart-type = 2,611 dB). En l'absence de feedback auditif, Ia performance devenait rigide, manquant particulierement de vibrato. Tous les sujets jouaient avec un sens Les exposes suivants, donnes a I'ICMPC de Montreal de 1996, ont ete choisis parce accru de Ia pulsation au cours de Ia lache de masquage et disaient jouer surtout "a qu'ils portent tous, d'une maniere ou d'une autre, sur Ia perception du rythme mais l'intuition". representent differentes approches de ce sujet. Ces exposes illustrent Ia variete croissante des methodologies utilisees par les chercheurs en psychologie de Ia Cook ajoute que le canal haptique domine le feedback ou suffit quand le feedback musique : ci-dessous figurent un exemple d'experimentation sur Ia perception et auditif est inhibe, et Ia memoire joue un röle important dans Ia recherche des l'interpretation, d'etude de cas neuropathologique, de modelisation informatique et hauteurs afin de produire une repon se sensorielle haptique (Seashore, 1939). Cook de theorie musicale. conclut que le feedback auditif n'est pas necessaire pour permettre au tromboniste expert une execution efficace et musicale . En Opposition avec les resultats de Cook, A l'aide dune approche de detection du signal, Hasa n Gürkan Tekman invitait ses Sloboda (1988) suggere que nos facultes auditives sont vitales pour l'autocontröle SUjets a detecter des ecarts d'intervalles l ernporelies dans des sequences l'ajustement de notre interpretati on. Evelynn Giennie (1 992) affirme que lorsque principalement isochrones. L'inclusion de sons accentues (plus fort s) rendaient les nous jouons, nous percevons, repondons et nous adaptons continuellement a ce sons deviants longs plus difficil es a detecter, au contraire des sons deviants courts. que nos oreilles nous transmettent, le feedback auditif etant imperatif pour une L'accentuation des sons diminuait aussi Ia sensibilite de l'auditeur mais seulement bonne execution musicale. Campte tenu du haut niveau de decibels de Ia lache avec lorsque ces accents se produisaient a intervalles reg uliers (plutöt qu'irreguliers). La masquage (11 0), il n'est peut-etre pas etonnant que les joueu rs de cuivre recherche de Tekman decrit l'interaction entre l'intensite et Ia duree. s'appuient moins sur le feedback auditif lorsqu'ils jouent. Les executions "rigides" observees par Cook dans Ia condition avec masquage peut fournir Ia cle de cette Geoffrey Collier a presente une etude sur l'execution d'un rythme "croche-triple apparente discordance. Une execution rigide peut-elle etre qualifiee de musicale ? croche-triple noire" (3:2:1) par des batteurs de jazz professionnels. Les batteurs En fait, Ia definition de Ia musicalite ne fait-e lle pas l'objet de debats fluctuants devaient jouer ce rythme a different tempi (de 25 a 280 bpm) en adoptant un style depuis Seashore (1919) ? En outre, les sujets de Cook jouaient toujours d'abord "swing" ou strict sur un e batterie MIDI. Le rapport de Ia partie 2:1 de ce rythme a dans Ia condition sans masq uage. Cela pourrait expliquer le caractere non necessaire ete analysee. Dans Ia condition "rythme strict", les trois batteurs produi saient des du feedback auditif puisque les sujets avaient deja ete expose a un feedback auditif. rapports plus proches de 2:1 a des tempi moderes, tandi s que pour les tempiplus Les conditions experimentales devraient etre organisees aleatoirement avant de rapides, il s evoluaient vers des rapports 1:1. Dans Ia condition "swing", les rapports pouvoir tirer de pareilles conclusions. avaient tendance a etre plus extremes pour les tempi moderes. Contrairement a Ia F-18 P. Juslin, A. McNeil, M. Royal Le futur en nHrospective. 12e session an nuell e de Ia Societe allemande de psychologie de Ia mu sique (DGM) et 2e symposium intern ational de croyance populaire, les rapports "swing" etaient plus extremes que le s tripleis psycholog ie de Ia musique a Freiburg/Br. (R FA) du 12 au 14 septembre stricts. 1996

Willi Steinke a relate le cas du patient KB, un homme de 66 ans droitier presentant Elena Ungeheuer une amusie sans alteration des capacites langagieres. Steinke et al. observent que KB peut juger correctement si deux rythmes presentes par paire sont identiques ou Le titre general de Ia manifestation, La reception musicale au terme d'un siecle , differents et est capable de repartir les melodies dans les categories "valse" et n'avait rien de se ntimental; il signalalt plutöt que l'on peut, sans trop de craintes, "marche". Les performances etaient superieures a ce qui etait attendu par hasard poser un regard critique sur l'evolution d'un secteur ou Ia recherche, en plein essor, mais Interieures aux resultats d'un groupe contröle de sujets intacts sur le plan s'interesse tantöt aux conditions de Ia perception, tantöt aux relations que neurologique, d'äge et de formation musicale semblables. Cette difference entre KB professionnels et amateurs entretiennent avec Ia musique. Heiner Gembris (Münster) et le groupe contröle etait davantage marquee encore dans un autre lest ou les ouvrit les debats en retrayant l'evol ution de Ia discipline tout en revendiquant, pour sujets devaient reconnaitre le rythme de melodies familieres, une täche qui s'avera ses propres travaux, une distance par rapport aux recherches purement cognitives. II impossible pour KB. Sur le plan de Ia production, KB pouvait reproduire des mit le doigt sur Ia polarisation inherente aux sciences psychoacoustiques qui divise Ia pulsations metronomiques sauf les plus lentes et etait capable de reproduire de communaute scientifique en deux "camps " : l'un, fonde sur les sciences exactes, petites sequences rythmiques mais avec un succes modere. Au depart de ces fait primer Ia mesure sur toute autre consideration; l'autre, plus philosophique ou resultats et d'autres tests de perception melodique, Steinke et al. concluent que KB esthetique, puise aux sciences humaines. Ainsi Carol Krumhansl (lthaca NY), l'une a perdu l'usage d'un processeur musical specialiss auquel il doit substituer d'autres des tres rares a avoir prolange leur sejour en Europe au dela de Ia conference JIC96 mecanismes de traitement (peut-etre lies au Iangage). (Joint International Conference) a Bruges en debut de semaine (ou les cognitivistes purs et durs etaient fortement presents), presenta-t-elle les resultats d'une Leigh Smith a rapparte une recherche sur le traitement et l'analyse de rythmes recherche ou eile s'est efforcee de mesurer simultanement Ia pertinence de Ia musicaux par ordinateur. Utilisant une Iransformation sinuso'ldale continue, des segmentation et Ia " tension musicale " dans une sonate de Mozart. Dan s Ia frequences rythmiques allant de 0,1 a 100 Hz etaient extraites d'un rythme donne discussion qui suivit son expose, Gembris, cherchant a avoir quelques precisions sur en input. Le programme generait deux types d'output, un scalogramme, ce qu'elle entendait par "tension mu sicale ", s'entendit repondre que, avant de representant l'evolution temporelle des niveaux metriques, et un phasogramme, s'interroger sur les acceptions complexes et les intrications des mots, eile mesure. representant les relations de phase entre ces niveaux metriques. Smith illustra les Selon Gembris, il est, au contraire, urgent de relativiser Ia predominance anglo­ performances du programme a l'aide de I' ostinato du Bolero de Ravel. americaine dans Ia discipline, car eile reduit le champ des investigations aux seules demarches experimentales. II lui oppose des approches tenant davantage compte Justin London a discute de Ia superiorite de Ia metrique binaire simple par rapport Ia des Situations reelles et des contextes socio-culturels ou individuels ainsi qu'une metrique ternaire ou les metriques complexes. London suggere que le s metres qui historiographie propre aux recherches en matiere de reception et offrant une mise regroupent les plus petites valeurs de notes par troi s sont plus difficiles a percevoir en perspective, SOUS Ia forme d'une evolution de l'attitude receptive, des resultats parce qu'ils s'opposent a Ia tendance naturelle a marquer l'alternance des sons par et des circonstances dans lesquelles ceux-ci ont ete obtenus. II y a taut li eu de une metrique fort-faible, fort-faibl e, etc. Le metre 9/8 est le plus difficile parce que, croire que les deux directions pourraient ainsi progressivement se rapprocher, etant donnee l'alternance de noires fortes et faibles, une noire !orte ne co'lncide d'autant plus que l'on voit poindre des travaux americains " revisitant " les avec un temps fort qu'une foi s tou s les deux mesures (au baut de six battue s de pionniers europeens de Ia discipline, comme Ernst Kurth. croches pointees). London a souligne que l'origine de Ia preference pour les organisations metriques binaires provient de l'avenement de Ia musique de danse Parmi le s trois orateurs invites, soulignons Ia presence de Robert Frances (Paris), instrumentale a l' epoq ue baroque. figure quasi mythique (son ouvrage La perception de Ia musique date de 1958) que, a l'exception du 3e ICMPC de Liege en 1994, l'on n'a vait plus vu dans un tel Dr Matthew Royal contexte depuis plusieurs decennies. Faculte de Musique, Universite de Western Ontario , Canada Sur le fand, nul ne contredira que le multimedia constitue deja une realite artistique Traduit de /'anglais par Mare Melen demandant, quant a sa reception, de s voies d'approches originales. Mais, n'est-on pas face a un simple effet de mode lorsque, dans un expose au titre fort prometteur, "The Reception of Multimedia : A Framewerk for Analysis ", Nicholas Cook (Southampton) s'attarde sur des pochelies de disques pompeusement promues aux rang de phenomenes artistiques multimedia ? Surtout que taut n'y est que cliche ! Par exemple, Ia formule "peinture cubiste et Petrouchka ". En outre, il confond multimedia et utilisa tion de compositions deja ecrites comme musiques de film. Qu'y a-1-il de si extraordinaire, du point de vue du multimedia, dans Ia sequence F-20 E.Ungeheuer ANNONCES de Fantasia de Wall Di sney ou les temps prehistoriques sont aeeompagnes d'extraits du Sacre du printemps, campte tenu du fait que Ia question a resoudre est Ia synchronisation rythmique des sequences d'images et des phrases musicales. Qui plus est : Nicholas Cook ignore-t-il vraiment que Stravinsky - contre !orte somme, IMPORTANT s'entend - avait accepte un mantage trahissant sa musique (suppression de certains passages, repetition d'autres), et que, partant, sans eomparer Ia musique originale Les numeros de telephone et de lax du siege de I'ESCOM a Liege seront modifies a avec Ia version "comic-strip ", cet exemple est probablement le plus insense qui se partir de NOVEMBRE 1996. puisse ehoisir eomme base d'un "framework for the analysis of multimedia" ? lndependamment de tout ce qui precede, l'interrogation Iondamentale reste : et le Veuillez former les numeros suivants: multimedia ? TELEPHONE: 32 4 223 22 89 Par ailleurs, Ia multitude des reeherches individuell es presentees a Freiburg offre un FAX: 32 4 222 06 68 panorama interessant de Ia discipline. Renale Müller (Ludwigsburg) donna de precieuses indications sur le s possibilites et les limites actuelles de l'analyse par L'adresse e-mail a ete modifiee en juin dernier et certaines personnes ont eprouve ordinateur dans Ia recherche empirique. Ulrike Karrer (Würzburg) etudia des des problemes de communication. Veuillez utiliser dorenavant l'adresse du cassettes de " musique de relaxation " pour conclure qu'aucun effet particulier ne Secretaire-permanent pouvait leur etre assigne en tant que te ll es. La musique dans Ia publicite prit de biais une etude de Iangue duree menee par Klaus-Ernst Sehne (Hanovre) sur [email protected] l'accoutumance des jeunes a Ia musique classique, car les reponses positives a l'egard de cette derniere augmenterent significativement lorsqu'une publicite pour NB: Les caracteres avec accent ne doivent pas etre utilises dans l'ecriture des un yaourt se servil du celebrissime concerto pour piano de Teha'lkowsky. D'autres adresses e-mail. etudes auront a approfondir ce phenomene que l'on qualifie desormais d"'effet­ yaourt-Teha'lkowsky".

Plusieurs recherehes elargirent notre connaissance des representations eognitives de Ia musique. La premiere traita de Ia predominance de Ia pereeption des structures IN TERNATIONAL CONGRESS FOR APPLIED PSYCHOLOGY CALLS FOR globales sur celle des organisations locales et constata qu'elles peuvent etre PAPERS soumises a des permutations sans modifier le sens profand (Barbara Tillmann, Dijon) . La deuxieme porta sur les consequences d'une audition repetee ou de l'absence The Seienlilie . Program Committee for the 24th International Congress of d'une teile familiarisation, question que Christoph Louven (Cologne) etudia sur Ia Psychology, tak1ng place August 9-14, 1998 in San Francisco, has issued the call for base d'une musique de sa propre plume usant de formules stylistiques typees; il y papers. Hosted by the Ameriean Psychological Association (APA) on behalf of the aborda par ailleurs les differentes phases du contact avec Ia musique et Ia lnt~rnational Association of Applied Psychology, the Congress will feature an array eomparaison entre differents types d'auditeurs. Une troisieme etude, fruit de Ia of JndJVJdual and group presentations on: organizational psychology; psychological collaboration entre des chercheurs de Freiburg et de Hanovre, tut presentee par evaluat~on and assessment; psychology and national development; educational, Willried Gruhn (Freiburg/Br.) : eile mesure l'excitation des nerfs cerebraux a JnstruetJonal and school psyehology; clinical and community psychology; applied l'audition en vue de distinguer differents types de representation musicale, l'une gerontology; health psychology; economic psychology; psychology and law; political figurale et globale, l'autre formelle, c'est-a-dire analytique et structuree par des psychology; spart. psyehology; traffie and Iransportalion psychology; and other prineipes linguistiques. Ces types decrivant preeisement les deux formes d'edueation areas such as applied soeial, applied developmental, human factors and ergonomics qu'il a appliquees aux enfants, Gruhn considere que ses resultats fournissent une an~ social issues .. To request a eopy of the eall, contact:· Congress Secretariat, APA preuve corticale a Ia pedagogie. Offlee of International Affairs, 750 First Street, NE, Washington DC 200002-4242· lax 202-336-5956; e-mail [email protected]. ' Qu'elles visent une realite artistique ou pedagogique, les recherches en matiere de reception etaient, gräce a un choix judieieu x, presentes dans taute leu r diversite a ce 2e Symposion international de Ia psychologie de Ia musique a Freiburg, qui se tint fort a propos a Ia suite de Ia session annuelle de Ia DGM. Announcements E-23 E- 22 Announcements

ESCOM ANNONCES OFFICIELLES 3 . Propositions d'amendements aux statuts ou au reglement d'ordre interieur

1. Convocation de l'assemblee generate de 1997 Dans le respect de Ia legislation du pays ou l' association est etablie, des amendements et modifi cations aux statuts ou au reglement d'ordre interieur Veuillez noter que Ia troisieme As semblee Generale des membres de I'Association peuvent etre proposes par le Conseil d'Administration ou par une requ ete signee par Europeenne pour les Seiences Cognitives de Ia Musique (ESCOM) se tiendra a dix membres effectifs ressortissants d'au moins trois pays. Taute proposition Uppsala, Suede, entre le 7 et le 12 juin 1997. Taus les membres effectifs sont d'amendement doit etre accompagnee d'un commentaire de 500 mots maximum invites a participer aux discussions, proposer des resolutions et prendre part aux redige par les membres qui deposent une proposition d'amendement. Elles doivent votes, en accord avec les statuts et les reglements d'ordre interieur (voir Ci- etre envoyees au Secretaire-Permanent de I'Association avant le 7 fevrier 1997. dessous). L'attention des membres est attiree sur le fait que les modifications aux statuts 2. Propositions de candidatures au conseil d'administration entraTnent d'importants frais et ne sont effectives qu'apres publication au journal officiel. II est donc preferable, et en general aussi efficace, d'effectuer les Des propositions de candidature aux postes de President, Vice-President, Tresorier amendements souhaites dans le cadre du reglement d'ordre interieur. et Editeur du Bulletin d'lnformation sont demandees. Gelles-ei doivent etre envoyees au Secretaire-Permanent de I'Association avant le 7 fevrier 1997. Les votes concernant des propositions de modification se font par bulletin secrat par les membres effectifs, lesquels peuvent donner procuration a un autre membre Seuls les membres effectifs de I'ESCOM sont eligibles a ces postes. La proposition effectif pour se faire representer a I' Assemblee Generale. d'une Candidalure doit etre faite par deux membres effectifs de I'Association, lesquels auront obtenu au prealable le consentement du candidat propose. Taute 4. Resolutions en mat iere de polit ique generate ou de proposition doit etre assortie d'un commentaire de 500 mots maximum, redige et procedure signe par les deux membres responsables de Ia proposition. En outre ceux-c1 s'assureront a l'avance au sujet des capacites, experience, temps libre, volonte Des resolutions en matiere de politique generale ou de procedure peuvent etre d'investissement dans Ia täche, ressources personnelies ou institutionnelles discutees et soumises au vote de !'Assemblee Generale dans Ia mesure ou des permettant au candidat d'accomplir valablement le travail requis au sein du Conseil propositions ont ete soumises par ecrit par deux membres effectifs et adressees au Secretaire-Permanent au plus tard avant le 7 fevrier 1997. d' Administration.

Les votes aux differents postes au sein du Conseil d'Administration se font par bulletin secrat par les membres effectifs, lesquels peuvent donner procuration a un Statuts Amendes autre membre effectif pour se faire representer a I' Assemblee Generale.

Le President est /e representant officiel de /'Association. II dirige et supervise /es ASSOCIATION EUROPEENNE activites de /'Association et est en contact permanent avec /es autres titulaires de POUR fonction. Le President preside /es reunions de /'Assemblee Generale et du Conseil LES SCIENCES COGNITIVES DE LA MUSIQUE d'Administration. Le President ne peut remplir deux mandats consecutifs. association internationale Le Vice-President remplace /e President en cas de necessite ou a Ia demande de ce dernier. Le Vice-President cherchera activement a accroftre le nombre de membres de /'Association. ARTICLE 1. DENOMINATION. La denomination de l'association est "Association eu rop ee nne pour les Seiences Le Tresorier est responsable des fonds de I'Association. L 'utilisation de ceux-ci se cognitives de Ia Musique". Cette association est regie par Ia loi beige du 25 octobre fera par demande ecrite du Tresorier et signature du Secretaire-Permanent. Chaque 1919, modifiee par Ia loi du 6 decembre 1954. fois que Ia demande /ui en est faite, /e Tresorier presentera au Conseil d'Administration un etat des comptes de /'Association. Lors de chaque Assemblee ARTICLE 2. SIEGE. Generale, /e Tresorier fera un rapport sur /es finances du triennal ecou/8 et Le siege social de l'association est etabli officiellement au Centre de Recherehes et presentera un budget pour le triennal suivant. de Formation Musicalas de Wallonie, association sans but lucratif, place du Vingt­ AoOt, 16, 4000 Li ege, Belgique. Le siege peut et re Iranstere dans tout autre lieu de L 'Editeur du Bulletin d'lnformation organise Ia publication du Bulletin officiel de Belgique par simple decision de l'assemblee generale publiee aux annexes au Moniteur beige. /'Association. E-24 Announcements Announcements E-25

ARTICLE 3. OBJET. pas domiciliee ou n'exerce pas dans un pays d'Europe, peut poser sa Les objets de l'association sont les suivants : candidature a Ia qualite de membre affilie. a. Ia poursuite de Ia recherche theorique, experimentale et appliquee et i. Est membre de soutien toute personne, physique ou morale, qui fait une l'enseignement des sciences cognitives de Ia musique qui sont delinies comme liberalite importante a l'association et qui est elue a cette qualite par le Conseil l'etude des processus perceptifs et mentaux sous-tendant l'experience et d'administration. Celui-ci definit ce qu'il taut entendre par "liberalite l'activite musicales, importante". b. le developpement et Ia diffusion de Ia connaissance de Ia perception et de Ia j. Seuls les membres effectifs ont le droit de voter les resolutions presentees a cognition musicales et Ia promotion de ses applications pratiques, l'assemblee generale et de detenir une fonction au sein de l'association. c. l'encouragement de Ia communication et de Ia cooperation europeennes et k. La qualite de membre peut etre retiree par decision du conseil d'administration internationales dans le domaine des sciences cognitives de Ia musique. Ce si les cotisations de membre sont impayees depuis plus d'un an. En ce cas, le domaine inclut les disciplines de Ia musicologie, de Ia theorie musicale, de Ia membre n'a aucun droit sur le fonds social. II en est de meme du membre qui psychologie, de l'acoustique, de Ia neurophysiologie, de Ia philosophie, des cesse de faire partie de l'association. mathematiques, de l'inteiligence artificieile, de Ia pedagogie et toutes autres I. Tout membre peut en tout temps donner sa demission de l'association par qui ont pour objet principal les sciences cognitives de Ia musique. lettre recommandee adressee au secretaire permanent ou remise contre accuse de reception. ARTICLE 4. ACTIVITES. L'association peut entreprendre toute activite legale en rapport avec ses objets. ARTICLE 6. ADMINISTRATION. Ceux-ci comportent l'encouragement au developpement academique, pedagogique a. L'association est administree par un conseil d'administration. Celui-ci possede et pratique des sciences cognitives de Ia musique par Ia tenue de reunions l'autorite pour gerer et administrer l'association conformement a ses statuts et regulieres, de publications suivies dans le domaine de Ia cognition de Ia musique, Ia a son reglement d'ordre interieur. mise en oeuvre de programmes pedagogiques, Ia recherche de ressources pour aider b. Le conseil d'administration doit comporter des ressortissants d'au moins de jeunes scientifiques dans leurs activites de formation et de recherche, quatre pays d'Europe. l'etablissement de relations publiques et le maintien de Iiens avec d'autres c. Les membres du conseil d'administration sont elus par l'assemblee generale organismes nationaux et internationaux qui partagent les principaux objectifs decrits pour une periode d'au moins trois ans. L'assemblee generale elit egalement, dans les presents statuts. L'association agit sans but lucratif. pour Ia meme periode, une personne de nationalite beige, membre effectif de l'association, en tant que membre du conseil d'administration; ceile-ci est le ARTICLE 5. MEMBRES. secretaire permanent de l'association. Le secretaire permanent est responsable a. L'association est composee des Iondateurs a Ia date de sa constitution et de des archives de l'association, notamment de ses proces-verbaux. En outre, Ia toute autre personne, physique ou morale, admise ensuite a Ia qualite de structure specifique du conseil d'administration et son mode d'election sont membre. determines par le reglement d'ordre interieur. b. Les categories de membres sont : membre effectif, membre honoraire, membre d. Les principes de base de l'administration de l'association impliquent Ia etudiant, membre affilie et membre de soutien. participation maximale des membres dans tous ses desseins et ses decisions c. Pour illre elue a Ia qualite de membre de l'association, une personne doit avoir pratiques ainsi que l'election directe de tout titulaire de fonction par les montre de l'interet pour les objectifs de l'association par ses recherches, ses membres effectifs. publications ou sa formation. e. Tous les actes qui engagent l'association doivent etre signes par deux d. Tout nouveau membre de l'association est elu par un vote majoritaire du membres du conseil d'administration ou par le secretaire, qui n'auront pas a conseil d'administration sur presentation d'un builetin de candidature dOment justifier envers les tiers des pouvoirs conferes a cette fin . complete. La qualite de membre est effectivement conferee par le paiement de f . Les actions judiciaires tant en demandant qu'en defendant sont suivies par le Ia cotisation adequate. Les elections relatives a Ia qualite de membre auront conseil d'administration represente par son president ou un autre membre du lieu au moins une fois par an. conseil d'administration designe par celui-ci a cet effet. e. Au moins les trois quarts des membres effectifs de l'association doivent etre g. Le conseil ne peut valablement deliberer que si Ia moitie au moins de ses domicilies et exercer dans un pays d'Europe. membres sont presents ou representes. Les resolutions du conseil sont prises a f. Le conseil d'administration peut se voir proposer de designer a Ia qualite de Ia majorite des administrateurs. Les resolutions font l'objet de proces-verbaux membre honoraire de l'association tout membre qui a cesse d'assumer des signes par deux administrateurs. responsabilites academiques importantes. La qualite de membre honoraire est conferee par le conseil d'administration statuant a l'unanimite. ARTICLE 7. ASSEMBLEE GENERALE. g. Tout etudiant d'institut superieur poursuivant une formation particuliere peut a. L'assemblee generale possede Ia plenitude des pouvoirs permettant Ia etre elu en qualite de membre etudiant par le COnseil d'administration. realisation de l'objet de l'association. Eile approuve les orientations de h. Dans l'hypothese ou un quart des membres effectifs de l'association ne sont l'association qui lui sont presentees par le conseil d'administration. Eile pas domicilies ou n'exercent pas dans un pays d'Europe, toute personne qui entendra les rapports des titulaires de fonction et eile prendra toute decision reunit les conditions d'eligibilite a Ia qualite de membre effectif, mais qui n'est importante requise par les circonstances et par les statuts. An nouncements E-27 E- 26 Announcements generale, reunie conformement l'article 7, peut, Ja majorite des deux tiers b. Tout membre effectif a Je droit de propose r et de defendre des resolutions a a portees a Ja connaissance de J'assemblee et de prendre part a taute discussion. des membres presents ou representes, interpreier et modifier Jes dispositions c. L'election des titulaires de fonction du conseil d'administration aura lieu aux des presents statuts. reunions de J'assemblee generale, comme prevu dans Je reglement d'ordre b. Les modifications aux presents statuts n'auront d'effet qu'apres approbation par arrete royal et qu 'apres que Jes conditions de publicite, requi ses par J'article interieur. 3 de Ia loi du 25 octobre 1919, auront ete remplies. d. Les membres et les administrateurs peuvent iHre revoques par l'assemblee generale statuant a Ia majorite des deux-tiers des membres votants, apres avoir entendu Ia defense des interesses. ARTICLE 11. DISSOLUTION. La dissolution de l'association est soumise aux memes regles que Jes modifications e. L'assemblee ne peut valablement deliberer que si Ia moitie au moins de ses membres effectifs sont presents ou representes. Les deliberations de aux presents statuts. Les modalites de dissolution et de Iiquidation sont J'assemblee sont prises a Ia majorite des membres votants, sauf s'il en est determinees par l'assemblee generale . L'actif net de J'association sera affecte par dispose autrement par les presents statuts. Les deliberations font l'objet de l'assemblee generale sur proposition du conseil d'administration et doit beneficier en proces-verbaux signes par deux membres effectifs. ce cas a une association ou a une organisation denuee de but Jucratif et dont J'objet est semblable celui de l'association; en aucun cas, il ne peut etre distribue ses !. Si Ja moitie au moins des membres effectifs de l'assemblee generale ne sont a a pas presents ou representes, Je president peut convoquer, sans de_lai, _par tout membres. moyen, une nouvelle assemblee generale qui pourra valablement del1berer quel que soit Je nombre de membres effectifs presents ou representes. ARTICLE 12. DISPOSITION GENERALE. Tout ce qui n'est pas prevu par les presents statuts et Je reglement d'ordre interieur ARTICLE 8. BUDGETSET COMPTES. sera regle conformement aux dispositions de Ja Joi du 25 octobre 1919. a. L'exercice social debute Je 1 er janvier et se clöture Je 31 decembre. b. Le tresorier etablit, tous Jes trois ans, un rapport sur J'etat financier de J'association, ainsi qu'un budget triennal des previsions de recettes et de Fait a Liege (Belgique), Je 18 decembre 1990. depenses, qu'il soumet a l'assemblee generale pour approbation. c. Le tresorier etablit, annuellement, un projet de budget, Je campte des Modifis Je 20 janvier 1991 a Ia demande du Ministere beige de Ja Justice et amende depenses et des recettes, ainsi que Je bilan de l'association, qu'il soumet a par l'assemblee generale du 17 decembre 1994. J'accord du conseil d'administration et a l'approbatlon de Ia plus procha1ne assemblee generale. d. Le projet de budget contient toutes les previsions de recettes, et notamment Jes cotisations dont Je montant est fixe par l'assemblee generale pour chaque categorie de membres et pour chaque pays ou region, ainsi que Jes fonds et subsides que Je conseil d'administration est autoriss a solliciter aupres de tiers pour subvenir aux activites de l'association. e. A Ja demande du conseil d'administration, Je tresorier etablit egalement un projet de budget distinct de celui de J'association pour chacune des reunions scientifiques officielles de J'association; Je conseil d'administration peut decider que des activites de Ja reunion precitee peuvent beneficier des re ssources de J'association.

ARTICLE 9. REGLEMENT D'ORDRE INTERIEUR. a. Le conseil d'administration peut, en statuant a J'unanimite, adopter un reglement d'ordre interieur qui precise J'organisation interne et Je s modalites de fonctionnement de J'association, ainsi que ses activites. II peut, se lon Jes memes modalites, modifier Jedit regl ement. b. Le conseil d'administration informe chacun des membres de taute modification apportee au reglement d'ordre interieur. c. Le reglement d'ordre interieur et chacune de ses modifications sont soumis a J'approbation de Ja plus prochaine assemblee generale.

ARTICLE 10. INTERPRETATION ET MODIFICATION DES STATUTS. a. Sur proposition du conseil d'administration ou sur requete signee par au moins dix membres effectifs res so rtissant d'au moins trois pays, l'assemblee E- 28 Announcements Announcements E-29 MUS/CAE SC/ENTIAE INSTRUCTIONS AUX AUTEURS Frances, R. (1958). La perception de Ia musique. [The perception of music (W.J. Dowling, Irans.). Hi ll sdale, NJ : Erlbaum, 1988] Paris: J. Vrin. MUSICAE SCIENTIAE (Ia revue de Ia SociiHe Europeenne pour les Seiences Meyer, L. B. (1967). Music, the arts, and ideas. Patterns and predictions in Cognitives de Ia Musique) publie des articles empiriques, theoriques et critiques twentieth-century culture. Chicago: The University of Chicago Press. destines a enrichir Ia comprehension au sujet de Ia fat;on dont Ia musique est pert;ue, Longuet-Higgins, H. C. (1962). Letter to a musical friend. Music Review , 23, 244- representee et generee. Tout travail systematique ressortissant au domaine de Ia 48 . psychologie, de Ia philosophie, de l'esthetique, de l'analyse musicale, de Ia Papousek, H. (1979). From adaptive responses to social cognition: The learning view musicologie, des sciences cognitives, de l'education, de l'intelligence artificielle, de Ia of development. ln M. H. Bornstein and W. Kessen (eds), Psychologica/ development modelisation et de Ia neuropsychologie qui contribuent a cet objectif, seront from infancy: Image to inten/ion (pp. 251-67). Hillsdale, NJ: Erlbaum. examines pour acceptation.

Les contributions seront publiees dans l'une des trois langues suivantes, I'Anglais, le Frant;ais ou I'AIIemand. Les resumes seront publies dans chacune de ces langues ainsi qu'en Italien et en Espagnol. Les articles devraient eire soumis en tant que Rapports (entre 1.000 et 2.000 mots) ou Articles (entre 5.000 et 7.000 mots). Chaque type d'article doit eire accompagne d'un resume de 200 a 250 mots, en Iangue originale et en traduction anglaise.

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Les soumissions sur ~ doivent etre dactylographiees en double interligne (y compris les references, les legendes des figures, les notes de bas de page et les tableaux) et presenter des marges de 2.5-4 cm de chaque cöte. Toutes les soumissions (electroniques ou sur papier) doivent eire presentees comme suit :

(a) le s pages doivent toutes eire numerotees, Ia page 1 comportant le titre de l'article, le(s) nom(s) et affiliation(s) des auteur(s), nom et adresse complete pour Ia correspondance en bas de page ; (b) le resume doit se trauver en page 2. II proposera les principales hypotheses, methodologies, resultats et conclusions de l' article ; ( c) le corps de l'article doit debuter sur une page separee ; Ies references, notes de bas de page, tableaux et legendes des figures doivent suivre le corps du texte dans l'ordre donne, chaque categorie de materiaux annexes debutant sur une nouvelle page. Chaque tableau ou figure sera presente sur une page separee.

Toutes les references doivent eire citees en suivant les indications de I'American Psychological Association, comme dans les exemple s suivants : Fin de Ia partie frant;aise