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Absolute Pitch (AP)
Absolute Pitch (AP) • A.k.a. ‘perfect pitch’ • The ability to name or produce a tone without a reference tone • Very rare: 1 in 10,000 Vs. Relative pitch (RP) • Most people use relative pitch: • Recognizing tones relative to other tones • Remember and produce intervals abstracted from specific pitch, or given a reference pitch AP: how it works • Thought to be a labeling process: – AP possessors associate names/ meaning with pitches or pitch classes – Retain this association over time • AP is not ‘perfect’; i.e., auditory perception/ pitch discrimination not more accurate than RP Imaging evidence • When making judgments using AP: • possessors compared to non- possessors show more activation in frontal naming/labeling areas • Anatomically, AP possessors show greater planum temporale asymmetry – Apparently due to reduced RH PT size AP ‘flavors’ • AP not purely ‘have’ or ‘have-not; ability level varies along continuum • Some possessors make more accurate judgments with certain instruments – e.g. piano vs. pure sine wave tones – Sometimes called ‘absolute piano’ AP ‘flavors’ cont’d • Other possessors may perform more accurately with white-key notes than black-key notes – E.g. C,D,E vs. C#, D# • May be due to early learning influence – Early musical training on keyboard usually starts with white-key notes only • So, is AP learned? Learnable? Nature vs. Nurture, of course • The debate continues: – Some researchers ascribe genetic origins to AP, suspecting that early musical training is neither sufficient nor necessary – Others find most possessors -
Classical Net Review
The Internet's Premier Classical Music Source BOOK REVIEW The Psychology of Music Diana Deutsch, editor Academic Press, Third Edition, 2013, pp xvii + 765 ISBN-10: 012381460X ISBN-13: 978-0123814609 The psychology of music was first explored in detail in modern times in a book of that name by Carl E. Seashore… Psychology Of Music was published in 1919. Dover's paperback edition of almost 450 pages (ISBN- 10: 0486218511; ISBN-13: 978-0486218519) is still in print from half a century later (1967) and remains a good starting point for those wishing to understand the relationship between our minds and music, chiefly as a series of physical processes. From the last quarter of the twentieth century onwards much research and many theories have changed the models we have of the mind when listening to or playing music. Changes in music itself, of course, have dictated that the nature of human interaction with it has grown. Unsurprisingly, books covering the subject have proliferated too. These range from examinations of how memory affects our experience of music through various forms of mental disabilities, therapies and deviations from "standard" auditory reception, to attempts to explain music appreciation psychologically. Donald Hodges' and David Conrad Sebald's Music in the Human Experience: An Introduction to Music Psychology (ISBN-10: 0415881862; ISBN-13: 978- 0415881869) makes a good introduction to the subject; while Aniruddh Patel's Music, Language, and the Brain (ISBN-10: 0199755302; ISBN-13: 978-0199755301) is a good (and now classic/reference) overview. Oliver Sacks' Musicophilia: Tales of Music and the Brain (ISBN-10: 1400033535; ISBN-13: 978-1400033539) examines specific areas from a clinical perspective. -
Convergent Evolution in a Large Cross-Cultural Database of Musical Scales
Convergent evolution in a large cross-cultural database of musical scales John M. McBride1,* and Tsvi Tlusty1,2,* 1Center for Soft and Living Matter, Institute for Basic Science, Ulsan 44919, South Korea 2Departments of Physics and Chemistry, Ulsan National Institute of Science and Technology, Ulsan 44919, South Korea *[email protected], [email protected] August 3, 2021 Abstract We begin by clarifying some key terms and ideas. We first define a scale as a sequence of notes (Figure 1A). Scales, sets of discrete pitches used to generate Notes are pitch categories described by a single pitch, melodies, are thought to be one of the most uni- although in practice pitch is variable so a better descrip- versal features of music. Despite this, we know tion is that notes are regions of semi-stable pitch centered relatively little about how cross-cultural diversity, around a representative (e.g., mean, meadian) frequency or how scales have evolved. We remedy this, in [10]. Thus, a scale can also be thought of as a sequence of part, we assemble a cross-cultural database of em- mean frequencies of pitch categories. However, humans pirical scale data, collected over the past century process relative frequency much better than absolute fre- by various ethnomusicologists. We provide sta- quency, such that a scale is better described by the fre- tistical analyses to highlight that certain intervals quency of notes relative to some standard; this is typically (e.g., the octave) are used frequently across cul- taken to be the first note of the scale, which is called the tures. -
Memory and Production of Standard Frequencies in College-Level Musicians Sarah E
University of Massachusetts Amherst ScholarWorks@UMass Amherst Masters Theses 1911 - February 2014 2013 Memory and Production of Standard Frequencies in College-Level Musicians Sarah E. Weber University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/theses Part of the Cognition and Perception Commons, Fine Arts Commons, Music Education Commons, and the Music Theory Commons Weber, Sarah E., "Memory and Production of Standard Frequencies in College-Level Musicians" (2013). Masters Theses 1911 - February 2014. 1162. Retrieved from https://scholarworks.umass.edu/theses/1162 This thesis is brought to you for free and open access by ScholarWorks@UMass Amherst. It has been accepted for inclusion in Masters Theses 1911 - February 2014 by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. Memory and Production of Standard Frequencies in College-Level Musicians A Thesis Presented by SARAH WEBER Submitted to the Graduate School of the University of Massachusetts Amherst in partial fulfillment of the requirements for the degree of MASTER OF MUSIC September 2013 Music Theory © Copyright by Sarah E. Weber 2013 All Rights Reserved Memory and Production of Standard Frequencies in College-Level Musicians A Thesis Presented by SARAH WEBER _____________________________ Gary S. Karpinski, Chair _____________________________ Andrew Cohen, Member _____________________________ Brent Auerbach, Member _____________________________ Jeff Cox, Department Head Department of Music and Dance DEDICATION For my parents and Grandma. ACKNOWLEDGEMENTS I would like to thank Kristen Wallentinsen for her help with experimental logistics, Renée Morgan for giving me her speakers, and Nathaniel Liberty for his unwavering support, problem-solving skills, and voice-over help. -
Major Heading
THE APPLICATION OF ILLUSIONS AND PSYCHOACOUSTICS TO SMALL LOUDSPEAKER CONFIGURATIONS RONALD M. AARTS Philips Research Europe, HTC 36 (WO 02) Eindhoven, The Netherlands An overview of some auditory illusions is given, two of which will be considered in more detail for the application of small loudspeaker configurations. The requirements for a good sound reproduction system generally conflict with those of consumer products regarding both size and price. A possible solution lies in enhancing listener perception and reproduction of sound by exploiting a combination of psychoacoustics, loudspeaker configurations and digital signal processing. The first example is based on the missing fundamental concept, the second on the combination of frequency mapping and a special driver. INTRODUCTION applications of even smaller size this lower limit can A brief overview of some auditory illusions is given easily be as high as several hundred hertz. The bass which serves merely as a ‘catalogue’, rather than a portion of an audio signal contributes significantly to lengthy discussion. A related topic to auditory illusions the sound ‘impact’, and depending on the bass quality, is the interaction between different sensory modalities, the overall sound quality will shift up or down. e.g. sound and vision, a famous example is the Therefore a good low-frequency reproduction is McGurk effect (‘Hearing lips and seeing voices’) [1]. essential. An auditory-visual overview is given in [2], a more general multisensory product perception in [3], and on ILLUSIONS spatial orientation in [4]. The influence of video quality An illusion is a distortion of a sensory perception, on perceived audio quality is discussed in [5]. -
Speaking in Tones Music and Language Are Partners in the Brain
Speaking in Tones Music and language are partners in the brain. Our sense of song helps us learn to talk, read and even make friends By Diana Deutsch 36 SCIENTIFIC AMERICAN MIND July/August 2010 © 2010 Scientific American ne afternoon in the summer of opera resembling sung ordinary speech), the cries 1995, a curious incident occurred. of street vendors and some rap music. I was fi ne-tuning my spoken com- And yet for decades the experience of musicians mentary on a CD I was preparing and the casual observer has clashed with scientifi c ) about music and the brain. To de- opinion, which has held that separate areas of the music tect glitches in the recording, I was looping phrases brain govern speech and music. Psychologists, lin- O so that I could hear them over and over. At one point, guists and neuroscientists have recently changed their sheet ( when I was alone in the room, I put one of the phras- tune, however, as sophisticated neuroimaging tech- es, “sometimes behave so strangely,” on a loop, be- niques have helped amass evidence that the brain ar- gan working on something else and forgot about it. eas governing music and language overlap. The latest iStockphoto Suddenly it seemed to me that a strange woman was data show that the two are in fact so intertwined that singing! After glancing around and fi nding nobody an awareness of music is critical to a baby’s language there, I realized that I was hearing my own voice re- development and even helps to cement the bond be- petitively producing this phrase—but now, instead tween infant and mother. -
The Future of Theory
The Future of Theory Editor's Introduction. Graduate students ask questions. They seek a place in a field with which they are coming to terms. Graduate students connect their familiar extra-theoretical worlds with their newly-chosen discipline. They develop a collegial unity not only from common interests but also through shared situations and the transitional aspect of their circumstance. And graduate students are willing to take risks, to try out new territory without knowing what lies out there. The following article came about from the ideas of graduate students in music theory at Indiana University. Current topics at our noon-time forums (brown-bag lunches in the shared office) in January 1990 included popular predictions, not only for the new year but also for the new decade and impending new century. It was a logical step to wonder about the forecast for music theory. We decided to take our musings beyond our graduate student life and ask our more experienced colleagues in the field for their forecasts. Our list was compiled of prominent theorists known for their publications and reflecting a range of ages and interests. (Our own excellent theory faculty was excluded from the list to increase the available space. Those faculty members consulted during the planning of this project approved of our decision.) The Editorial Board decided to ask more rather than fewer theorists as we did not know how many would have time or inclination to respond. The letter sent to these theorists requested their opinions of the "future and course of music theory." Respondents were told not to be limited to that subject if other topics were on their minds. -
The Role of Cognition in Oral & Written Transmission As
University of Wisconsin Milwaukee UWM Digital Commons Theses and Dissertations August 2013 The Role of Cognition in Oral & Written Transmission as Demonstrated in Ritual Chant Mary Elizabeth Husslein University of Wisconsin-Milwaukee Follow this and additional works at: https://dc.uwm.edu/etd Part of the Music Commons, Psychology Commons, and the Theatre and Performance Studies Commons Recommended Citation Husslein, Mary Elizabeth, "The Role of Cognition in Oral & Written Transmission as Demonstrated in Ritual Chant" (2013). Theses and Dissertations. 219. https://dc.uwm.edu/etd/219 This Thesis is brought to you for free and open access by UWM Digital Commons. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of UWM Digital Commons. For more information, please contact [email protected]. THE ROLE OF COGNITION IN ORAL & WRITTEN TRANSMISSION AS DEMONSTRATED IN RITUAL CHANT by Mary Husslein A Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Music at The University of Wisconsin-Milwaukee August 2013 ABSTRACT THE ROLE OF COGNITION IN ORAL & WRITTEN TRANSMISSION AS DEMONSTRATED IN RITUAL CHANT By Mary Husslein The University of Wisconsin-Milwaukee, 2013 Under the Supervision of Professor Mitchell Brauner This thesis examines the role of cognition in oral and written transmission. It looks at areas of music history where cognition is already used as a reference, including the development of notation, trends and changes in oral transmission, and performance practice. The thesis examines three different case studies on ritual chant in order to demonstrate how the cognitive process can be used to explain the ways learning, retention, and transmission work in oral and written transmission. -
Bibliography and Index
Bibliography Books [1] Bear, Connors and Paradiso Neuroscience: Exploring the Brain Williams & Wilkins 1996 [2] Francis Crick The Astonishing Hypothesis Simon & Schuster 1994 [3] Charles Darwin The Origin of Species 1859 [4] Charles Darwin The Descent of Man 1871 [5] Diana Deutsch The Psychology of Music, 2nd Edition Academic Press, 1999 [6] Donald A. Hodges Handbook of Music Psychology, 2nd Edition Institute for Music Research, 1996 [7] Robert Jourdain Music, the Brain and Ecstasy: How Music Captures Our Imagination William Morrow, 1997 [8] Patrik N. Juslin and John A. Sloboda Music and Emotion: Theory and Re- search Oxford University Press, 2001 [9] Fred Lerdahl and Ray Jackendoff A Generative Theory of Tonal Music MIT Press, 1983 [10] Paul Lorrain and Dale Corson Electromagnetic Fields and Waves WH Freeman and Co, 1970 [11] Leonard B. Meyer Emotion and Meaning in Music University of Chicago Press, 1956 [12] Isabelle Peretz and Robert Zatorre The Cognitive Neuroscience of Music Oxford University Press, 2003 [13] Vilayanur Ramachandran The Emerging Mind Profile Books, 2003 [14] John S. Rigden Hydrogen: The Essential Element Harvard University Press, 2002 [15] Oliver Sacks An Anthropologist On Mars: Seven Paradoxical Tales Random House Inc, 1995 312 Copyright c 2004, 2005 Philip Dorrell [16] Anthony Storr Music and the Mind Free Press, 1992 [17] Nils L.Wallin, Bj¨orn Merker and Steven Brown The Origins of Music MIT Press, 2000 [18] Semir Zeki A Vision of the Brain Blackwell Science, 1993 Papers [19] Frank Biocca and J.P. Rolland “Virtual -
Chapter 8 the Perception of Auditory Patterns Diana Deutsch University of California, San Diego
Chapter 8 The Perception of Auditory Patterns Diana Deutsch University of California, San Diego 1 INTRODUCTION Over the last half-century a considerable body of knowledge has accumulated concerning visual shape perception, based on findings in experimental psychology, neurophysiology, artificial intelligence and related fields. These developments have not, however, been paralleled by analogous developments in audition. It is inter- esting, therefore, that the foundations of pattern perception were laid by scientists who were as much concerned with auditory and musical phenomena as they were with visual ones. Wertheimer (1924/1938) described the beginnings of Gestalt theory thus: 'Historically, the most important impulse came from von Ehrenfels who raised the following problem. Psychology has said that experience is a compound of elements; we hear a melody and then, upon hearing it again, memory enables us to recognize it. But what is it that enables us to recognize the melody when it is played in a new key? The sum of its elements is different, yet the melody is the same; indeed, one is often not even aware that a transposition has been made.' (p. 4) In another paper in which he proposed the Gestalt principles of perceptual organization, Wertheimer (1923/1955) frequently presented musical illustrations along with visual ones. For example, in order to illustrate that 'more or less dissimilarity operates to determine experienced arrangement' he wrote: 'With tones, for example, C, C~, E, F, G~, A, C, C~... will be heard in the grouping ab/cd... ; and C, C~, D, E, F, F~, G~, A, A~, C, C~, D ... in the grouping abc/def' (1923/1955, p. -
Essay Deutsch D
1 Essay Deutsch D National Hearing Conservation Association Annual Conference , 2003, February, Dallas. Invited lecture. Invited Lay language paper presented at the 156th meeting of the Acoustical Society of America. Absolute pitch is associated with a large auditory digit span A clue to its genesis. Mozart Festival, Kennedy Center for the Performing Arts , 1998, Washington, D. 1983, November. Schiffman, Sensation and Perception. Heller and W. , and Dooley, K. Auditory Perception, Cognition and Action Meeting , 2002, November, Kansas City. Stereo TV, Invited presentation. Marks, The Unity of the Senses. Journal of the Acoustical Society of America , 1996, 99, 2482,. The pitch levels of female speech in two Chinese villages. , Sensation and Perception. Physics Today , 2010, February, 40-45,. Ear Club , 2004, May, Department of Psychology, University of California, Berkeley. Invited Lay language paper presented at the 148th meeting of the Acoustical Society of America, San Diego, November,. New York Oxford University Press. Mozart Festival, Kennedy Center for the Performing Arts , 1998, Washington, D. Basic Structure and Function in the Central Nervous System , 1974, New York MacMillan Co. Representation of pitch and pitch combinations. Invited Lay Language paper presented at the 149th Meeting of the Acoustical Society of America. and Deutsch, D. Musical space. Two issues at the interface between speech and music. Paper presented at the. Winter Conference on Brain Research , 1986, Keystone. International conference on Psychology and the Arts , 1983, Cardiff, Wales. Psychonomic Society Meeting , 1984, El Paso. Encyclopedia of Perception , 2009, 1, 160-164, Sage. Invited Presentation, Annual meeting of the. , Psychological Foundations of Musical Behavior. , and Dooley, K. -
Melody As Prosody: Toward a Usage-Based Theory of Music
University of Pennsylvania ScholarlyCommons Publicly Accessible Penn Dissertations 2014 Melody as Prosody: Toward a Usage-Based Theory of Music Thomas Mathew Pooley University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/edissertations Part of the Linguistics Commons, Music Commons, and the Psychology Commons Recommended Citation Pooley, Thomas Mathew, "Melody as Prosody: Toward a Usage-Based Theory of Music" (2014). Publicly Accessible Penn Dissertations. 1407. https://repository.upenn.edu/edissertations/1407 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/edissertations/1407 For more information, please contact [email protected]. Melody as Prosody: Toward a Usage-Based Theory of Music Abstract MELODY AS PROSODY: TOWARD A USAGE-BASED THEORY OF MUSIC Thomas M. Pooley Gary A. Tomlinson Rationalist modes of inquiry have dominated the cognitive science of music over the past several decades. This dissertation contests many rationalist assumptions, including its core tenets of nativism, modularity, and computationism, by drawing on a wide range of evidence from psychology, neuroscience, linguistics, and cognitive music theory, as well as original data from a case study of Zulu song prosody. An alternative biocultural approach to the study of music and mind is outlined that takes account of musical diversity by attending to shared cognitive mechanisms. Grammar emerges through use, and cognitive categories are learned and constructed in particular social contexts. This usage-based theory of music shows how domain-general cognitive mechanisms for patterning-finding and intention-reading are crucial to acquisition, and how Gestalt principles are invoked in perception. Unlike generative and other rationalist approaches that focus on a series of idealizations, and the cognitive `competences' codified in texts and musical scores, the usage-based approach investigates actual performances in everyday contexts by using instrumental measures of process.