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Topic: Musical cognition

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	Musical Expression and Musical Meaning
		Musical expression is plastic enough so that the same passage might be expressive of a wide variety of emotional states.
		If not the composer, then perhaps a musical expression of emotion is related to the emotional life of the listener, that is, if I feel emotion X when listening to a piece, then I might say that the piece expresses X by arousing that feeling in me when I listen to it.
		So in many putative cases of musical expression, what is problematic is that, for example, while the music seems angry, it is not clear just what the listener ought to be angry about, if she is to sympathetically feel anger when listeneing.
	www.people.carleton.edu /~jlondon/musical_expression_and_mus.htm (2756 words)

	Research on Cognition in Ethnomusicology
		Their apocryphal story of a musical idiot savant who could play anything at the piano after one hearing, but never with expression, belies their argument that inquiring into music cognition out of social context is "fruitless" and reveals their definition of "music" to be limited to its most expressive possible performance.
		A "music timespace" is a musical concept, a piece or passage of music that has an identity of its own as evidenced by the existence of multiple instances of it in the world, be they multiple manuscripts of the same composition or variant performances of a piece in oral tradition.
		Approaches epistemological problems surrounding speech and music as a language puzzle [influenced by later Wittgenstein?], seeking to examine assumptions underlying talk about music and to arrive at "criteria for judgment in the formation of a comprehensive theory in whose terms orderly discussion of the case may be conducted" (16).
	dactyl.som.ohio-state.edu /Music950/bibCogEthno.html (14969 words)

	Music and Perceptual Cognition (Site not responding. Last check: 2007-10-31)
		Much the same thing happens in musical experience in which, for example, the tension in one's perception of dissonant musical tones or one's uncertainty about what is going to happen next is projected back into the music, and a melody is perceived as anguished or a musical passage as suspenseful.
		If one regards musical tones as mere sensations, one is not likely to treat them as discriminated, differentiated items of consciousness and, as a consequence, one is not likely to realize that their behavior bears certain similarities to the spatial and teleological actions of purposeful beings.
		When, later in a musical piece, we hear the same progression of tones but played, perhaps, in a different key, at a different tempo, by a different instrument, etc., it is still perceived and recognized by the experienced listener as the same melody.
	members.aol.com /REBissell/indexmmm10.html (8215 words)

	IFMR > News & Events > Meetings & Conferences (Site not responding. Last check: 2007-10-31)
		Human music, like human language, is complex, governed by rules, and acquired in developmental stages, with all individuals acquiring a basic musical appreciation, and others going on to develop remarkably high skills.
		Musical forms and structures represent, as it were, a map of the human soul.
		Although providing children with opportunities to develop their musical abilities and interests is the main focus of music programmes, it is claimed that music instruction has other favourable effects on the development of children.
	www.music-research.org /News/musicalbrain.html (1520 words)

	Cogprints - Stability of Tempo Perception in Music Listening (Site not responding. Last check: 2007-10-31)
		This study was designed to determine whether listeners from different age groups and musical backgrounds (musicians and nonmusicians) could set tempi in a consistent manner over an extended period of time.
		The variables of musical style, familiarity, and preference were also considered.
		Moreover, there was statistically significant evidence that an increase of familiarity with and preference for the musical examples and the musical styles resulted in an increase of consistency of correct tempo judgements.
	cogprints.org /1828 (905 words)

	Music subject guide
		It is by the renowned editor and music critic Nicolas Slonimsky, and is a useful, educational, and entertaining resource for amateur and professional musicians, educators, students, and dedicated concert-goers around the world.
		CAIRSS for Music.CAIRSS is a bibliographic database of music research, literature in music education, music psychology, music therapy, and music medicine.
		The Music Library Association is the professional organization in the United States devoted to music librarianship and to all aspects of music materials in libraries.
	www.auraria.edu /findit/subj_guides/humanities/music.html (4179 words)

	LEAD Emmanuel BIGAND
		Research in musical cognition aims at showing what these constraints are and at understanding how they are similiar to or different from the general processes by which the human brain functions.
		Research on musical cognition contributes to the advancement of cognitive science by shedding an original light on the workings of the human mind.
		The influence of implicit harmony, rhythm and musical training on the abstraction of "tension-relaxation schemas "in a tonal musical phrase".
	www.u-bourgogne.fr /LEAD/people/bigand_e.html (821 words)

	EETimes.com - EEG brain cap detects musical creativity
		Eduardo Reck Miranda, head of computer music research and leader of the neuroscience-of-music group at the University of Plymouth, England, recently reported up to 99 percent accuracy in recognizing specific electroencephalogram patterns for musical ideas using a 128-electrode EEG brain cap with signal-processing algorithms including three neural networks.
		Although the musical ideas tested in Miranda's research were extremely simplistic, compared with the enormous complexity of musical composition, the team's success nevertheless cracks open the door to those science fiction domains.
		The active-listening experiment measured whether it was possible to automatically detect and recognize the difference between passively listening to a musical passage and actively thinking through the musical passage in the "mind's eye." Surprisingly, the results showed that a system could distinguish passive from active listening with 95 to 99 percept accuracy.
	www.eetimes.com /story/OEG20031022S0047 (1127 words)

	Cognition of musical rhythm and form in African-derived musics (Site not responding. Last check: 2007-10-31)
		The reason for this mismatch is not (as is commonly thought) differing levels of musical sophistication or complexity, but rather a major cultural disparity in approaches to rhythmic organization and musical form.
		Many of the aforementioned African-derived musics (as well as many other non-Western musics) feature a quality commonly referred to as "groove," which has no correlate in European concert music (and is therefore indescribable by models derived from it).
		Musical meaning is not just conveyed through formal hierarchies and temporal deferral of expectations; it is also embodied in these improvisatory techniques.
	www.cnmat.berkeley.edu /~vijay/SMPC97.html (599 words)

	[No title]
		Barucha, J.J. Music Cognition and Perceptual Facilitation, A Connectionist Framework.
		Proceedings of the Musical Association: for the investigation and discussion of subjects connected with the art and science of music, Vol.
		Vernon, Philip E. The apprehension and cognition of music.
	odur.let.rug.nl /~schreudr/lit/musiccogn.doc (817 words)

	The Cognition of Basic Musical Structures - The MIT Press (Site not responding. Last check: 2007-10-31)
		After an introductory chapter, Temperley presents preference rule systems for generating six basic kinds of musical structure: meter, phrase structure, contrapuntal structure, harmony, and key, as well as pitch spelling (the labeling of pitch events with spellings such as A flat or G sharp).
		He proposes a framework for the description of musical styles based on preference rule systems and explores the relevance of preference rule systems to higher-level aspects of music, such as musical schemata, narrative and drama, and musical tension.
		David Temperley is Associate Professor of Music Theory at the Eastman School of Music, University of Rochester, and the author of The Cognition of Basic Musical Structures (MIT Press, 2001).
	mitpress.mit.edu /catalog/item/default.asp?ttype=2&tid=8586 (323 words)

	Amazon.com: The Musical Mind: The Cognitive Psychology of Music (Oxford Psychology Series): Books: John A. Sloboda (Site not responding. Last check: 2007-10-31)
		The Cognitive Neuroscience of Music by Isabelle Peretz
		In this survey of our current knowledge concerning the cognitive psychology of music, the author--a psychologist and practicing musician--examines the mental processes involved in composing, performing, listening to, and "understanding" music, and shows how such skills are acquired.
		The reason that most of us take part in musical activity, be it composing, performing, or listening, is that music is capable of arousing in us deep and significant emotions.
	www.amazon.com /exec/obidos/tg/detail/-/0198521286?v=glance (790 words)

	MIT OpenCourseWare \| Music and Theater Arts \| 21M.113 Developing Musical Structures, Fall 2002 \| Syllabus
		The goal of this class is practical: to interrogate, make explicit, and thus to develop the powerful musical intuitions that are at work as you make sense of the music all around you.
		These developing musical structures will be pursued through four kinds of activities.
		The process is modeled (as much as possible) on the kind of learning that occurs quite naturally in informal settings through observation, questioning, practicing and experimenting, probing for and trying to account for how and why an object, a system, or a living organism behaves as it does.
	ocw.mit.edu /OcwWeb/Music-and-Theater-Arts/21M-113Developing-Musical-StructuresFall2002/Syllabus/index.htm (930 words)

	Pantelis Vassilakis - Curriculum Vitae
		The musical relevance of the perceptual attributes of amplitude fluctuation (i.e.
		Music as a means for modeling the human experience of time.
		Musical Acoustics: General introduction to the science of sound and its application to musical composition and performance.
	www.acousticslab.com /vitae.htm (1604 words)

	A Basic Bibliography for Sonic Studies (Site not responding. Last check: 2007-10-31)
		Music, mind, and brain: The neuropsychology of music.
		Roederer, J. Introduction to the physics and psychophysics of music, 2nd ed.
		Timmerman, John E. The effect of temperature, music and density on perception of crowding and shopping behaviour of consumers in a retail environment.
	interact.uoregon.edu /MediaLit/WFAE/bibliographies/bibsonic.html (3507 words)

	Síntesi Musical Expresiva: Bibliografia
		In I. Cross and I. Deliège (eds.), Music and the Cognitive Sciences.
		An analysis-by-synthesis study of musical performance, in (J. Sundberg, ed.) Studies of Music Performance Royal Swedish Academy of Music, Stockholm.
		Parncutt, R. A perceptual model of pulse salience and metrical accent in musical rhythms.
	www.iua.upf.es /~perfe/sintesi/biblio.htm (2759 words)

	Fellows (Site not responding. Last check: 2007-10-31)
		Ian Cross is a University Lecturer in Music and Fellow of Wolfson College, Cambridge, where he is Director of Studies in Music.
		He is responsible for teaching all aspects of science and music in the Faculty of Music at Cambridge (where he leads the Science and Music Group), including psychoacoustics and the cognitive and developmental psychology of music.
		He is involved in experimental investigations of the perception of tonal structures and of the role of culture and formal education in shaping musical cognition, and is also actively interested in exploring the general limits and constraints on scientific accounts of music as well as the relation between music and cognitive evolution.
	www.wolfson.cam.ac.uk /fellows/fellows (7435 words)

	The Language of Thought: Annotated Bibliography
		In Part II, all of this is brought to bear on representational theories of mind (Fodor being the main target here.) Both a strong and a weak form of representationalism are critiqued and rejected in favor of a purely syntactic theory of mental (roughly, computational) states.
		The architecture essentially synthesizes a Chomskian view of grammar, Jackendoff's conceptual structure semantics, Marr's work on vision, and Jackendoff and Lerdahl's views of musical cognition; each of these components is thought to form (roughly) a separate faculty, containing a number of specialized modules or (largely) modular processes.
		He then turns to consciousness and proposes a "reflexive thinking" account which maintains that in order for a thought to be conscious it must be available to further acts of thinking; that is, it must be possible to have thoughts about the thought.
	host.uniroma3.it /progetti/kant/field/lotbiblio.html (6713 words)

	buch.de - bücher - versandkostenfrei - Menc Handbook of Musical Cognition and Development
		Mehr über: Music, music, theory of music & musicology
		The importance of cognition in teaching, learning, and research in music education has been championed by individuals in the arts, led by Elliot Eisner of Stanford University and by psychologists such as Howard Gardner of Harvard University and Robert Sternberg of Yale.
		A stellar line up of international authors has been assembled to provide in a single volume the latest theoretical and practical techniques that explain meaning and understanding in music.
	www.buch.de /buch/09146/483_menc_handbook_of_musical_cognition_and_development.html (187 words)

	Publications
		Gurudev’s Drumming Legacy: Music, Theory and Nationalism in the Mrdang aur Tabla Vadanpaddhati of Gurudev Patwardhan.
		Widdess, Richard, The Ragas of Early Indian Music: Music, Modes, Melodies, and Musical Notations from the Gupta Period to c.1250.
		Neuman, Daniel M. “The Life of Music in North India: The Organization of an Artistic Tradition.” Chicago, University of Chicago Press, 1990.
	www.kippen.org /publications.html (1063 words)

	COGS001: Term paper
		Perhaps something that was mentioned in one of the lectures or readings was interesting to you (we hope that many things were!), and you'd like to learn more about it.
		You can also choose a topic based on your own experience or interests: you might start from a previous interest in musical cognition, or reading disabilities, or hominid evolution.
		The term "cognitive science" might cover work in disciplines such as psychology, computer science, neurology or neurophysiology, linguistics, philosophy, mathematics, anthropology, and so on -- though of course not all work in those disciplines will be relevant!
	www.seas.upenn.edu /~cse140/TermPaper.html (1002 words)

	Musical Acousticians
		James Beauchamp(computer music; analysis, synthesis, and perception of musical sounds;wind acoustics)
		Diana Deutsch (music perception and cognition, musical illusions) ddeutsch@ucsd.edu (alternate webpage at http://philomel.com/)
		Andrzej Rakowski (musical perception and cognition, psychoacoustics) rakowski@chopin.edu.pl
	www.public.coe.edu /~jcotting/tcmu/musacou.htm (1299 words)

	Music & Research Links: Perception & Cognition (Site not responding. Last check: 2007-10-31)
		The Effects of Spectral Peak Difference on the Perception of Crossing Musical Scales David Spondike's Doctoral Dissertation
		Rhythm and Meter in Tonal Music (A Bibliography and Glossary)
		Quantification of Determinism in Music (Sprott and Meloon)
	members.aol.com /dspondike/mnr/mnrmusicog.html (154 words)

	Musical Acousticians Links
		Controls and controllers for these models.) prc@cs.princeton.edu James Cottingham (free reed instruments) jcotting@coe.edu Lola L. Cuddy (music perception and cognition, psychoacoustics) cuddyl@pavlov.psyc.queensu.ca Laurent Demany (psychoacoustics) Laurent.Demany@psyac.u-bordeaux2.fr Diana Deutsch (music perception and cognition, musical illusions).
		Arnold Tubis (acoustic musical instruments, folk instruments, physical probes and physical modeling of the auditory periphery) atu@physics.purdue.edu Gabriel Weinreich (general musical acoustics) weinreic@umich.edu Gregor Widholm (Brass Instruments, systems for quality evaluation, simulation, physical modelling) widholm@magnet.at Tilmann Zwicker (Electric musical instruments and amplification, guitar family instruments, psychoacoustics, patent related matters) T-ZWICKER@EPO.E-MAIL.COM ***********************
		Institute for Research on Acoustics and Music (IRCAM)
	www.pa.msu.edu /acoustics/tcma/muslink.html (93 words)

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