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Saturday, May 9, 2020 | History

2 edition of Aspects of the cognition of tonal music = found in the catalog.

Aspects of the cognition of tonal music =

Mindert Hendrik Eiting

Aspects of the cognition of tonal music =

Aspekten van de cognitie van tonale muziek

by Mindert Hendrik Eiting

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Published by Drukkerij Reproprint te Utrecht in [Utrecht] .
Written in English

    Subjects:
  • Music -- Psychological aspects.,
  • Cognitive psychology.,
  • Musical ability.

  • Edition Notes

    Other titlesAspekten van de cognitie van tonale muziek.
    Statementdoor Mindert Hendrik Eiting.
    Classifications
    LC ClassificationsML3838 .E4 1985
    The Physical Object
    Paginationvi, 129 p. :
    Number of Pages129
    ID Numbers
    Open LibraryOL2255227M
    LC Control Number89133528

    Get this from a library! Cognitive foundations of musical pitch. [Carol L Krumhansl] -- This book addresses the central problem of music cognition: how listeners' responses move beyond mere registration of auditory events to include the organization, interpretation, and remembrance of. The neuroscience of music is the scientific study of brain-based mechanisms involved in the cognitive processes underlying behaviours include music listening, performing, composing, reading, writing, and ancillary also is increasingly concerned with the brain basis for musical aesthetics and musical emotion. Scientists working in this field may have training in.

      Analysis of Tonal Music: A Schenkerian Approach, Third Edition, is a comprehensive, logically organized introduction to the fundamental principles of Schenkerian technique.. Rather than relying on stereotypical models or formulas, authors Allen Cadwallader and David Gagné use specific, memorable compositions to explain structural principles. In other words, the study of the evolution of music cognition is conditional on a characterization of the basic mechanisms that make up musicality (we will mention some candidates below). Furthermore, it is important to separate between the biological (or genetic) and cognitive (or functional) aspects that might contribute to musicality.

    Psychology II: High-Level Cognition. A Generative Theory of Tonal Music. By Fred Lerdahl and Ray S. Jackendoff. Overview. This work, which has become a classic in music theory since its publication in , models music understanding from the perspective of cognitive science. The point of departure is a search for a grammar of music with the. Some, for instance, separate "tonal" music from "modal" music, while others still view modal music as being tonal. But it may be important to note that two historical theorists, Fétis and Choron, announced "the beginning of tonality" at the appearance of a dominant-seventh chord in .


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Aspects of the cognition of tonal music = by Mindert Hendrik Eiting Download PDF EPUB FB2

The author presents a computational theory of music cognition that is deeply influenced by "A Generatve Theory of Tonal Music". As in GTTM, the author of this book tries to explain the cognition of common-practice music by a system that generates Cited by: Aspects of the cognition of tonal music =: Aspekten van de cognitie van tonale muziek [Mindert Hendrik Eiting] on *FREE* shipping on qualifying offers.

Peter Westergaard's tonal theory is the theory of tonal music developed by Peter Westergaard and outlined in Westergaard's book An Introduction to Tonal Theory (hereafter referred to as ITT).Based on ideas of Heinrich Schenker (see Schenkerian analysis), Westergaard's theory is notable for.

explicit treatment of the relationship between rhythmic structures and pitch structures in tonal. Tonal cognition. Book January This chapter reviews the temporal aspects of music perception and cognition. This topic has quite a history as a research topic, covered extensively by two. The Psychology of Music, Second Edition has been completely revised to bring the reader the most up-to-date information, additional subject matter, and new contributors to incorporate all of these important variables.

The book is intended as a comprehensive reference. Music perception and cognition is the area of cognitive psychology devoted to determining the mental mechanisms underlying our appreciation of music, and in this chapter we review the major findings. Temperley's book is an interesting computational application of forward-looking ideas current in music cognition with regards to conventional, tonal music.

Offering a diverse, wide-reaching discussion of 'common practice' music, it gives a strong nod towards the formality induced by necessity from computational models, and is very welcome in so.

With applications to tonal and post-tonal Western classical music, to Western vernacular music, and to non-Western music, Cox’s work stands to expand the range of phenomena that can be explained by the role of sensory, motor, and affective aspects of human experience and cognition.

Leonid Perlovsky, in Music, Passion, and Cognitive Function, A Controversy in Perception of Musical Emotion. There is an ongoing controversy in current music cognition research.

This book presented theoretical and experimental arguments that many musical emotions are fundamentally different from everyday emotions, and the number of musical emotions is huge; many people feel.

This chapter presents a self-organizing map (SOM) neural network model of tonality based on experimentally quantified tonal hierarchies. A toroidal representation of key distances is recovered in which keys are located near their neighbours on the circle of fifths, and both parallel and relative major/minor key pairs are proximal.

The map is used to represent dynamic changes in the sense of. A comprehensive study of the many facets of rhythm in tonal music. Lester covers accent, meter and hyper­meter, phrase rhythm, rhythm and linear analysis, continuity, rhythm and form, rhythm and polyphony, rhythm and per­formance, rhythms of textural com­ponents, grouping, and rhythm and style.

The primary focus of this book is ac­cent, which Lester argues is one of the major aspects of. The aim of the psychology of music is to understand musical phenomena in terms of mental functions--to characterize the ways in which one perceives, remembers, creates, and performs music.

Since publication of the first edition of The Psychology of Music, the field has emerged from an interdisciplinary curiosity into a fully ramified subdiscipline of psychology as a result of several factors.5/5(1).

The Complete Musician by Steven Laitz Tonal Harmony- Stefan Kostka Harmony- Walter Piston Introduction To Post-Tonal Theory- Joseph Straus Harmonic Experience- W.A. Mathieu Materials and Techniques of Post-Tonal Music- Stefan Kostka The Schillinger System Of Musical Composition- Joseph Schillinger Other Harmony: Beyond Tonal and Atonal- Tom Johnson Thesaurus Of Scales and.

Music, Cognition, and Computerized Sound is the first book to provide that coverage, and it does so via a unique and useful approach. The book begins with introductory chapters on the basic physiology and functions of the ear and auditory sections of the brain, then proceeds to discuss numerous topics associated with the study of.

Music, Passion, and Cognitive Function examines contemporary cognitive theories of music, why they cannot explain music’s power over us, and the origin and evolution of music. The book presents experimental confirmations of the theory in psychological and neuroimaging research, discussing the parallel evolution of consciousness, musical styles, and cultures since Homer and King David.

Music that follows this principle is called tonal music, whereas music that does not have one note more important than another is called atonal music, or literally without tonic.

However, from approximately toall music in western culture was tonal. Again. With applications to tonal and post-tonal Western classical music, to Western vernacular music, and to non-Western music, Cox’s work stands to expand the range of phenomena that can be explained by the role of sensory, motor, and affective aspects of human experience and cognition.

Published by Indiana University Press. This article summarizes recent investigations into the psychological representation of pitch relations in tonal music. Evidence is found for the internalization of tonal structure at three levels of organization: musical tones, chords, and keys.

The present chapter deals with tonal cognition, and more precisely with tonal hierarchies and how tonal hierarchies influence music perception in Western music. The 12 chromatic tones, on which Western tonal music is based, are organized in subsets of seven tones that define musical keys.

Within a given key, some tones and chords are structurally more important than others, resulting in intra. Music theory is the study of the practices and possibilities of music. The Oxford Companion to Music describes three interrelated uses of the term "music theory".

The first is the "rudiments", that are needed to understand music notation (key signatures, time signatures, and rhythmic notation); the second is learning scholars views on music from antiquity to the present; the third a sub-topic. Music and Cognitive Science It has always been controversial to make a sharp distinction between the philosophical and the psychological approaches to aesthetics; and the revolution brought about by cognitive science has led many to believe that the philosophy of art no longer controls a sovereign territory of its own.With applications to tonal and post-tonal Western classical music, to Western vernacular music, and to non-Western music, Cox's work stands to expand the range of phenomena that can be explained by the role of sensory, motor, and affective aspects of human experience and cognition.Perception and Cognition of Music is an important reference for those involved or interested in psychology of music.

It can provide insight and information helpful to music therapists, but is not directed specifically to them or the field of music therapy.

- John A. Lyncher, Western Michigan University.