Introduction

2017 ◽  
Author(s):  
Jonathan De Souza
Keyword(s):  
Performance Analysis ◽  
Cognitive Science ◽  
Music Theory ◽  
Music Analysis ◽  
Theoretical Research ◽  
Musical Experience ◽  
Musical Styles

This introduction outlines three methodological strands that are central to the book: music theory, phenomenology, and cognitive science. It argues that interdisciplinary blending is characteristic of much music-theoretical research. At the same time, music analysis offers distinctive ways of examining musical data—or, indeed, musical evidence. In this book, such methods are used to investigate body-instrument interaction in diverse musical styles. The book combines performance analysis with philosophical and psychological insights on embodiment, highlighting an interplay of technique and technology that shapes instrumentalists’ musical experience.

scholarly journals Ways of Knowing the Body, Bodily Ways of Knowing

2016 ◽  
Vol 22 (2) ◽  
Author(s):  
Peter Martens
Keyword(s):  
Case Studies ◽  
Music Theory ◽  
Music Cognition ◽  
Ways Of Knowing ◽  
Music Analysis ◽  
The Body ◽  
Musical Score ◽  
Research Methodologies

The central role of the body in producing music is hardly debatable. Likewise, the body has always played at least an implicit role in music theory, but has only been raised as a factor in music analysis relatively recently. In this essay I present a brief update of the body in music analysis via case studies, situated in the disciplines of music theory and music cognition, broadly construed. This current trajectory is part of a broader shift away from the musical score as the sole focus for analysis, which admittedly—though, in my view, delightfully—raises a host of challenging epistemological questions surrounding the interaction of performer (production) and listener (perception). While the concomitant research methodologies and technologies may be unfamiliar to scholars trained in humanities disciplines, I advocate for a full embrace of these approaches, either by individual researchers or in the form of cross-disciplinary collaboration.

Introduction to the Special Issue on Cognitive and Behavioral Flexibility in Fear and Anxiety Disorders

2018 ◽  
Vol 42 (6) ◽  
pp. 811-814
Author(s):  
Christina L. Boisseau ◽  
Sarah L. Garnaat
Keyword(s):  
Anxiety Disorders ◽  
Cognitive Science ◽  
Future Study ◽  
Contextual Factors ◽  
Behavioral Flexibility ◽  
Theoretical Research ◽  
Special Issue ◽  
Contemporary Theory ◽  
Neuropsychological Correlates ◽  
Fear And Anxiety

Converging lines of research highlight the significance of cognitive and behavioral flexibility in the etiology, maintenance, and treatment of fear and anxiety disorders. We have developed a Special Issue to highlight recent empirical investigations, contemporary theory, and novel directions for future study. It is hoped that this special issue will (a) underscore the centrality of cognitive and behavioral flexibility to fear- and anxiety-related psychopathology, (b) call attention to cognitive science approaches investigating related neuropsychological correlates, and (c) highlight novel experimental and theoretical research on germane contextual factors.

Situated approaches to musical experience

2019 ◽  
pp. 11-33
Author(s):  
Christoph Seibert
Keyword(s):  
Cognitive Science ◽  
Research Tool ◽  
Musical Experience ◽  
Musical Practice ◽  
Conceptual Clarity ◽  
Musical Practices ◽  
The Mind ◽  
The Relationship ◽  
Theoretical Considerations ◽  
Systematic Framework

Informed by a review of recent attempts in cognitive science to overcome head-bound conceptions of the mind, this chapter investigates the contribution of ‘situated’ approaches to understanding music and consciousness, focusing on musical experience. It develops a systematic framework for discriminating between situated approaches, and based on this framework and an analysis of specific scenarios discusses the ways in which musical experience may be conceptualized as ‘situated’, elucidating the implications and explanatory potential of different approaches. Finally, there is a consideration of the framework’s value as a research tool for the analysis of situated aspects of musical practices. The aim is to advance an understanding of music and consciousness by contributing to conceptual clarity and by enriching the relationship between theoretical considerations and observation of musical practice.

1. The art and science of music psychology

2018 ◽  
pp. 1-19
Author(s):  
Elizabeth Hellmuth Margulis
Keyword(s):  
Cognitive Science ◽  
Computer Modeling ◽  
Human Behavior ◽  
Music Theory ◽  
Experimental Psychology ◽  
Art And Science ◽  
Music Psychology

Music can seem to be the human behavior that is least susceptible to explanation, but a long history exists of applying various frameworks to try to understand it. The cognitive science of music integrates ideas from philosophy, music theory, experimental psychology, neuroscience, anthropology, and computer modeling to answer questions about music’s role in people’s lives. The art of music psychology is to bring rigorous scientific methodologies to questions about the human musical capacity while applying sophisticated humanistic approaches to framing and interpreting the science.

Learning Music Composers’ Styles: To Block or to Interleave?

2020 ◽  
Vol 68 (2) ◽  
pp. 156-174 ◽  
Author(s):  
Sarah Shi Hui Wong ◽  
Amanda Chern Min Low ◽  
Sean H. K. Kang ◽  
Stephen Wee Hun Lim
Keyword(s):  
Music Education ◽  
Classical Music ◽  
Musical Experience ◽  
Aural Skills ◽  
Future Directions ◽  
Education Practice ◽  
Teaching Music ◽  
Practical Implications ◽  
Musical Styles

The ability to recognize and distinguish among varying musical styles is essential to developing aural skills and musicianship. Yet, this task can be difficult for music learners, particularly nonexperts. To address this challenge and guide music education practice, this study drew on cognitive psychological principles to investigate the effect of interleaved presentation of music pieces by various classical music composers on learning to identify these composers’ styles. Participants with 4 or fewer years of musical experience were presented with music pieces from six composers in an interleaved manner (alternating between listening to different composers’ works) and music pieces from another six composers in a blocked fashion (listening to works by one composer at a time before moving on to the next). A later test in which participants had to classify novel pieces by the same 12 composers revealed the superiority of interleaved over blocked presentation, although most participants misjudged blocking to be more effective than interleaving. This finding provides evidence for the utility of interleaving in teaching music composers’ styles and extends the literature on the interleaving effect in category induction to the auditory domain. Practical implications and future directions for the use of interleaving in music education are discussed.

Music Theory, Phenomenology, and Modes of Perception

1986 ◽  
Vol 3 (4) ◽  
pp. 327-392 ◽  
Author(s):  
David Lewin
Keyword(s):  
Artificial Intelligence ◽  
Music Theory ◽  
Formal Model ◽  
Music Analysis ◽  
The Other ◽  
Musical Activity ◽  
Literary Theories

Recent years have seen an increasing influence on music theory of perceptual investigations that can be called phenomenological in the sense of Husserl, either explicitly or implicitly. The trend is problematic, particularly in what one might call its sociology, but it is also very promising. Potential or at least metaphorical links with Artificial Intelligence are especially suggestive. A formal model for "musical perceptions," incorporating some of the promising features, reveals interesting things in connection with Schubert's song Morgengruβ. The model helps to circumvent some traditional difficulties in the methodology of music analysis. But the model must be used with caution since, like other perceptual theories, it appears to make " listening" a paradigmatic musical activity. Composer/ performer/playwright/actor/director/poet can be contrasted here to listener/reader. The two genera can be compared in the usual ways, but also in some not-so-usual ways. The former genus may be held to be perceiving in the creative act, and some influential contemporary literary theories actually prefer members of this genus to those of the other as perceivers. The theories can be modified, I believe, to allow a more universal stance that also regards acts of analytic reading/listening as poetry.

scholarly journals Analisis Schenkerian Pada Komposisi L’Armonia Opus 148.5 Gitar Klasik Karya Mauro Giuliani

PROMUSIKA ◽  
2019 ◽  
Vol 6 (2) ◽  
pp. 83-89
Author(s):  
Adityo Legowo
Keyword(s):  
Music Theory ◽  
Music Analysis ◽  
Classical Guitar ◽  
Schenkerian Analysis ◽  
Tonal Music ◽  
Tonal Structure ◽  
Final Project ◽  
Qualitative Descriptive ◽  
Repeated Structure ◽  
Made In

Ada beragam jenis cara analisis musik namun yang selama ini lebih dikenal dan dipelajari di lingkungan penulis, adalah analisis bentuk musik. Ada cara lain dalam bidang analisis, salah satunya adalah analisis schenkerian. Melalui cara analisis tersebut maka akan didapatkan struktur tonal yang terdalam dari sebuah sistem musik tonal. Cara ini sama sekali belum umum di Indonesia untuk saat ini. Maka dari itu penulis ingin mempelajari lebih dalam mengenahi cara analisis schenkerian. Untuk materi pembahasan akan dibatasi pada karya Mauro Giuliani komposisi L’Armonia opus 148. 5 untuk gitar klasik. Adapun pertimbangan mengenahi objek pembahasan tersebut karena era keemasan musik tonal adalah jaman klasik. Karya tersebut dibuat pada waktu jaman klasik dan diciptakan oleh seorang komposer arus utama untuk musik instrumen gitar. Selain itu karya tersebut dimainkan dalam resital tugas akhir yang dilakukan oleh penulis. Sehingga harapan penulis dengan analisis karya Mauro Giuliani dapat melihat gambaran komponis gitar lainya pada era tersebut. Dgn menggunakan metode kualitatif desriptif dengan pendekatan musikologis, khususnya teori musik dapat disimpulkan bahwa bentuk background komposisi L’Armonia karya Mauro Giuliani adalah bentuk kedalaman yang merupakan hasil reduksi dari bentuk-bentuk sebelumnya. Di dalam bentuk ini terdapat interruption yang berfungsi sebagai penyela dan dikembalikan lagi ke kopfton 3 yang disebabkan oleh adanya struktur yang diulang. Bentuk tersebut dapat dilihat pada pembahasan background.There are various types of music analysis, but what has been better known and studied in the writer's environment, is the analysis of musical forms. There are other ways in the field of analysis, one of which is Schenkerian analysis. Through this method of analysis we will get the deepest tonal structure of a tonal music system. This method is not yet common in Indonesia at this time. Therefore the writer wants to learn more about the schenkerian analysis. For discussion material will be limited to the work of Mauro Giuliani the composition of L 'Armonia opus 148. 5 for classical guitar. The consideration of the object of discussion is because the golden era of tonal music is the classical era. The work was made in classical times and was created by a mainstream composer for guitar instrument music. In addition, the work is played in a final project recital carried out by the author. So the hope of the writer with the analysis of the work of Mauro Giuliani can see the picture of other guitar composers in that era. Using qualitative descriptive methods with a musicological approach, especially music theory, it can be concluded that the form of the background of L'AAmonia's composition by Mauro Giuliani is a form of depth that is the result of reduction from previous forms. In this form there is an interruption that functions as an interrupter and is returned again to Kopfton 3 caused by a repeated structure. This form can be seen in the background discussion.Keywords: schenkerian analysis; L'Oronia opus 148. 5.

Consonance and Dissonance

2018 ◽  
pp. 436-466 ◽  
Author(s):  
Alexander Rehding
Keyword(s):  
Cognitive Science ◽  
Music Theory ◽  
Fundamental Importance ◽  
Joseph Haydn ◽  
Alban Berg ◽  
Wide Range ◽  
Cognitive Approaches ◽  
Simultaneous Intervals ◽  
Consonance And Dissonance

Despite their fundamental importance to music theory, consonance and dissonance are surprisingly slippery concepts. They cannot unequivocally be identified as acoustical, aesthetic, physiological, psychological, or cultural-historical. This chapter examines a wide range of approaches to consonance/dissonance, focusing on four debates: the age-old sensus/ratio discussion, contrapuntal treatises, non-Western evidence from cognitive science, and evolutionary arguments. The discussion includes musical examples by Joseph Haydn, Alban Berg, Tsimane′ singing, and various European compositions from the seventeenth to the twentieth centuries. It is impossible to fully close the gap between different approaches, in part because different definitions take their starting points in different objects: cognitive approaches work with sounds while music-theoretical traditions work with notes and intervals. But the diversity of approaches opens up new angles on certain conflations that music theory often tolerates—such as the equivocation between successive and simultaneous intervals—to illustrate how the consonance/dissonance pair functions in different contexts.

The Oxford Handbook of Topic Theory

2013 ◽  
Keyword(s):  
Eighteenth Century ◽  
Music Theory ◽  
Instrumental Music ◽  
Critical Appraisal ◽  
Music Analysis ◽  
Musical Life ◽  
Historical Reality ◽  
Topical Analysis ◽  
Topic Theory

The concept of topics was introduced into the vocabulary of music scholars by Leonard Ratner to account for cross-references between eighteenth-century styles and genres. The emergence of this phenomenon followed the rapid proliferation and consolidation of stylistic and generic categories. While music theorists and critics classified styles and genres, defining their affects and proper contexts for their usage, composers crossed the boundaries between them, using stylistic conventions as means of communication with the audience. Such topical use of styles and genres out of their proper contexts and their mixtures with other styles and genres became the hallmark of South-German instrumental music, which engulfed the so-called Viennese Classicism. Since this music did not develop its own aesthetics and, in its days, received no adequate critical appraisal, topic theory developed from Ratner’s seminal insight by Wye J. Allanbrook, Kofi Agawu, Robert Hatten, Raymond Monelle, and others can be considered a theory of this music, andThe Oxford Handbook of Topic Theorygoes some way toward reconstructing its aesthetic underpinnings. The volume grounds the concept of topics in eighteenth-century music theory, aesthetics, and criticism; documents historical reality of individual topics on the basis of eighteenth-century sources, traces the origins of topical mixtures to transformations of eighteenth-century musical life, and relates topical analysis to other kinds of music analysis conducted from the perspectives of composers, performers, and listeners. It lays the foundation under further investigation of musical topics in the nineteenth, twentieth, and twenty-first centuries.

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