Perception And Cognition Of Music

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absolute
Absolute Pitch
Ambiguous Resolution
auditory neuroscience
Category=JMA
Category=JMR
Central AFRICA
class
computational music analysis
developmental music cognition
Diatonic Set
EEG Power
eq_bestseller
eq_isMigrated=1
eq_isMigrated=2
eq_nobargain
eq_non-fiction
eq_society-politics
ethnomusicology research
Event Hierarchies
Fundamental Frequencies
generative
hierarchy
Interonset Interval
Late Positive Components
Listening Styles
MDS Solution
Melodic Contour
Music Perception
music psychology
musical
musical expertise acquisition
Musical Pitch
Musical Surface
neural basis of auditory perception
pitch
Pitch Classes
Pitch Height
Pitch Perception
Pitch Structure
Playback
Probe Tone
Simple Frequency Ratios
surface
Symphony In G Minor
theory
tonal
Tonal Hierarchy
western
Western Tonal Music

Product details

  • ISBN 9781138877092
  • Weight: 657g
  • Dimensions: 152 x 229mm
  • Publication Date: 22 May 2015
  • Publisher: Taylor & Francis Ltd
  • Publication City/Country: GB
  • Product Form: Paperback
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This text comprises of reviews of work relating to music and mind. It presents a range of approaches from the psychological through the computational, to the musicological. The reviews were selected from papers submitted at the Third International Conference on Music Perception and Cognition Liege 1994 to illustrate the wide range of perspectives now being adopted in studying how humans make and respond to music. The book is divided ino five sections. The first part illustrates the role of analysis and ethnomusicology in understanding cultural determinants of musical behaviour. The second part charts what is known about aquisition of musical competence, from pre-birth through to the expert performer. The evidence accumulated about specific areas of the brain which control musical thinking and behaviour is examined in Part Three. The fourth part examines how neurological, behavioural and artificial intelligence approaches are converging to shed light on processes in auditory perception. Finally, Part Five highlights the important developments in how we conceptualize the way in which musical structures are represented in the mind.