Book Description
What are the mental processes involved in listening to, performing, and composing music? What is involved in 'understanding' a piece of music? How are such skills acquired? Questions such as these form the basis of the cognitive psychology of music. The author addresses these questions by surveying the growing experimental literature on the subject. The topics covered will be of interest to psychologists, as windows onto a human cognitive skill of some complexity that is only now beginning to receive the attention devoted to such skills as language. They are also relevant to musicians who are seeking to understand the psychological bases of their skills. The author does not simply review existing research, but takes a critical look at what has been achieved in the subject, introducing such topics as composition and musical skill in non-literate cultures. He draws freely on his own knowledge and experience as a practising musician, as well as a psychologist, to provide an overview that is scholarly and also accessible to the general reader.
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- Music and Surprise
- sweet anticipation
- Chapter titles and selected subtitles and descriptions of figures and tables
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Sweet Anticipation: Music and the Psychology of Expectation (Bradford Books)
David Huron
Manufacturer: The MIT Press
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This Is Your Brain on Music: The Science of a Human Obsession
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Music and Memory: An Introduction
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The Cognition of Basic Musical Structures
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The Singing Neanderthals: The Origins of Music, Language, Mind, and Body
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Emotion and Meaning in Music (Phoenix Books)
ASIN: 0262083450 |
Book Description
The psychological theory of expectation that David Huron proposes in Sweet Anticipation grew out of the author's experimental efforts to understand how music evokes emotions. These efforts evolved into a general theory of expectation that will prove informative to readers interested in cognitive science and evolutionary psychology as well as those interested in music. The book describes a set of psychological mechanisms and illustrates how these mechanisms work in the case of music. All examples of notated music can be heard on the Web.
Huron proposes that emotions evoked by expectation involve five functionally distinct response systems: reaction responses (which engage defensive reflexes); tension responses (where uncertainty leads to stress); prediction responses (which reward accurate prediction); imagination responses (which facilitate deferred gratification); and appraisal responses (which occur after conscious thought is engaged). For real-world events, these five response systems typically produce a complex mixture of feelings. The book identifies some of the aesthetic possibilities afforded by expectation, and shows how common musical devices (such as syncopation, cadence, meter, tonality, and climax) exploit the psychological opportunities. The theory also provides new insights into the physiological psychology of awe, laughter, and spine-tingling chills. Huron traces the psychology of expectations from the patterns of the physical/cultural world through imperfectly learned heuristics used to predict that world to the phenomenal qualia we experienced as we apprehend the world.
Customer Reviews:
Music and Surprise.......2007-09-19
Finally, a real five-star book about music. For some reason, there are thousands of books about language, but almost no serious ones analyzing the biology and psychology of humanity's other communication systesms. Every society has a highly developed musical tradition, every society uses music in countless ways including the most sacred religious ceremonies, and yet hardly anyone has stepped forward to analyze it as a basic communication channel for humans.
David Huron's book is on surprise in music. He shows how music creates expectations of pattern, from simple rhythm up to very complex patterns (the concerto, the symphony...) that only sophisticated listeners know. Musicians notoriously love to play with these patterns, to surprise the listeners and thus create new pieces and prevent boredom. Huron distinguishes several types of surprise, on the basis of a highly sophisticated evolutionary and cognitive psychology as well as an astounding knowledge of music. He knows everything from the complexities of Beethoven and Schoenberg to the joik songs of the Saami of arctic Europe, and even knows what happens when you play the latter to rural folk in southern Africa. By contrast, such earlier works as Robert Jourdain's MUSIC, THE BRAIN AND ECSTASY were greatly limited by confining their attention to western classical and classical-derived pop forms, thus missing everything from cross-rhythms to alternative scales.
Surprise presupposes a whole file of knowledge of patterns and schemas, and a deep cognitive and emotional investment in same. Huron takes these mostly for granted. Obviously, the next step is to figure out why people love complicated musical patterns in the first place. Especially, humans love the theme-and-variation type of play with patterns that dominates music from Elizabethan lute solos to jazz to ragas. These are not exactly surprising, especially when you know the pieces, but they are always delightful. Why? Huron mentions body rhythms, speech rhythms, and the like. There is obviously more. I think there is much more about pattern--in music and in general--that we need to study.
sweet anticipation.......2007-06-01
Gives me usable views to make my scription about music and emotion. Basic stuff!
Chapter titles and selected subtitles and descriptions of figures and tables.......2007-02-11
I really like this book, but I don't think I'm qualified to review it. However, I think you can get a sense of whether you might be interested in it by reading the list of chapter titles and some of the subtitles and descriptions of some of the tables (T) and figures (F), so here's that:
1 Introduction
Emotional Consequences of Expectations
Tension Response
Imagination Response
Prediction Response
Reaction Response
Appraisal Response
T1.1 Response systems
F1.1 Schematic diagram of the time-course of the "ITPRA" theory of expectation.
2 Surprise
F2.1 Schematic diagram of the brain mechanisms involved in the fear response.
Contrastive Valence
Three Flavors of Surprise
3 Measuring Musical Expectation
F3.1 Average moment-to-moment uncertainty for Balinese and American musicians listen to an unfamiliar traditional Balinese melody.
4 Auditory Learning
F4.1 Average response times for musician listeners to hear an isolate tone as a specified scale degree.
F4.5 Sample exposure stimuli showing the long-term statistical probabilities of pitch-to-pitch transitions.
5 Statistical Properties of Music
F5.1 Frequency of occurrence of melodic intervals in notated sources for folk and popular melodies from ten cultures.
F5.2 Proportion of non-unison melodic intervals that ascend in pitch.
T5.1 Probabilities for step-step- movements in a large sample of Western and non-Western musics.
F5.3 Watt's (1924) analysis of intervals in Schubert Lieder. Larger intervals are more likely to be followed by a change of melodic direction than small intervals.
F5.5 Number of instances of various melodic leaps found in a cross-cultural sample of melodies.
F5.6 Average contour for 6,364 seven-note phrases taken from The Essen Folksong Collection (Schaffrath 1995).
6 Heuristic Listening
F6.1 "Brownian" or "random walk" melody.
F6.2 "Johnson" or "white noise" melody.
7 Mental Representation of Expectation (I)
F7.2 Information theoretic analysis of "Pop Goes the Weasel" showing changing of information (in bits) as the piece unfolds.
F7.4 A hypothetical mental network for pitch-related representation.
F7.5 Four objects illustrating the failure to code spatial interval.
8 Prediction Effect
Exposure Effect
The Role of Consciousness
9 Tonality
T9.1 Scale Degree Qualia
F9.1 Distribution of scale tones for a large sample of melodies in major keys (>65,000 notes).
F9.2 Distribution of scale tones for a large sample of melodies in minor keys (>65,000 notes).
T9.2 First-order scale-degree probabilities (diatonic continuations)
T9.3 First-order scale-degree probabilities (chromatic continuations)
F9.7 Schematic illustration of scale-degree successions for major key-melodies
F9.9 Schematic illustration of the amount of flexibility or (conversely) tendency for different scale degrees in major-key contexts.
10 Expectation in Time
F10.2 Effect of temporal position on accuracy of pitch judgment.
Long-Range Contingent Expectations
The Pleasures of the Downbeat
Nonperiodic Temporal Expectations
F10.13 Graph representing the relative durations of three-note rhythmic patterns.
F10.14 Relative durations for two 3-note rhythms tapped by musicians.
F10.15 Categorical boundaries between various perceived three-note rhythms.
11 Genres, Schemas, and Firewalls
Context Cueing
Undergeneralization
Starting Schema
T11.1 Unprimed listener expectations
Schema Switching
12 Mental Representation of Expectation (II)
Episodic Memory
F12.1 Recognition measurements for the openings of four melodies.
Dynamic Expectations
F12.2 Example of a chimeric melody where one melody elides into another.
Conscious Expectations
13 Creating Predictability
Veridical Familiarity
Schematic Predictability
The Anticipation
Hypermetric Anticipation
F13.9 Schematic illustration of chord progressions in a sample of baroque music.
F13.11 Schematic illustration of chord progressions in a sample of seventy Western popular songs ...
Style and form
Dynamic Predictability
14 Creating Surprise
T14.1 Reported qualia for chromatic median chords in a major key context
T14.2 Reported qualia for chromatic median chords in a minor key context
T14.3a Metrical context for ascending melodic intervals
T14.3b Metrical context for descending melodic intervals
15 Creating Tension
The Feeling of Anticipation
The Suspension
F15.3 Prototypical suspension.
T15.1 Summary expectation analysis of a suspension
F15.4 Oddball event.
F15.5 Oddball event from figure 15.4 is transformed into an appoggiatura.
T15.2 Summary expectation analysis of an oddball note
T15.3 Summary expectation analysis of an appoggiatura
Premonition
Climax
Sweet Anticipation --- The Role of Consciousness
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Listening: An Introduction to the Perception of Auditory Events (Bradford Books)
Stephen Handel
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The Psychology of Music, Second Edition (Cognition and Perception)
ASIN: 0262581272 |
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Listening combines broad coverage of acoustics, speech and music perception, psychophysics, and auditory physiology with a coherent theoretical orientation in a lively and accessible introduction to the perception of music and speech events.
Stephen Handel is Professor of Psychology at the University of Tennessee.
Book Description
What biological and cognitive forces have shaped humankind's musical behavior and the rich global repertoire of musical structures? What is music for, and why does every human culture have it? What are the universal features of music and musical behavior across cultures? In this groundbreaking book, musicologists, biologists, anthropologists, archaeologists, psychologists, neuroscientists, ethologists, and linguists come together for the first time to examine these and related issues. The book can be viewed as representing the birth of evolutionary biomusicology--the study of which will contribute greatly to our understanding of the evolutionary precursors of human music, the evolution of the hominid vocal tract, localization of brain function, the structure of acoustic-communication signals, symbolic gesture, emotional manipulation through sound, self-expression, creativity, the human affinity for the spiritual, and the human attachment to music itself.
Contributors: Simha Arom, Derek Bickerton, Steven Brown, Ellen Dissanayake, Dean Falk, David W. Frayer, Walter Freeman, Thomas Geissmann, Marc D. Hauser, Michel Imberty, Harry Jerison, Drago Kunej, François-Bernard Mâche, Peter Marler, Björn Merker, Geoffrey Miller, Jean Molino, Bruno Nettl, Chris Nicolay, Katharine Payne, Bruce Richman, Peter J. B. Slater, Peter Todd, Sandra Trehub, Ivan Turk, Maria Ujhelyi, Nils L. Wallin, Carol Whaling.
Customer Reviews:
More on the origin of music.......2006-03-25
One of the authors cited several times in the Origins book (regarding the Neanderthal flute and ancient music) is Bob Fink, who has recently published several books, including a new one (2005): On the Origin of Music, published by Greenwich press, 516 Ave K South, Saskatoon, Canada S7M 2E2. See www.greenwych.ca for the full list of books that go into hard and convincing detail (archaeology finds, scales & acoustic parallels) that tend to create an outline of the actual origins of music -- no longer all speculation). -- Terry Geebe
Some good info, but hard to find it.......2004-07-24
After an 18 page introduction to biomusicology the reader is left to sift through the papers of around 25 experts in this field. Quality ranges widely as do the topics. There is some worthwhile information in this book but finding it may not be worth your time. Nonetheless, it is a positive step forward.
Fascinating and Challenging Approaches to a Difficult Topic.......2001-08-31
"The Origins of Music" derives from a 1997 international workshop of the Swedish Institute for Biomusicology. The result is a fascinating journey into a vast world of ideas, with interplay, disagreement and contradiction abounding. Few readers will have the background to move easily through all these articles. However, wading through the quagmire of scientific writing rewards the reader with some remarkable insights. Little is actually proven, and the editors could have done more to reconcile or enumerate the contradictions between some of the approaches. But for the most part, the writers are sufficiently aware of the difficulties involved in applying their specific research results to general theories about the origins of music.
An introductory chapter discusses the comparatively new field of biomusicology, with its tripartite subdivision into evolutionary musicology, neuromusicology, and comparative musicology. The issue, which will command much of the book, of whether certain features of music are biological or cultural is raised. Unfortunately, all too often the weight is given to the biological answer without overwhelming evidence.
Another significant question is the relevance of animal "song". Only those working directly in the field of animal song approach this with caution--none argue anything stronger than a "convergent evolution" between animal and human music. To apply the terms "song" and "music" to aural animal communications is to raise a whole host of related but probably irrelevant associations--those of art, aesthetics, etc. Where music is so broadly defined as to include animal sounds (which can indeed be "musical" and quite lovely for us to listen to without being classified as "music") these associations muddy the water, and all too often the contributors simply accept these problematic issues. One writer even wallows in them--in the book's final article, composer Mache absurdly claims that birdsong can ONLY be explained as an aesthetic act. We unquestionably have very limited understanding of how even the human brain processes our own music; that we have even less understanding of how animals perceive their own sounds and how their brains process them makes any statement about any complicated animal response speculative at best. Slater's chapter is noteworthy as he addresses this very issue of relevance with commendable caution: "Considering only songbirds...there are close to 4,000 species....It would thus not be surprising if almost any characteristic found in human music were discovered in one or a few of them. But such similarities are likely to be coincidental..."
Articles on human evolution of musical potential are fascinating explorations of real evidence. Although of course music does not fossilize, these scientists have taken various ingenious approaches from the thorough examination of a Paleolithic bone flute to the casting of brains inside fossil skulls to examine their gross anatomy, and the results are couched in appropriate language. Richman, in his wildly speculative theory of music origins, resorts to quite poor reasoning ("...complexity always comes from previous, but different complexity." and "...language always comes from previous language."). Similar points are articulated more thoughtfully in the subsequent chapter by Merker. Equally intriguing is Miller's, in which he argues convincingly that a Darwinian approach to the issue of musical evolution allows only the single explanation of sexual selection. His colleague Todd supports this hypothesis in his article on computer modeling of musical behavior. In perhaps the most interesting contradiction in the book, Dissanayake takes a totally different approach, arguing equally convincingly (although smothered in jargon) that musical evolution most likely occurred as an outgrowth of mother-infant interaction. Finally, Freeman suggests that music evolved to fulfil a sociological role of group bonding. These four articles, by Freeman, Dissanayake, Todd, and Merker are superbly argued and maintain the highest standards of intellectual rigor; curiously they come to wildly different but equally reasonable conclusions on the origins of music, thereby highlighting the difficulties of the issues.
In the final section, the musicians get their turn, and as a composer myself I'm sorry to say that my colleagues' results are relatively disappointing. Trehub attempts to find musical universals by studying the behavior of infants. This leads her to the conclusion that "small-integer frequency ratios" are "preferable" (such as 2:1 and 3:2--the perfect octave and fifth) to large-integer ratios (the ONLY example she gives is 45:32--the tritone). She concludes that "dissonances" are not naturally a part of an inherent universal musicality, but her argument shows no apparent understanding of the issues. Imberty's contribution is largely a defense of Lerdahl and Jackendoff's Generative Theory of Tonal Music, and although he makes some excellent points, especially about atonal music, the reader unfamiliar with Lerdahl and Jackendoff's work will find little of value here. The eminent ethnomusicologist Nettl suggests a number of likely musical universals, some of which I must contend against: among them are the presence of an undefined cadential element (as music exists in time and must end, this seems to me inevitable and inconsequential unless further defined), and, that music exists only as particular songs, compositions, etc--that "one does not ever just sing or play, as for example, one may simply dance, without performing a particular dance composition." (wildly incorrect, as any jazzer, mother or Deadhead will attest!) However, Nettl raises valid concerns about the concept of musical universals--I regretted that his contribution wasn't much earlier in the book as it seemed so appropriate to so many of the claims made within. Finally, composer Mache provides what is surely the least intellectually rigorous, most romantically speculative chapter. Mache based much of his workshop contribution on recorded comparisons between various human and animal musics to which the reader has no exposure. It is a real pity that for this article and several others no CD was included. Regardless, Mache's concept of a truly universal biological music including an aesthetic sense ignores historical fact and convergent evolution in favor of an interspecies brotherhood of musicians. However attractive the idea, the International Federation of Musicians is unlikely to start issuing cards to avian and simian members any time soon
Hodgepodge.......2000-11-21
It is a measure of the pioneering nature of this book that its contributions lack any synergy. What we have here are specialists from a wide variety of fields attempting to apply their expertise to a new and undeveloped field. The results are all over the map. Some of the papers strain to be relevant; a few are major steps forward. Some of the papers are badly written; I had to re-read every sentence in one of them. I do not recommend this book to any reader seeking cogent answers to the problem of the origin of music; the truth is, we don't have those answers yet. This is a book for readers willing to accept the uncertainties at the edge of our knowledge, willing to plow through indirect approaches and early clumsy efforts. It is a purely academic book, with all the strengths and weaknesses implicit to that style of writing. In any case, it remains the best effort we have in this direction, by virtue of being the only effort we have in this direction.
Landmark.......2000-04-04
The number of books devoted to language evolution could now fill many bookshelves. So it is very exciting to see the first book ever devoted to the question of music evolution. This book is unquestionably a landmark and will be discussed for many years to come. Evolutionary musicologists will certainly have a lot to learn from their cousins in the language field but they will also get the chance to explore important new ground not covered by them. The book deals with animal song, general issues in human evolution, different proposals for the evolution of music and a final section about universals in music. I was pleased to see renowned thinkers like Derek Bickerton, Peter Marler and Dean Falk writing about music for the first time, and doing it so cogently. That, in itself, is worth the cover price. The book fulfills its promise of opening up an interdisciplinary dialog on the subject of music origins. The editors can be congratulated for bringing together an international group of contributors; no fewer than 8 countries are represented in the contributors list-a rare occurrence in such edited volumes. Despite this, the writing style is consistently high and with the exception of a few typos, the book was quite easy to navigate. Some of the chapters, like Miller's chapter on sexual selection reflect current "hot" topic in evolutionary psychology, and will no doubt lead to lots of discussions. Other chapters, such as those on universals, touch on topics that have been dormant or forgotten in musicology. It is exciting for me to see musical universals being discussed again after so many years of silence. The section called Theories of Music Origins will, no doubt, spur future thinking on the topic. This book is a strong beginning and I highly recommend this book to people who really want to delve into something completely fresh and new. They will not be disappointed.
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- Interesting book attempts to quantify music understanding
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The Cognition of Basic Musical Structures
David Temperley
Manufacturer: The MIT Press
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A Generative Theory of Tonal Music
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Sweet Anticipation: Music and the Psychology of Expectation (Bradford Books)
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Music and Probability
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The Cognitive Neuroscience of Music
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Music and Memory: An Introduction
ASIN: 0262701057 |
Book Description
In this book, David Temperley addresses a fundamental question about music cognition: how do we extract basic kinds of musical information, such as meter, phrase structure, counterpoint, pitch spelling, harmony, and key from music as we hear it? Taking a computational approach, Temperley develops models for generating these aspects of musical structure. The models he proposes are based on preference rules, which are criteria for evaluating a possible structural analysis of a piece of music. A preference rule system evaluates many possible interpretations and chooses the one that best satisfies the rules.
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 suggests that preference rule systems not only show how musical structures are inferred, but also shed light on other aspects of music. He substantiates this claim with discussions of musical ambiguity, retrospective revision, expectation, and music outside the Western canon (rock and traditional African music). 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.
Customer Reviews:
Interesting book attempts to quantify music understanding.......2006-03-23
Music cognition is an interdisciplinary field that aspires to account for the underlying mental processes that occur when people listen to music. 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 structural descriptions from musical "surfaces". The author's theory consists of a number of preference rule systems each containing well-formedness rules that define a class of structural descriptions and also preference rules that specify an optimal structural description for a given input. The preference rule systems are presented for six aspects of musical structure: metre, phrasing, counterpoint, harmony, key, and pitch spelling. The author then presents his theory as computer programs that take piano-roll representations of music as inputs and extract information about structure according to his models. The author then evaluates his computer models using objective tests. For example, he tested his metre program on a group of 46 excerpts from a theory workbook, comparing the output of the program with the scores of the excerpts.
This book is a worthy heir to "A Generative Theory of Tonal Music" that avoids its failings via computer implementation and objective, quantitative testing. The breadth and depth of the book is impressive. The author convincingly argues that the preference rule approach can be used not only to explain aspects of musical listening, but also features of musical style perception, composition, and performance. He also makes a good effort to apply his theory to musical styles other than common practice music, such as rock music and traditional African music.
The book has a few weaknesses. For example, the notion that pitch spelling is used to determine harmony and key seems to be the reverse of what happens in perception. Also, the author's melodic phrase structure model is under-developed and ad hoc. Finally, the author does not compare the performance of his resulting models with that of other systems. In spite of these weaknesses, the book is required reading for anyone who is interested in computational music analysis and cognition. The reader should already be well-versed in music theory and also have an understanding of computer programming and dynamic programming techniques in particular to get the most from this book.
The author's computer programs are written in C and are freely available on the web. You can find them by typing "The Melisma Music Analyzer" into Google and selecting the first web address in the list. I notice Amazon does not show the table of contents, so I do that here for the purpose of completeness:
1 Introduction 1
PART I SIX PREFERENCE RULE SYSTEMS 21
2 Metrical Structure 23
3 Melodic Phrase Structure 55
4 Contrapuntal Structure 85
5 Pitch Spelling and the Tonal-Pitch-Class Representation 115
6 Harmonic Structure 137
7 Key Structure 167
PART II EXTENSIONS AND IMPLICATIONS 203
8 Revision, Ambiguity, and Expectation 205
9 Meter, Harmony, and Tonality in Rock 237
10 Meter and Grouping in African Music 265
11 Style, Composition, and Performance 291
12 Functions of the Infrastructure 325
Appendix: List of Rules 357
Notes 361
References 381
Author Index 393
Subject Index 397
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- This has probably changed many lives
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The MUSIC OF LIGHT: THE EXTRAORDINARY STORY OF HIKARI AND KENZABURO OE
Lindsley Cameron
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Music of Hikari Oe, Vol. 1
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A Personal Matter
ASIN: 0684824094 |
Amazon.com
In The Music of Light, Lindsley Cameron chronicles the Japanese writer Kenzaburo Oe's remarkable relationship with his son Hikari. Although Hikari was born with a severe brain deformity that resulted in retardation, autism, near-blindness, and poor coordination, he has become an accomplished composer of classical music. Kenzaburo Oe, the winner of the 1994 Nobel Prize for Literature, has written much about Hikari and the rest of his family over the years. Cameron studies the intersections between Oe's life and work in this volume. She also discusses the nature of creativity, the scientific theories about brain injuries, and the history of musical savants.
Oe's close relationship with his son is unusual, especially in Japanese society, where men do not usually get very involved with raising their children. While helping Hikari deal with his health problems, the Oe family struggled to cope with their culture's severe discrimination against disabled people. Cameron describes Hikari's musical development and his amazing ability to memorize songs. Hikari's life story is an inherently fascinating one--a man who cannot express himself very well verbally somehow figured out how to do something most people cannot do: make up songs. Cameron interviewed both men and other family members for this book, and has done a good job of capturing their personalities on paper. Hikari and Kenzaburo Oe influence each other's work tremendously, and the elder Oe's writing and fame have had an enormous impact on the family's life. Fans of Kenzaburo Oe and people who are interested in the roots of creativity will find a lot to like in this book. --Jill Marquis
Book Description
The most popular classical composer of our day was born with a medical deformity so severe that his parents had to fight to keep him alive. When the child of novelist Kenzaburo Oe and his wife, Yukari, was born with a herniated brain, the doctors recommended letting him die. Instead, his parents defied Japan's then-harsh customs and saved him with a complicated operation that left him severely handicapped. They named him Hikari, which means "light"; now in his thirties, with an I.Q. of 65, limited language and motor skills, and an inability to express emotions clearly, Hikari has indeed become a beacon of inspiration. He has miraculous musical gifts, including a phenomenal memory and the ability to compose chamber works that have broken sales records and delighted hundreds of thousands of listeners.
His father's boundless love for and devotion to Hikari have been inspirational in more than one way. Kenzaburo Oe has written many novels and essays based on the experience of raising his musical-savant son, and was awarded the Nobel Prize for literature in 1994. His stories and novels have been translated into many languages and read by millions.
Based on exclusive access to the Oe family, as well as interviews with brain specialists and performers of Hikari's music, and including assessments by leading music critics, The Music of Light offers a portrait of uniqueness. Hikari is the only savant known in history who has composed original music. Lindsley Cameron explains how his brain works; how he can express sadness in his music but not with language or his face; and how his musical activities have extended his mental capacities. The creative interdependence of father and son is unprecedented, too. Kenzaburo's need to give Hikari a voice was so essential to his own art that he announced, just before winning the Nobel Prize, that he was giving up writing fiction because Hikari, through his music, had now found a voice of his own. Cameron shows how writing has allowed Kenzaburo to explore possibilities too painful to confront in any other way. The Music of Light explores the mysteries of the human brain, and reveals the miraculous power of creativity.
Customer Reviews:
This has probably changed many lives.......2007-05-09
This is the best book I've read this year. It covers so much: a family's love for their brain damaged child and their commitment to the grueling, challenging years raising him in a society that wants him to just disappear. It is at once literary criticism, classical music criticism, cultural commentary, biography, pschology, psychiatry, medicine and a touchingly told love story between man and son. By the end of this book you will fallen in love with Hikari the sweet savant from Kobe and his wonderful father, Kenzaburo.
Book Description
All normal human beings alive in the last fifty thousand years appear to have possessed, in Mark Turner's phrase, "irrepressibly artful minds." Cognitively modern minds produced a staggering list of behavioral singularities--science, religion, mathematics, language, advanced tool use, decorative dress, dance, culture, art--that seems to indicate a mysterious and unexplained discontinuity between us and all other living things. This brute fact gives rise to some tantalizing questions: How did the artful mind emerge? What are the basic mental operations that make art possible for us now, and how do they operate? These are the questions that occupy the distinguished contributors to this volume, which emerged from a year-long Getty-funded research project hosted by the Center for Advanced Study in the Behavioral Sciences at Stanford. These scholars bring to bear a range of disciplinary and cross-disciplinary perspectives on the relationship between art (broadly conceived), the mind, and the brain. Together they hope to provide directions for a new field of research that can play a significant role in answering the great riddle of human singularity.
Average customer rating:
- Only for people who love music more as a puzzle than an art
- very interesting, very technical
- This book is a turning point in XXth century music theory...
- Great formal theory of music, well-written
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A Generative Theory of Tonal Music
Fred Lerdahl , and
Ray Jackendoff
Manufacturer: The MIT Press
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Binding: Paperback
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Similar Items:
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The Cognition of Basic Musical Structures
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Tonal Pitch Space
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The Rhythmic Structure of Music (Phoenix Books)
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Music and Probability
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The Cognitive Neuroscience of Music
ASIN: 026262107X |
Book Description
This work, which has become a classic in music theory since its publication in 1983, models music understanding from the perspective of cognitive science. The point of departure is a search for a grammar of music with the aid of generative linguistics. The theory, which is illustrated with numerous examples from Western classical music, relates the aural surface of a piece to the musical structure unconsciously inferred by the experienced listener. From the viewpoint of traditional music theory, it offers many innovations in notation as well as in the substance of rhythmic and reductional theory.
Customer Reviews:
Only for people who love music more as a puzzle than an art.......2006-01-05
This book tried to do for tonal music what Chomsky's work did for language. That is, come up with a theory that is dominant in its field in academia, has tremendous prestige, but almost no explanatory ability for how language or music actually works in the real world. The book is tedious with only a few interesting points.
The book has been in print more than twenty years (and that amazes me), but has had almost no impact on any musician outside of a small circle of academic thinkers for whom music is more of a technical and arcane game / puzzle than an art of expression and emotion. In fact, bringing up emotion and expression will cause immediate laughter and a great many derisive comments.
Save your time and money. Whenever I am tempted to read a book like this, I realize how little time I get to play my piano. So, I go do that instead and find it a much better use of my time.
very interesting, very technical.......2003-10-01
This very technical work is very interesting and uses a very valuable and relatively new approach. However it is very conservative musically, to the point of losing subjectivity. I would recommend James Tenney's writings instead. META + HODOS: A Phenomenology of 20th-Century Musical Materials and an Approach to the Study of Form (1961; Frog Peak, 1988), is available through amazon, or Hierarchical temporal gestalt perception in music : a metric space model with Larry Polansky, also printed in Soundings Vol. 13: The Music of James Tenney. Garland, Peter (Ed.) (Soundings Press, 1984) which has articles by and about Tenney, who takes a much more progressive and broad view than Lerdahl.
This book is a turning point in XXth century music theory..........1999-09-15
This book is a turning point in XXth century music theory.It admits "surface salience" as an important musical attribute (chapter 5), distinguishing it from the "reductional importance" of events. Should we work with a double conception of structure: surface structure (focusing on surface salience) versus deep struture (focusing on reductional importance)? The investigation of surface salience leads to questions related to tension and release, an area that is still to find its best approach. What is best in the book: the ability to uncover the making of a theory; the ability to rejuvenate and integrate schenkerian ideas with a critique of Meyer's approach (rhythmic structure versus metrical structure); the linguistic/cognitive connection. What is not so good in the book: the remarks on contemporary music (with an almost fascist view of inherited abilities)
Great formal theory of music, well-written.......1998-03-29
This formal theory of music does a great job of handling subjective and stylistic issues with different kinds of rules. Very well though-out. I wish they'd have worked out how counterpoint fits into their structure, but otherwise a great book.
Book Description
In the 20 years since publication of John Sloboda's landmark volume The Musical Mind, music psychology has developed as a vibrant area of research - exerting influence on areas as diverse as music education and cognitive neuroscience. This new book brings together 24 selected essays and reviews written by an internationally acclaimed authority on music and the mind. Chapters are grouped into four main areas of study. These are, cognitive processes (including music reading, memory and performance), emotion and motivation, talent and skill development, and music in the real world (including functions of music in everyday life and culture). The book ends with a newly written chapter on music psychology and social benefits. The book brings together in one place a range of influential writings, whose links to one another provide a compendious overview of a subject that has come to maturity during the author's career, a career which has significantly contributed to the development of the field.
Book Description
This book shows how recent work in cognitive science, especially that developed by cognitive linguists and cognitive psychologists, can be used to explain how we understand music. The book focuses on three cognitive processes--categorization, cross-domain mapping, and the use of conceptual models--and explores the part these play in theories of musical organization. The first part of the book provides a detailed overview of the relevant work in cognitive science, framed around specific musical examples. The second part brings this perspective to bear on a number of issues with which music scholarship has often been occupied, including the emergence of musical syntax and its relationship to musical semiosis, the problem of musical ontology, the relationship between words and music in songs, and conceptions of musical form and musical hierarchy. The book will be of interest to music theorists, musicologists, and ethnomusicologists, as well as those with a professional or avocational interest in the application of work in cognitive science to humanistic principles.
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