Listening: An Introduction to the Perception of Auditory Events (Bradford Books)

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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.

Conceptualizing Music: Cognitive Structure, Theory, and Analysis (Ams Studies in Music Series)

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Conceptualizing Music: Cognitive Structure, Theory, and Analysis (Ams Studies in Music Series)
Lawrence M. Zbikowski
Manufacturer: Oxford University Press, USA
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Binding: Hardcover

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ASIN: 0195140230

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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.

Rhythm Games for Perception and Cognition (Revised Edition)

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Rhythm Games for Perception and Cognition (Revised Edition)
Robert M. Abramson
Manufacturer: Alfred Publishing Company
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Binding: Paperback

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ASIN: 0913650080

The Psychology of Music, Second Edition (Cognition and Perception)

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The Psychology of Music, Second Edition

The Psychology of Music, Second Edition (Cognition and Perception)

Manufacturer: Academic Press
ProductGroup: Book
Binding: Paperback

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ASIN: 0122135652

Book Description

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 the First Edition of The Psychology of Music was published the field has emerged from an interdisciplinary curiosity into a fully ramified subdiscipline of psychology due to several factors. The opportunity to generate, analyze, and transform sounds by computer is no longer limited to a few researchers with access to large multi-user facilities, but rather is available to individual investigators on a widespread basis. Second, dramatic advances in the field of neuroscience have profoundly influenced thinking about the way that music is processed in the brain. Third, collaborations between psychologists and musicians, which were evolving at the time the First Edition was written, are now quite common; to a large extent now speaking a common language and agreeing on basic philosophical issues.
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.

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The Psychology of Music, Second Edition.......2000-03-31

This Second Edition of Deutsch's seminal work opens with a chapter by John R. Pierce, which provides a whistle-stop tour through nearly every concept important to the perception end of music psychology, touching on major findings in the physics of sound, time resolution of the ear, theories of consonance, pitch perception, Fourier analysis and spectra, the science of singing, speech, timbre, scales and tuning.

Schroeder's Chapter 2 describes modern attempts to understand the mathematics of acoustical design. Weinberger's "Music and the auditory system" is an indispensable review of auditory system anatomy, functional organization of the auditory pathway, attention and learning. In Chapter 4, Rasch and Plomp explain that the perception of complex tones can be conceived as a pattern recognition process. Risset & Wessel completely reorganized their chapter on timbre with new sections on global/non-linear synthesis, sampling, controlling musical prosody in Real Time Synthesis, and an expanded section on physical modeling. "The perception of singing" by Sundberg explains that the choice of acoustic characteristic of vowel sounds that singers learn to adopt represents deviations from typical, normal speech for specific requirements of performance and intelligibility.

Chapter 7 by Burns comprises an essential treatment of psychophysical and perceptual studies relating to the human perception of pitch and pitch relations. The chapter has been completely reworked, and Burns employs smoothly pellucid prose, making it my favorite chapter of the book (tied with Dowling's). "Absolute pitch" (by Dixon Ward) is an updated, comprehensive overview of 100 years of research, summarizing key theories and a host of methodological traps in the study of this poorly understood ability.

Chapter 9 by Deutsch surveys the literature on auditory scene analysis, stream segregation, and the attempts to find auditory correlates to the Gestalt principles of visual grouping. In Chapter 10, Deutsch discusses feature abstraction and its neural substrates, local vs. global processing, hierarchical encoding, memory for music, and a thorough review of the various auditory illusions and paradoxes that Deutsch has been studying for more than 20 years.

The third entry new to this edition is Bharucha's "Neural nets, temporal composites, and tonality." Neural nets have demonstrated (with varying degrees of success) learning of pitch class, chords, keys, and musical style, and provide "a framework in which aspects of cognition can be understood as the result of the neural association of patterns" (p. 413).

In "Hierarchical expectation and musical style," Narmour gives a cogent overview of his implication-realization model enhanced by his more recent ideas about the role in music listening of bottom-up and top-down processing, schemata, and "filling in" of missing (or implied) tonal elements. Eric Clarke's "Rhythm and timing in music" surveys research on rhythmic grouping, meter, perception and production of timing, and the relation between musical timing and movement. Gabrielsson's entry on "Music performance" reviews the literature on performance planning, sight-reading, improvisation, feedback, motor processes, measurements, physical, psychological, and social factors affecting performance, and performance evaluation. In "Development of music perception and cognition" Dowling concludes that there is a converging body of evidence suggesting that "memory for music typically operates in terms of more precise representations of particular stimuli than has been generally thought," (p. 620) and with this makes an important link to current "multi-trace theories" of memory. Rosamond Shuter-Dyson's contribution on "Musical ability" has improved in organization with reworked sections on concepts, methods, and studies of musical aptitude, achievement, and ability, as well as investigations into correlations between music and other cognitive abilities. Perry and Marin's "Neurological aspects of music perception and performance" is the best single source of information on the topic including discussions of amusia, auditory agnosia and verbal deafness, and the current state of knowledge about functional localization of various component abilities in music perception, understanding, and production. Capping the volume is Edward Carterette and Roger Kendall's, "Comparative music perception and cognition," which roves across the ethnomusicological landscape with a fairly in-depth treatment of pitch systems (including structural, perceptual, and tonality issues in Indian and other Asian musics).

Book Description

This volume presents the most up-to-date collection of neural network models of music and creativity gathered together in one place. Chapters by leaders in the field cover new connectionist models of pitch perception, tonality, musical streaming, sequential and hierarchical melodic structure, composition, harmonization, rhythmic analysis, sound generation, and creative evolution. The collection combines journal papers on connectionist modeling, cognitive science, and music perception with new papers solicited for this volume. It also contains an extensive bibliography of related work.

Contributors: Shumeet Baluja, M. I. Bellgard, Michael A. Casey, Garrison W. Cottrell, Peter Desain, Robert O. Gjerdingen, Mike Greenhough, Niall Griffith, Stephen Grossberg, Henkjan Honing, Todd Jochem, Bruce F. Katz, John F. Kolen, Edward W. Large, Michael C. Mozer, Michael P. A. Page, Caroline Palmer, Jordan B. Pollack, Dean Pomerleau, Stephen W. Smoliar, Ian Taylor, Peter M. Todd, C. P. Tsang, Gregory M. Werner.

Analysis, Synthesis, and Perception of Musical Sounds: The Sound of Music (Modern Acoustics and Signal Processing)

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Excellent book on audio signal processing & musical timbre

Analysis, Synthesis, and Perception of Musical Sounds: The Sound of Music (Modern Acoustics and Signal Processing)

Manufacturer: Springer
ProductGroup: Book
Binding: Hardcover

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ASIN: 0387324968

Book Description

The problems of analyzing and synthesizing musical timbres have been prevalent for over half a century, and a book length exploration of this large and complex subject has been long overdue. Analysis, Synthesis, and Perception of Musical Sounds: Sound of Music consists of eight chapters that span the range from tutorial introduction to advanced research and application to speculative assessment of its various techniques. All of the contributors use a generalized additive sine wave model for describing musical timbre which gives a conceptual unity but is of sufficient utility to be adapted to many different tasks. The authors represent an international community of researchers and teachers in the field of analysis/synthesis/perception, and this book reflects the important trends and interests current in the subject. Due to its breadth, students will find the book a thorough introduction to current thinking and implementation of additive sine wave timbral models. Researchers new to the field will find a canvas of applications with citations to the relevant literature, which will also benefit the teacher searching for an effective syllabus. Due to its scope, Analysis, Synthesis, and Perception of Musical Sounds will become the standard reference in the field and will be seen as the catalyst for exciting research in the years ahead.

Customer Reviews:

Excellent book on audio signal processing & musical timbre.......2007-09-05

Covers both the "classic" techniques and some very recent advances in the analysis, modification and synthesis of musical sounds. The chapters on the psychoacoustics of musical timbre are excellent. I've got virtually every available book in the general area of audio signal processing and musical psychoacoustics, and this one is clearly the best so far. Chapters are contributed by several different authors. They provide both a clear review or summary of each topic and some cutting-edge "goodies" describing recent research and techniques in areas such re-synthesis of transients and noise, frequency tracking, and sound morphing.

The Cognition of Basic Musical Structures

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Interesting book attempts to quantify music understanding

The Cognition of Basic Musical Structures
David Temperley
Manufacturer: The MIT Press
ProductGroup: Book
Binding: Hardcover

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ASIN: 0262201348

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

Embodied Music Cognition and Mediation Technology

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Embodied Music Cognition and Mediation Technology
Marc Leman
Manufacturer: The MIT Press
ProductGroup: Book
Binding: Hardcover

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ASIN: 0262122936

Book Description

Digital media handles music as encoded physical energy, but humans consider music in terms of beliefs, intentions, interpretations, experiences, evaluations, and significations. In this book, drawing on work in computer science, psychology, brain science, and musicology, Marc Leman proposes an embodied cognition approach to music research that will help bridge this gap. Assuming that the body plays a central role in all musical activities, and basing his approach on a hypothesis about the relationship between musical experience (mind) and sound energy (matter), Leman proposes that the human body is a biologically designed mediator that transfers physical energy to a mental level--engaging experiences, values, and intentions--and, reversing the process, transfers mental representation into material form. He suggests that this idea of the body as mediator offers a promising framework for thinking about music mediation technology. Leman argues that, under certain conditions, the natural mediator (the body) can be extended with artificial technology-based mediators. He explores the necessary conditions and analyzes ways in which they can be studied.

Leman outlines his theory of embodied music cognition, introducing a model that describes the relationship between a human subject and its environment, analyzing the coupling of action and perception, and exploring different degrees of the body's engagement with music. He then examines possible applications in two core areas: interaction with music instruments and music search and retrieval in a database or digital library. The embodied music cognition approach, Leman argues, can help us develop tools that integrate artistic expression and contemporary technology.

Music and Schema Theory: Cognitive Foundations of Systematic Musicology (Springer Series in Information Sciences)

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Music and Schema Theory: Cognitive Foundations of Systematic Musicology (Springer Series in Information Sciences)
Marc Leman
Manufacturer: Springer
ProductGroup: Book
Binding: Hardcover

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ASIN: 3540600213

Book Description

Music is an important domain of application for schema theory. The perceptual structures for pitch and timbre have been mapped via schemata, with results that have contributed to a better understanding of music perception. Yet we still need to know how a schema comes into existence, or how it functions in a particular perception task. This book provides a foundation for the understanding of the emergence and functionality of schemata by means of computer-based simulations of tone center perception. It is about how memory structures self-organize and how they use contextual information to guide perception.

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