Journal articles: 'Music Perception and cognition'

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Gottfried, Terry L., Irene Deliege, and John Sloboda. "Perception and Cognition of Music." Notes 55, no. 2 (December 1998): 374. http://dx.doi.org/10.2307/900181.

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Petitot, Jean. "Perception, cognition and morphological objectivity." Contemporary Music Review 4, no. 1 (January 1989): 171–80. http://dx.doi.org/10.1080/07494468900640271.

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Godøy, Rolf Inge. "Motor-Mimetic Music Cognition." Leonardo 36, no. 4 (August 2003): 317–19. http://dx.doi.org/10.1162/002409403322258781.

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Music appeals to more than just our sense of hearing, and clearly we often associate other sensations with music. These non-sonorous sensations seem to be inseparable from the experience of music; in particular, images of movement appear to be deeply embedded in our perception and cognition of music. Explorations of mental images of music-related movement could enhance our understanding of music as a phenomenon, as well as be of practical value in various music-making tasks.

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Geeves, Andrew, and John Sutton. "Embodied Cognition, Perception, and Performance in Music." Empirical Musicology Review 9, no. 3-4 (January 5, 2015): 247. http://dx.doi.org/10.18061/emr.v9i3-4.4538.

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Matyja, Jakub Ryszard. "Toward Extended Music Cognition: Commentary on Music and Cognitive Extension." Empirical Musicology Review 9, no. 3-4 (January 5, 2015): 203. http://dx.doi.org/10.18061/emr.v9i3-4.4450.

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In his paper, Luke Kersten (2014) argues that since music cognition is part of a locationally wide computational system, it can be considered as an extended process. Overall I sympathize with Kersten’s (2014) view. However, in the present paper I underline those issues that need to be, in my opinion, developed in a more detailed and cautious way. Extended music perception is the idea that “it ain’t all in the head”, but rather involves the exploitation of non-neural body and musical environment. In order to push the debate further, I suggest situating Kersten’s views within a broader context of recent research, thus strengthening the theoretical importance of his proposal.

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Dowling, W. Jay. "Book Review: The Convergence of Musicology and Music Cognition: Perception and Cognition of Music." Musicae Scientiae 2, no. 1 (March 1998): 95–98. http://dx.doi.org/10.1177/102986499800200106.

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Tramo, Mark Jude. "Split-brain studies of music perception and cognition." Contemporary Music Review 9, no. 1-2 (January 1993): 113–21. http://dx.doi.org/10.1080/07494469300640381.

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Andrade, Paulo Estêvão, and Joydeep Bhattacharya. "Music: Specialized to Integrate?" Empirical Musicology Review 9, no. 3-4 (January 7, 2015): 183. http://dx.doi.org/10.18061/emr.v9i3-4.4545.

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In her paper Schaefer (2014) provides a relevant amount of behavioral and neuroimaging evidence within and outside the realm of music favoring the notion that predictive processing plays a prominent role in the coupling of perception, cognition and action and, further, that imagery and active perception are closely associated to each other. Central to this review is that research into music imagery is exceptionally suitable and informative since prediction has a prominent role in music processing. In this commentary we suggest that it could be useful to investigate the role of working memory in this context since imagery and memory are inextricably associated processes. In addition to neuroimaging we also highlight that anthropological and developmental evidence could be relevant in showing that music is possibly unique in the coupling of perception, cognition and action. However, we believe that more cautions are needed on the author’s assumption that perception and interpretation of music is uniquely determined by listening biography of the listener.

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Leman, Marc, and Pieter-Jan Maes. "The Role of Embodiment in the Perception of Music." Empirical Musicology Review 9, no. 3-4 (January 5, 2015): 236. http://dx.doi.org/10.18061/emr.v9i3-4.4498.

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In this paper, we present recent and on-going research in the field of embodied music cognition, with a focus on studies conducted at IPEM, the research laboratory in systematic musicology at Ghent University, Belgium. Attention is devoted to encoding/decoding principles underlying musical expressiveness, synchronization and entrainment, and action-based effects on music perception. The discussed empirical findings demonstrate that embodiment is only one component in an interconnected network of sensory, motor, affective, and cognitive systems involved in music perception. Currently, these findings drive embodiment theory towards a more dynamical approach in which the interaction between various internal processes and the external environment are of central importance.

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Purwins, Hendrik, Maarten Grachten, Perfecto Herrera, Amaury Hazan, Ricard Marxer, and Xavier Serra. "Computational models of music perception and cognition II: Domain-specific music processing." Physics of Life Reviews 5, no. 3 (September 2008): 169–82. http://dx.doi.org/10.1016/j.plrev.2008.03.005.

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Särkämö, Teppo, Mari Tervaniemi, and Minna Huotilainen. "Music perception and cognition: development, neural basis, and rehabilitative use of music." Wiley Interdisciplinary Reviews: Cognitive Science 4, no. 4 (March 20, 2013): 441–51. http://dx.doi.org/10.1002/wcs.1237.

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Schüler, Nico. "From Musical Grammars to Music Cognition in the 1980s and 1990s: Highlights of the History of Computer-Assisted Music Analysis." Musicological Annual 43, no. 2 (December 1, 2007): 371–96. http://dx.doi.org/10.4312/mz.43.2.371-396.

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While approaches that had already established historical precedents – computer-assisted analytical approaches drawing on statistics and information theory – developed further, many research projects conducted during the 1980s aimed at the development of new methods of computer-assisted music analysis. Some projects discovered new possibilities related to using computers to simulate human cognition and perception, drawing on cognitive musicology and Artificial Intelligence, areas that were themselves spurred on by new technical developments and by developments in computer program design. The 1990s ushered in revolutionary methods of music analysis, especially those drawing on Artificial Intelligence research. Some of these approaches started to focus on musical sound, rather than scores. They allowed music analysis to focus on how music is actually perceived. In some approaches, the analysis of music and of music cognition merged. This article provides an overview of computer-assisted music analysis of the 1980s and 1990s, as it relates to music cognition. Selected approaches are being discussed.

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McGraw, Andrew Clay. "The Perception and Cognition of Time in Balinese Music." Empirical Musicology Review 3, no. 2 (2008): 38–54. http://dx.doi.org/10.18061/1811/31938.

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Diener, Glendon. "The Second International Conference on Music Perception and Cognition." Computer Music Journal 16, no. 4 (1992): 92. http://dx.doi.org/10.2307/3680471.

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Camilleri, Lelio. "On music perception and cognition: Modularity, structure, and processing." Minds and Machines 2, no. 4 (November 1992): 365–77. http://dx.doi.org/10.1007/bf00419419.

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Kersten, Luke. "Music and Cognitive Extension." Empirical Musicology Review 9, no. 3-4 (January 5, 2015): 193. http://dx.doi.org/10.18061/emr.v9i3-4.4315.

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Extended cognition holds that cognitive processes sometimes leak into the world (Dawson, 2013). A recent trend among proponents of extended cognition has been to put pressure on phenomena thought to be safe havens for internalists (Sneddon, 2011; Wilson, 2010; Wilson & Lenart, 2014). This paper attempts to continue this trend. It is argued that because music perception is as part of a locationally wide computational system, it is an extended process. In articulating the view, the work of J.J Gibson (1966, 1986) and Robert Wilson (1994b, 1995, 2004) is drawn on. The view is defended from objections and its implications outlined. The paper concludes with a comparison to Krueger’s (2014) view of the “musically extended emotional mind”.

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Ryan, Kevin J. "Introduction to Special Issue on Music and Embodied Cognition." Empirical Musicology Review 9, no. 3-4 (November 27, 2014): 159. http://dx.doi.org/10.18061/emr.v9i3-4.4544.

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THIS issue, broken into two volumes (Vol. 9, No. 3-4, 2014), offers a unique contribution to contemporary research on embodied approaches to music perception and related phenomenon.  While the role of the body has often been acknowledged in a variety of disciplinary contexts, particularly in the domain of music performance, the 4E movement in cognitive science – i.e. interrelated paradigms that study cognitive processes as embodied, embedded, enactive, and extended phenomenon - has pushed advances in previously underexplored areas.  Critically analyzing the benefits (and limits) of embodied approaches to the perception of music and related artistic practices is a crucial step for expanding the conceptual and empirical foundations of the 4E movement, as well as addressing related concerns for musicologists and music scholars.

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Tramo, Mark Jude, Jamshed J. Bharucha, and Frank E. Musiek. "Music Perception and Cognition Following Bilateral Lesions of Auditory Cortex." Journal of Cognitive Neuroscience 2, no. 3 (July 1990): 195–212. http://dx.doi.org/10.1162/jocn.1990.2.3.195.

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We present experimental and anatomical data from a case study of impaired auditory perception following bilateral hemispheric strokes. To consider the cortical representation of sensory, perceptual, and cognitive functions mediating tonal information processing in music, pure tone sensation thresholds, spectral intonation judgments, and the associative priming of spectral intonation judgments by harmonic context were examined, and lesion localization was analyzed quantitatively using straight-line two-dimensional maps of the cortical surface reconstructed from magnetic resonance images. Despite normal pure tone sensation thresholds at 250–8000 Hz, the perception of tonal spectra was severely impaired, such that harmonic structures (major triads) were almost uniformly judged to sound dissonant; yet, the associative priming of spectral intonation judgments by harmonic context was preserved, indicating that cognitive representations of tonal hierarchies in music remained intact and accessible. Brainprints demonstrated complete bilateral lesions of the transverse gyri of Heschl and partial lesions of the right and left superior temporal gyri involving 98 and 20% of their surface areas, respectively. In the right hemisphere, there was partial sparing of the planum temporale, temporoparietal junction, and inferior parietal cortex. In the left hemisphere, all of the superior temporal region anterior to the transverse gyrus and parts of the planum temporale, temporoparietal junction, inferior parietal cortex, and insula were spared. These observations suggest that (1) sensory, perceptual, and cognitive functions mediating tonal information processing in music are neurologically dissociable; (2) complete bilateral lesions of primary auditory cortex combined with partial bilateral lesions of auditory association cortex chronically impair tonal consonance perception; (3) cognitive functions that hierarchically structure pitch information and generate harmonic expectancies during music perception do not rely on the integrity of primary auditory cortex; and (4) musical priming may be mediated by broadly tuned subcomponents of the thala-mocortical auditory system.

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Large, Edward W., Ji Chul Kim, Nicole Kristine Flaig, Jamshed J. Bharucha, and Carol Lynne Krumhansl. "A Neurodynamic Account of Musical Tonality." Music Perception 33, no. 3 (February 1, 2016): 319–31. http://dx.doi.org/10.1525/mp.2016.33.3.319.

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Science since antiquity has asked whether mathematical relationships among acoustic frequencies govern musical relationships. Psychophysics rejected frequency ratio theories, focusing on sensory phenomena predicted by linear analysis of sound. Cognitive psychologists have since focused on long-term exposure to the music of one’s culture and short-term sensitivity to statistical regularities. Today evidence is rapidly mounting that oscillatory neurodynamics is an important source of nonlinear auditory responses. This leads us to reevaluate the significance of frequency relationships in the perception of music. Here, we present a dynamical systems analysis of mode-locked neural oscillation that predicts cross-cultural invariances in music perception and cognition. We show that this theoretical framework combines with short- and long-term learning to explain the perception of Hindustani rāgas, not only by encultured Indian listeners but also by Western listeners unfamiliar with the style. These findings demonstrate that intrinsic neurodynamics contribute significantly to the perception of musical structure.

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Iyer, Vijay. "Embodied Mind, Situated Cognition, and Expressive Microtiming in African-American Music." Music Perception 19, no. 3 (2002): 387–414. http://dx.doi.org/10.1525/mp.2002.19.3.387.

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The dual theories of embodied mind and situated cognition, in which physical/temporal embodiment and physical/social/cultural environment contribute crucially to the structure of mind, are brought to bear on issues in music perception. It is argued that cognitive universals grounded in human bodily experience are tempered by the cultural specificity that constructs the role of the body in musical performance. Special focus is given to microrhythmic techniques in specific forms of African-American music, using audio examples created by the author or sampled from well-known jazz recordings.

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Kendall, Gary S. "Spatial Perception and Cognition in Multichannel Audio for Electroacoustic Music." Organised Sound 15, no. 03 (October 25, 2010): 228–38. http://dx.doi.org/10.1017/s1355771810000336.

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Pearce, Marcus T., and Geraint A. Wiggins. "Auditory Expectation: The Information Dynamics of Music Perception and Cognition." Topics in Cognitive Science 4, no. 4 (July 30, 2012): 625–52. http://dx.doi.org/10.1111/j.1756-8765.2012.01214.x.

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Ilari, Beatriz Senoi. "Music Perception and Cognition in the First Year of Life." Early Child Development and Care 172, no. 3 (June 2002): 311–22. http://dx.doi.org/10.1080/03004430212128.

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Chern, Alexander, and Iliza Butera. "Multidisciplinary perspectives on music perception and cognition for cochlear implant users." Music and Medicine 11, no. 4 (October 23, 2019): 269. http://dx.doi.org/10.47513/mmd.v11i4.705.

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For over 30 years, cochlear implants (CIs) have been successfully providing sound and speech perception to individuals who suffer from severe-to-profound sensorineural hearing loss. Despite many recent advances in CI technology, significant challenges remain for users, including speech perception in noisy environments, identifying vocal emotion, and perhaps most notably, music perception and appreciation. Moreover, pediatric cochlear implant users often demonstrate a slower and more variable language development trajectory compared to their normal hearing peers, which is in part due to the imperfect hearing restoration by these devices. In this brief report, we discuss multidisciplinary perspectives on music perception and cognition for CI users, as well as how they can be employed to improve the cochlear implant experience. We divide these strategies into two categories—a top-down approach (e.g., employing therapeutic measures to help train the CI user’s brain to fully reap the benefits of cochlear implantation) and a bottom-up approach (e.g., improving the auditory input through developing new technology, creating individualized programming strategies, and developing music specifically tailored for CI users). These individualized, yet multidirectional approaches will help create a functionally-integrated system that supports robust processing of complex sounds, which is essential for many everyday tasks.

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Bogart, Willard Van De. "Cognition, Perception and the Computer." Leonardo 23, no. 2/3 (1990): 307. http://dx.doi.org/10.2307/1578629.

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Winold, Allen, and David Butler. "The Musician's Guide to Perception and Cognition." Notes 50, no. 1 (September 1993): 196. http://dx.doi.org/10.2307/898749.

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Baker, David John, Amy Belfi, Sarah Creel, Jessica Grahn, Erin Hannon, Psyche Loui, Elizabeth Hellmuth Margulis, et al. "Embracing Anti-Racist Practices in the Music Perception and Cognition Community." Music Perception 38, no. 2 (November 25, 2020): 103–5. http://dx.doi.org/10.1525/mp.2020.38.2.103.

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Cornish, P. "Book review. Perception and Cognition of Music. I Deliege, J Sloboda." Music and Letters 81, no. 2 (May 1, 2000): 277–80. http://dx.doi.org/10.1093/ml/81.2.277.

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Spiller, Katie L. "Call for Papers: 7th International Conference on Music Perception and Cognition." Music Perception 19, no. 2 (2001): 277–78. http://dx.doi.org/10.1525/mp.2001.19.2.277.

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Sammler, Daniela, and Stefan Elmer. "Advances in the Neurocognition of Music and Language." Brain Sciences 10, no. 8 (August 2, 2020): 509. http://dx.doi.org/10.3390/brainsci10080509.

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Neurocomparative music and language research has seen major advances over the past two decades. The goal of this Special Issue “Advances in the Neurocognition of Music and Language” was to showcase the multiple neural analogies between musical and linguistic information processing, their entwined organization in human perception and cognition and to infer the applicability of the combined knowledge in pedagogy and therapy. Here, we summarize the main insights provided by the contributions and integrate them into current frameworks of rhythm processing, neuronal entrainment, predictive coding and cognitive control.

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Purwins, Hendrik, Perfecto Herrera, Maarten Grachten, Amaury Hazan, Ricard Marxer, and Xavier Serra. "Computational models of music perception and cognition I: The perceptual and cognitive processing chain." Physics of Life Reviews 5, no. 3 (September 2008): 151–68. http://dx.doi.org/10.1016/j.plrev.2008.03.004.

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Smoliar, Stephen W., and David Butler. "The Musician's Guide to Perception and Cognition." Computer Music Journal 19, no. 1 (1995): 105. http://dx.doi.org/10.2307/3681305.

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Schaefer, Rebecca S. "Mental Representations in Musical Processing and their Role in Action-Perception Loops." Empirical Musicology Review 9, no. 3-4 (January 5, 2015): 161. http://dx.doi.org/10.18061/emr.v9i3-4.4291.

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Music is created in the listener as it is perceived and interpreted - its meaning derived from our unique sense of it; likely driving the range of interpersonal differences found in music processing. Person-specific mental representations of music are thought to unfold on multiple levels as we listen, spanning from an entire piece of music to regularities detected across notes. As we track incoming auditory information, predictions are generated at different levels for different musical aspects, leading to specific percepts and behavioral outputs, illustrating a tight coupling of cognition, perception and action. This coupling, together with a prominent role of prediction in music processing, fits well with recently described ideas about the role of predictive processing in cognitive function, which appears to be especially suitable to account for the role of mental models in musical perception and action. Investigating the cerebral correlates of constructive music imagination offers an experimentally tractable approach to clarifying how mental models of music are represented in the brain. I suggest here that mental representations underlying imagery are multimodal, informed and modulated by the body and its in- and outputs, while perception and action are informed and modulated by predictions based on mental models.  

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Stevens, Catherine J. "Music Perception and Cognition: A Review of Recent Cross-Cultural Research." Topics in Cognitive Science 4, no. 4 (July 18, 2012): 653–67. http://dx.doi.org/10.1111/j.1756-8765.2012.01215.x.

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Yi, Wooyong, Dongnyeok Jeong, and Jun-dong Cho. "Music perception as embodied cognition: behavioral evidence of auditory cue effect." Contemporary Engineering Sciences 7 (2014): 1215–23. http://dx.doi.org/10.12988/ces.2014.49151.

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Noble, Jason, Tanor Bonin, and Stephen McAdams. "Experiences of Time and Timelessness in Electroacoustic Music." Organised Sound 25, no. 2 (August 2020): 232–47. http://dx.doi.org/10.1017/s135577182000014x.

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Electroacoustic music and its historical antecedents open up new ways of thinking about musical time. Whereas music performed by humans is necessarily constrained by certain temporal limits that define human information processing and embodiment, machines are capable of producing sound with scales and structures of time that reach potentially very far outside of these human limitations. But even musics produced with superhuman means are still subject to human constraints in music perception and cognition. Focusing on five principles of auditory perception – segmentation, grouping, pulse, metre and repetition – we hypothesise that musics that exceed or subvert the thresholds that define ‘human time’ are likely to be recognised by listeners as expressing timelessness. To support this hypothesis, we report an experiment in which a listening panel reviewed excerpts of electroacoustic music selected for their temporally subversive or excessive properties, and rated them (1) for the pace of time they express (normative, speeding up, or slowing down), and (2) for whether or not the music expresses ‘timelessness’. We find that while the specific musical parameters associated with temporal phenomenology vary from one musical context to the next, a general trend obtains across musical contexts through the excess or subversion of a particular perceptual constraint by a given musical parameter on the one hand, and the subjective experiences of time and timelessness on the other.

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Cuddy, Lola L. "Introduction to the Second Special Issue of Music Perception on BKN25: Milestones in Music Cognition." Music Perception 33, no. 3 (February 1, 2016): 273. http://dx.doi.org/10.1525/mp.2016.33.3.273.

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Vuoskoski, Jonna K. "Music, Empathy, and Affiliation: Commentary on Greenberg, Rentfrow, and Baron-Cohen." Empirical Musicology Review 10, no. 1-2 (April 8, 2015): 99. http://dx.doi.org/10.18061/emr.v10i1-2.4586.

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Empathy and social cognition arguably play a crucial role in our engagement with music. In response to the account offered by Greenberg, Rentfrow, and Baron-Cohen, this commentary considers an alternative—yet complementary—explanation for how music making and music listening might be able to evoke empathy and affiliation. This alternative explanation stems from the perception–action model of empathy, and the affiliation-evoking effects of mimicking and synchronized actions. In light of this alternative account, I will also explore the potential contribution of dispositional empathy to music preferences and music perception as suggested by Greenberg and colleagues.

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Tirovolas, Anna K., and Daniel J. Levitin. "Music Perception and Cognition Research from 1983 to 2010: A Categorical and Bibliometric Analysis of Empirical Articles in Music Perception." Music Perception 29, no. 1 (September 1, 2011): 23–36. http://dx.doi.org/10.1525/mp.2011.29.1.23.

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in this review we sought to document the longitudinal course of empirical studies in the journal Music Perception, from the journal’s first issue in 1983 to 2010. The aim was to systematically characterize the nature of empirical research in one of the principal peer-reviewed outlets for work in our field, and to consider these data as a sample representing the overall course of research across the last three decades. Specific domains examined within each article were: Topics, Participants, Stimuli, Materials, and Outcome Measures. In total, 384 empirical articles in the journal were examined. In addition, relevant details were extracted from the full set of 578 articles regarding geographic and disciplinary (departmental) distribution of the authors. Together, the data we report allow an examination of 26-year trends in music research. These are made available in a database that is fully searchable or sortable by interested researchers.

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Kippen, James. "An Ethnomusicological Approach to the Analysis of Musical Cognition." Music Perception 5, no. 2 (1987): 173–95. http://dx.doi.org/10.2307/40285391.

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A genre of North Indian drumming has become the focus of experimental research in which an "expert system" is programmed to simulate the musical knowledge of the drummers themselves. Experiments involve the interaction of musicians with a computerized linguistic model contained within the expert system that formalizes their intuitive ideas regarding musical structure in a generative grammar. The accuracy of the model is determined by the musicians themselves, who assess its ability to generate correct pieces of music. The main aims of the research are the identification of the cognitive patterns involved in the creation and interpretation of a particular musical system, and the establishment of new techniques that make this approach to cognitive analysis applicable to other musical systems. This article attempts to demonstrate the advantages an ethnomusicological approach can bring to the analysis of musical perception and cognition. Such an approach links the analysis of musical sound to an understanding of the sociocultural context in which that music is created and interpreted.

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Glenn Schellenberg, E., and Ellen Winner. "Music Training and Nonmusical Abilities: Introduction." Music Perception 29, no. 2 (December 1, 2011): 129–32. http://dx.doi.org/10.1525/mp.2011.29.2.129.

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the objective of this special issue of Music Perception, which includes contributions from researchers based in Canada, Germany, New Zealand, and the US, is to present the best new research on associations between music training and nonmusical abilities. Scholarly interest in associations between music training and nonmusical cognitive functioning has sparked much research over the past 15–20 years. The study of how far associations between music training and cognitive abilities extend, and whether such associations are more likely for some domains of cognition than for others, has theoretical relevance for issues of transfer, modularity, and plasticity. Unlike most other areas of scientific inquiry, there is parallel interest on the part of the public, the media, and educators who want to know if nonmusical intellectual and academic benefits are a welcome by-product of sending children to music lessons. Indeed, some educators and arts advocates justify music training in schools precisely because of these presumed and desired nonmusical associations.

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Cieślak, Agnieszka. "Meanings of music in film from a cognitive perspective." Interdisciplinary Studies in Musicology, no. 19 (December 31, 2019): 107–16. http://dx.doi.org/10.14746/ism.2019.19.7.

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Cognitive psychology, with its focus on mind and its processes, is one of the approaches to study film music. Although music alone is said to be already meaningful, it gains and transfers specific meanings in the film context. This article aims to contribute to understanding of what film music means and how these meanings are processed in the cross-modal perception of a film. A review of the selected empirical research on film music with regard to meaning is followed by a short overview of the Annabel J. Cohen’s Congruence-Association Model (CAM) of media cognition. The model provides a framework for the experiments’ results and encourages future interdisciplinary studies in this area.

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Lim, Yeoeun. "[Conference Report] Toward the Future of the Cognitive Sciences of Music : 2019 Society for Music Perception and Cognition (SMPC)." Journal of the Musicological Society of Korea 22, no. 2 (November 30, 2019): 197–208. http://dx.doi.org/10.16939/jmsk.2019.22.2.197.

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Krumhansl, Carol L. "Tonal Hierarchies and Rare Intervals in Music Cognition." Music Perception 7, no. 3 (1990): 309–24. http://dx.doi.org/10.2307/40285467.

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Four issues raised by Butler's (1989) commentary are addressed. The first issue is the possibility that the results of perceptual studies of tonal hierarchies can be attributed to task-specific strategies developed in response to particular stimuli. Such strategies cannot account for the convergence across experiments employing varied tasks and stimulus materials. The second issue is the correspondence between statistical summaries of music and perceptual data. The correspondence is shown to be quite general and to have implications for the acquisition of tonal knowledge. The third issue is the process listeners use to identify the tonal center. Patternmatching to tonal hierarchies is shown to be a plausible process contributing to key-finding, whereas a tritone rule has limited applicability. The final issue is the effect of temporal order on pitch perception. Principled temporal-order effects are found in many psychological experiments, but not in those focusing on the tritone relation.

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Kojs, Juraj. "Notating Action-Based Music." Leonardo Music Journal 21 (December 2011): 65–72. http://dx.doi.org/10.1162/lmj_a_00063.

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The author discusses the notation of action-based music, in which physical gestures and their characteristics, such as shape, direction and speed (as opposed to psychoacoustic properties such as pitch, timbre and rhythm), play the dominant role in preserving and transferring information. Grounded in ecological perception and enactive cognition, the article shows how such an approach mediates a direct relationship between composition and performance, details some action-based music notation principles and offers practical examples. A discussion of tablature, graphic scores and text scores contextualizes the method historically.

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Maes, Pieter-Jan, Edith Van Dyck, Micheline Lesaffre, Marc Leman, and Pieter M. Kroonenberg. "The Coupling of Action and Perception in Musical Meaning Formation." Music Perception 32, no. 1 (September 1, 2014): 67–84. http://dx.doi.org/10.1525/mp.2014.32.1.67.

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The embodied perspective on music cognition has stressed the central role of the body and body movements in musical meaning formation processes. In the present study, we investigate by means of a behavioral experiment how free body movements in response to music (i.e., action) can be linked to specific linguistic, metaphorical descriptions people use to describe the expressive qualities they perceive in the music (i.e., perception). We introduce a dimensional model based on the Effort/Shape theory of Laban in order to target musical expressivity from an embodied perspective. Also, we investigate whether a coupling between action and perception is dependent on the musical background of the participants (i.e., trained versus untrained). The results show that the physical appearance of the free body movements that participants perform in response to music are reliably linked to the linguistic descriptions of musical expressiveness in terms of the underlying quality. Moreover, this result is found to be independent of the participants’ musical background.

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Schaefer, Rebecca S., Shinichi Furuya, Leigh M. Smith, Blair Bohannan Kaneshiro, and Petri Toiviainen. "Probing neural mechanisms of music perception, cognition, and performance using multivariate decoding." Psychomusicology: Music, Mind, and Brain 22, no. 2 (December 2012): 168–74. http://dx.doi.org/10.1037/a0031014.

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Pannese, Alessia. "A gray matter of taste: Sound perception, music cognition, and Baumgarten’s aesthetics." Studies in History and Philosophy of Science Part C: Studies in History and Philosophy of Biological and Biomedical Sciences 43, no. 3 (September 2012): 594–601. http://dx.doi.org/10.1016/j.shpsc.2012.03.001.

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Eitan, Zohar, Moshe Shay Ben-Haim, and Elizabeth Hellmuth Margulis. "Implicit Absolute Pitch Representation Affects Basic Tonal Perception." Music Perception 34, no. 5 (June 1, 2017): 569–84. http://dx.doi.org/10.1525/mp.2017.34.5.569.

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It is undisputed that the cognition of tonal music is primarily established by pitch relationships set within a tonal scheme such as a major or minor key. The corresponding notion—that absolute pitch and absolute key are largely inconsequential for tonal cognition—thus seems inevitable. Here, we challenge the latter notion, presenting data suggesting that absolute pitch and absolute key significantly modify listeners’ judgments of tonal fit and tonal tension. In two experiments extending the probe tone technique (as applied in Krumhansl & Kessler, 1982) participants heard a brief tonal context (a major triad in Experiment 1, a harmonic progression in Experiment 2) followed by individual probe tones, and rated how well each probe fitted the preceding context, as well as the musical tension conveyed by each probe. Two maximally distant key contexts, G major and D♭ major, were used in both experiments and in both tasks. Ratings revealed significant absolute pitch effects in both tasks, though in different ways. In the tonal fit task, diatonic pitches in G major were rated higher than those in D♭ major; in contrast, chromatic pitches were rated higher in D♭ major, compared to G. In the tension task, overall ratings were significantly higher for D♭ major contexts than for G major context (Experiment 1). Importantly, these effects reflect the occurrence frequency of pitch classes and keys in the tonal repertory: frequent pitch classes were rated as better fits than rarer ones, and a rarer key (D♭) rated tenser than a frequently-occurring key (G). Absolute pitch effects were most strongly manifested by participants without formal training, for whom the relative pitch effects of the tonal hierarchy were weak, and were stronger when tonal context was weaker (Experiment 1 as compared to Experiment 2). Results suggest that implicit absolute pitch perception, reflecting key and pitch class occurrence frequency, significantly affects tonal music processing; such absolute pitch effects may be activated principally when tonal perception or tonal cues are lacking.

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PURWINS, HENDRIK, BENJAMIN BLANKERTZ, and KLAUS OBERMAYER. "Computing auditory perception." Organised Sound 5, no. 3 (December 2000): 159–71. http://dx.doi.org/10.1017/s1355771800005069.

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In this paper the ingredients of computing auditory perception are reviewed. On the basic level there is neurophysiology, which is abstracted to artificial neural nets (ANNs) and enhanced by statistics to machine learning. There are high-level cognitive models derived from psychoacoustics (especially Gestalt principles). The gap between neuroscience and psychoacoustics has to be filled by numerics, statistics and heuristics. Computerised auditory models have a broad and diverse range of applications: hearing aids and implants, compression in audio codices, automated music analysis, music composition, interactive music installations, and information retrieval from large databases of music samples.

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Journal articles on the topic 'Music Perception and cognition'

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