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Relevant bibliographies by topics / Musicologie cognitive

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Academic literature on the topic 'Musicologie cognitive'

Author: Grafiati

Published: 25 May 2024

Last updated: 31 July 2025

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Journal articles on the topic "Musicologie cognitive"

1

Nattiez, Jean-Jacques. "Musicologie historique, ethnomusicologie, analyse: Une musicologie générale est-elle possible?" Musicae Scientiae 14, no. 2_suppl (2010): 333–55. http://dx.doi.org/10.1177/10298649100140s218.

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Rousseaux, Francis, and Et Alainbonardi. "“Music-ripping”: Des Pratiques Qui Provoquent la Musicologie." Musicae Scientiae 7, no. 1_suppl (2003): 111–23. http://dx.doi.org/10.1177/10298649040070s106.

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Hors des placements habituels de l'informatique dans le domaine de la musique et de Ja musicologie, on constate depuis peu l'apparition de systèmes hommes-machines qui manifestent leur existence en rupture avec une tradition certes encore jeune, mais déjà operante. Car si ces systèmes singuliers opèrent incontestablement dans les champs d'expansion usuels de la musique, ne font aucune référence systèmatique aux catégories musicologiques connues. Au contraire, les expérimentations qu'ils rendent possibles inaugurent des usages où l'écoute. la composition et la transmission musicales se confonde

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Vangenot, Sylvie. "L'oreille absolue: une oreille plus “fine” ?" Musicae Scientiae 4, no. 1 (2000): 3–29. http://dx.doi.org/10.1177/102986490000400101.

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Il est souvent dit des musiciens qui possèdent l'oreille absolue qu'ils ont une “bonne oreille”. Celle-ci est associée à une exceptionnelle capacité de discrimination, une plus grande sensibilité aux plus petites différences de hauteur. Nous présentons deux expériences. La première est une tàche d'identification. Elle vise à mettre en évidence l'oreille absolue. Cinquante sept élèves du conservatoire et/ou étudiants en musicologie doivent identifier et placer sur une portée les sons qu'ils entendent. Trois groupes sont alors constitués: les possesseurs de l'oreille absolue, les possesseurs de

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André, Marie Despringe. "Élements pour une anthropologie de la cognition des poésies chantées populaires de France." Música Oral del Sur, no. 3 (March 13, 1998): 147–64. https://doi.org/10.5281/zenodo.4626763.

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Cette recherche porte sur le problème complexe de la reconnaissance des caractères d'une musique vivante que j'ai observée depuis 25 ans dans quelques pays de France (Ht Jura, Flandre et Bretagne) et sur les conditions particulières de sa transmission par la mémoire, elle-même envisagée dans sa dimension sociale. La révolution cognitive qui, avec l'informatisation de nos communications, se propage dans nos sciences depuis plus de vingt ans, semble finalement gagner les sciences humaines: d'abord la psychologie puis la lingu

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Guirard, Laurent. "L'apport des théories attributionnelles de la motivation dans l'étude des questions d'aptitude musicale." Musicae Scientiae 1, no. 2 (1997): 183–204. http://dx.doi.org/10.1177/102986499700100203.

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Les théories motivationnelles de l'attribution ont démontré l'influence pédagogique néfaste des croyances et des pratiques sociales ou éducatives erronées qui focalisent l'attention de l'éléve sur l'évaluation comparée de ses capacités. Or, il semble que plusieurs facteurs psychologiques et sociaux propres à l'apprentissage musical encouragent de telles tendances, et constituent ainsi une difficulté motivationnelle spécifique dont cet article tente, à travers une revue interdisciplinaire de la question, de préciser la nature et les déterminants. En analysant leur effet sur la motivation et l'a

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Laske, Otto E. "Introduction to Cognitive Musicology." Computer Music Journal 12, no. 1 (1988): 43. http://dx.doi.org/10.2307/3679836.

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Laske, Otto E. "Introduction to cognitive musicology." Journal of Musicological Research 9, no. 1 (1989): 1–22. http://dx.doi.org/10.1080/01411898908574606.

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Maróthy, János. "Cognitive Musicology – Praised and Reproved." Studia Musicologica Academiae Scientiarum Hungaricae 41, no. 1 (2000): 119–23. http://dx.doi.org/10.1556/smus.41.2000.1-3.5.

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Huron, David. "Two Challenges in Cognitive Musicology." Topics in Cognitive Science 4, no. 4 (2012): 678–84. http://dx.doi.org/10.1111/j.1756-8765.2012.01224.x.

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Seifert, Uwe. "Investigating the Musical Mind: Situated Cognition, Artistic Human-Robot Interaction Design, and Cognitive Musicology." Trans-Humanities Journal 4, no. 1 (2011): 149–62. http://dx.doi.org/10.1353/trh.2011.0006.

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Dissertations / Theses on the topic "Musicologie cognitive"

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Kreutz, Gunter. "Musikalische Phrasierung aus historischer und kognitionspsychologischer Sicht /." Frankfurt am Main ; Berlin ; New York (N.Y.) : P. Lang, 1998. http://catalogue.bnf.fr/ark:/12148/cb371049317.

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Calandra, Joséphine. "L'algorithmie cognitive et ses applications musicales." Electronic Thesis or Diss., Sorbonne université, 2023. http://www.theses.fr/2023SORUL148.

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Cette thèse présente la formalisation et le développement d’un logiciel d'analyse musicale appelé "Multiscale Oracle Representations For Organized Sounds" (MORFOS). Ce logiciel vise à mettre en œuvre un modèle multi-échelle de la forme musicale basé sur l’Algorithme Cognitif de Jean-Marc Chouvel. Les travaux de cette thèse s'inscrivent dans la continuité de l'analyse cognitive en musicologie, visant à comprendre les processus cognitifs qui interviennent lors de l'écoute musicale. Nous étudions une représentation hiérarchisée de la musique et explorons l’influence de cette hiérarchisation dans

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Rodriguez, Hugo. "Sémantique et pragmatique de la musique: Une approche cognitive basée sur le travail de Philippe Schlenker et sur les oeuvres de Franz Liszt." Doctoral thesis, Universite Libre de Bruxelles, 2021. https://dipot.ulb.ac.be/dspace/bitstream/2013/320810/5/Contrat.pdf.

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Ce travail propose une théorie générale de l'interface entre deux dimensions du fait musical : sa dimension sémantique (les significations que la musique peut contenir) et sa dimension pragmatique (ses usages en contexte). Cette théorie se situe dans une perspective naturaliste, au carrefour de trois disciplines : la philosophie de l'esprit, la psychologie cognitive et la musicologie historique. Elle part du postulat que la sémantique et la pragmatique de la musique sont des cas particuliers de certaines normes universelles (par exemple la norme de vérité) et certaines dispositions cognitives

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Matzkin, Daniel. "Perception de similarité de mélodies tonales et non tonales : étude pluridisciplinaire." Paris, EHESS, 2001. http://www.theses.fr/2001EHES0125.

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L'expertise musicale des auditeurs influe-t-elle sur la manière dont la similarité est perçue ? Comment reconstruire un jugement de similarité en termes des processus mentaux sous-jacents ? S'agit-il de processus spécifiques à la perception mélodique ? La perception de similarité obéit à une nécessité écologique de base : l'adaptation des organismes à leur environnement. Une revue des processus mentaux sous-jacents à la reconnaissance et à la généralisation de patterns suggère que les opérations mentales mises en jeux lors de la perception de similarité mélodique ne sont pas nécessairement par

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Cintra, Celso Luiz de Araujo. "A musicologia comparada de Alain Daniélou: contribuições para um diálogo musical." Universidade de São Paulo, 2013. http://www.teses.usp.br/teses/disponiveis/27/27157/tde-23082013-105909/.

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A tese que aqui apresentamos tem como objetivo geral estender a contribuição dos estudos de Daniélou para os campos da Filosofia da Música, Teoria Musical e da Cognição Musical, indo além do campo da Etnomusicologia dentro do qual o trabalho de Daniélou é comumente classificado; e seu objetivo específico é compreender sua contribuição para o entendimento da música em nossos dias, tanto no que se refere à sua recepção quanto às possibilidades que abre aos seus aspectos criativos. Sendo coerentes com o sistema de pensamento indiano de Alain Daniélou, e com sua afirmação da incognoscibilidade da

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Andreatta, Moreno. "Méthodes algébriques dans la musique et la musicologie du XXème siècle : aspects théoriques, analytiques et compositionnels." Phd thesis, Ecole des Hautes Etudes en Sciences Sociales (EHESS), 2003. http://tel.archives-ouvertes.fr/tel-00004074.

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L'application de méthodes algébriques en musique représente une démarche récente dans la recherche musicale. Une réflexion historique sur l'émergence du concept de structure algébrique en musique met en évidence la place centrale occupée par trois compositeurs/théoriciens du XXe siècle : Milton Babbitt, Iannis Xenakis et Anatol Vieru. À partir de leurs propositions théoriques, cette étude développe une réflexion approfondie sur la notion de théorie musicale dans ses applications aussi bien analytiques que compositionnelles. Elle offre également une formalisation algébrique de la Set Theory et

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Kaastra, Linda Tina. "Systematic approaches to the study of cognition in Western art music performance." Thesis, University of British Columbia, 2008. http://hdl.handle.net/2429/678.

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This dissertation presents an instrumentalist’s perspective on cognition and meta-cognition in music performance. The goal of the study is to identify and apply methods of inquiry that are phenomenologically resonant with instrumental practice. The first chapter, situating the study in the context of the writer’s musical training, examines ways of studying and representing performance knowledge. The second chapter presents a case study of the preparation of Tōru Takemitsu’s Masque for Two Flutes (1959-1960). Using grounded theory methodology, this chapter investigates the role of gesture in th

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Boenn, Georg. "Automated analysis and transcription of rhythm data and their use for composition." Thesis, University of Bath, 2011. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.538138.

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Hiller, James. "Theoretical Foundations for Understanding the Meaning Potentials of Rhythm in Improvisation." Diss., Temple University Libraries, 2011. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/126076.

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Music Therapy<br>Ph.D.<br>This study is a theoretical inquiry into the meaning potentials of rhythm in improvisation, with implications for improvisational music therapy. A review of music therapy literature regarding assessment and treatment reveals that improvisation is a widely applied music therapy method, but that rhythm--found universally in all forms of clinical improvisational processes--has received little attention. Theories from the areas of music philosophy, psychology of music, social psychology of music, musicological studies of jazz, and music therapy are explicated and implicat

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West, Tore, and Anna-Lena Rostvall. "Interaktion och kunskapsutveckling : en studie av frivillig musikundervisning." Doctoral thesis, Stockholms universitet, Centrum för musikpedagogisk forskning (MPC), 2001. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-73704.

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In a joint dissertation project, 11 brass instrument and guitar lessons, with 4 teachers and 21 students aged 9-35 years, were videotaped, transcribed and analyzed. Two were group lessons and 9 were private lessons. The object of the project was to study how music teaching and learning can be understood from an institutional perspective by describing, analyzing and interpreting musical instrument lessons. The lessons were viewed as social encounters in which the action of participants creates and re-creates social orders at different institutional levels, by means of communication routin

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Books on the topic "Musicologie cognitive"

1

Leman, Marc. Music and schema theory: Cognitive foundations of systematic musicology. Springer, 1995.

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1958-, Leman Marc, and Joint International Conference on Cognitive and Systematic Musicology (1996 : Brugge, Belgium), eds. Music, gestalt, and computing: Studies in cognitive and systematic musicology. Springer, 1997.

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Estonia) Conference on Interdisciplinary Musicology (3rd 2007 Tallinn. CIM07: 3rd Conference on Interdisciplinary Musicology, Tallinn, Estonia, 15-19 August 2007 ; abstracts ; hosted by the Estonian Academy of Music and Theatre with the University of Tartu ; in collaboration with: European Society for the Cognitive Sciences of Music, European Seminar in Ethnomusicology and International Musicological Society. Estonian Academy of Music and Theatre, 2009.

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4

Wewers, Julia. Under construction: trans- and interdisciplinary routes in music research: Proceedings of SysMus 11, Cologne 2011. Electronic Publishing, 2012.

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5

Hofstadter, Douglas R. Metamagical themas: Questing for the essence of mind and pattern. Viking, 1985.

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Hofstadter, Douglas R. Metamagical Themas: Questing for the Essence of Mind and Pattern. Basic Books, 1985.

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Hofstadter, Douglas R. Metamagical themas: Questing for the essence of mind and pattern. Basic Books, 1985.

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Hofstadter, Douglas R. Metamagical themas: Questing for the essence of mind and pattern. Penguin, 1993.

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Hofstadter, Douglas R. Metamagical themas: Questing for the essence of mind and pattern. Penguin, 1986.

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Hofstadter, Douglas R. Metamagical themas: questing for the essence of mind and pattern. Penguin, 1985.

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Book chapters on the topic "Musicologie cognitive"

1

Leman, Marc. "Cognitive Foundations of Systematic Musicology." In Music and Schema Theory. Springer Berlin Heidelberg, 1995. http://dx.doi.org/10.1007/978-3-642-85213-8_13.

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Louhivuori, Jukka. "Systematic, cognitive and historical approaches in musicology." In Music, Gestalt, and Computing. Springer Berlin Heidelberg, 1997. http://dx.doi.org/10.1007/bfb0034105.

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Godøy, Rolf Inge. "Sonic Object Cognition." In Springer Handbook of Systematic Musicology. Springer Berlin Heidelberg, 2018. http://dx.doi.org/10.1007/978-3-662-55004-5_35.

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Leman, Marc, Pieter-Jan Maes, Luc Nijs, and Edith Van Dyck. "What Is Embodied Music Cognition?" In Springer Handbook of Systematic Musicology. Springer Berlin Heidelberg, 2018. http://dx.doi.org/10.1007/978-3-662-55004-5_34.

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Norris, Christopher. "The Perceiver’s Share (2): Deconstructive Musicology and Cognitive Science." In Language, Logic and Epistemology. Palgrave Macmillan UK, 2004. http://dx.doi.org/10.1057/9780230512368_6.

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Lesaffre, Micheline. "Investigating Embodied Music Cognition for Health and Well-Being." In Springer Handbook of Systematic Musicology. Springer Berlin Heidelberg, 2018. http://dx.doi.org/10.1007/978-3-662-55004-5_36.

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Leman, Marc, and Albrecht Schneider. "Origin and nature of cognitive and systematic musicology: An introduction." In Music, Gestalt, and Computing. Springer Berlin Heidelberg, 1997. http://dx.doi.org/10.1007/bfb0034104.

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Cambouropoulos, Emilios, and Maximos Kaliakatsos-Papakostas. "Cognitive Musicology and Artificial Intelligence: Harmonic Analysis, Learning, and Generation." In Handbook of Artificial Intelligence for Music. Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-72116-9_10.

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Erdem, Çağrı. "Exploring Musical Agents with Embodied Perspectives." In Current Research in Systematic Musicology. Springer Nature Switzerland, 2024. http://dx.doi.org/10.1007/978-3-031-57892-2_17.

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AbstractThis chapter presents a retrospective of five interactive systems I have developed focusing on how machines can respond to body movement in music performance. In particular, I have been interested in understanding more about how humans and non-human entities can share musical control and agency. First, I give an overview of my musical and aesthetic background in experimental music practice and a less conventional approach to sound and music control. Then follows a presentation of embodiment and music cognition theories that informed the techniques and methods I employed while developin

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Nikolić, Sanela, and Ivana Miladinović Prica. "3. Aesthetic Experiences of Contemporary Music from the Perspectives of a Composer, a Performer, and a Musicologist." In Psychological Perspectives on Musical Experiences and Skills. Open Book Publishers, 2024. http://dx.doi.org/10.11647/obp.0389.03.

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This chapter addresses the music-related knowledge and aesthetic experience of contemporary classical music from the perspectives of three music experts involved in a specific piece of music―performer, composer, and musicologist. Participants reflected on their emotional and cognitive processes and aesthetic responses to the music they are intimately familiar with and their narratives were analysed using Interpretative phenomenological analysis. The findings are congruent with previous research, where the aesthetic experiences induced by contemporary music were related to the cognitive masteri

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Conference papers on the topic "Musicologie cognitive"

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Seifert, Uwe, Sebastian Klaßmann, Timo Varelmann, and Nils Dahmen. "Computational Thinking in der Musikwissenschaft: Jupyter Notebook als Umgebung für Lehre und Forschung." In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.72.

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We show that in connection with the digitalization of musicology a special kind of mathematical and logical thinking, i. e. computational thinking/literacy, is in need. Computational thinking is characterized by effective procedures whereas computational literacy includes the implementation of these procedures on machines, i.e. programming. Both are the core of formalization, model building and computer simulation. Furthermore, we point out that “computation” as a central concept for the sciences in the 21st century and its use in cognitive science and the computational sciences make it necess

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