Music Perception

1. Auflage 2010
ISBN: 978-1-4419-6114-3
Verlag: Springer-Verlag
Format: PDF
Kopierschutz: Adobe DRM (»Systemvoraussetzungen)

E-Book, Englisch, 264 Seiten

The Springer Handbook of Auditory Research presents a series of comprehensive and synthetic reviews of the fundamental topics in modern auditory research. The v- umes are aimed at all individuals with interests in hearing research including advanced graduate students, post-doctoral researchers, and clinical investigators. The volumes are intended to introduce new investigators to important aspects of hearing science and to help established investigators to better understand the fundamental theories and data in fields of hearing that they may not normally follow closely. Each volume presents a particular topic comprehensively, and each serves as a synthetic overview and guide to the literature. As such, the chapters present neither exhaustive data reviews nor original research that has not yet appeared in pe- reviewed journals. The volumes focus on topics that have developed a solid data and conceptual foundation rather than on those for which a literature is only beg- ning to develop. New research areas will be covered on a timely basis in the series as they begin to mature.

Autoren/Hrsg.

Inhaltsverzeichnis

1;Series Preface;6
2;Volume Preface;8
3;Contents;10
4;Contributors;12
5;Chapter 1: Music Perception: Current Research and Future Directions;14
5.1;1.1 Introduction;14
5.2;1.2 Overview of this Volume;14
5.3;1.3 Future Directions;17
5.3.1;1.3.1 Methodological Progress;18
5.3.2;1.3.2 Musical Complexity;19
5.3.3;1.3.3 Melody Perception;21
5.4;References;24
6;Chapter 2: The Perception of Family and Register in Musical Tones;26
6.1;2.1 Introduction;26
6.1.1;2.1.1 Pitch, Instrument Family, and Instrument Register Within a Family;27
6.2;2.2 Pulse-Resonance Sounds and Acoustic Scale;29
6.2.1;2.2.1 Origin of Pulse-Resonance Sounds;29
6.2.2;2.2.2 Acoustic Properties of Pulse-Resonance Sounds;31
6.2.3;2.2.3 Terminology;33
6.2.3.1;2.2.3.1 Source;33
6.2.3.2;2.2.3.2 Noise;34
6.2.3.3;2.2.3.3 Scale;34
6.3;2.3 The Pulse-Resonance Tones of Musical Instruments;34
6.3.1;2.3.1 The Source of Excitation and the Acoustic Scale Variable, Ss;35
6.3.1.1;2.3.1.1 The Source of Excitation in the Human Voice;35
6.3.1.2;2.3.1.2 The Source of Excitation in the String Family;36
6.3.1.3;2.3.1.3 Excitation Mechanisms of the Woodwind and Brass Instrument Families;37
6.3.1.4;2.3.1.4 Summary of the Role of Ss in Determining Melody and Register Within a Family;38
6.3.2;2.3.2 The Filtering of the Excitation Pulses and the Acoustic Scale of the Filter, Sf;38
6.3.3;2.3.3 Constraints on the Acoustic-Scale Variables in Orchestral Instruments;40
6.4;2.4 The Auditory Representation of Pulse-Resonance Sounds and Acoustic Scale;43
6.4.1;2.4.1 Auditory Images;44
6.4.2;2.4.2 The Spectral Profile and Sf;48
6.4.3;2.4.3 The Time-Interval Profile and Ss;49
6.4.4;2.4.4 Summary of Auditory Image Construction and the Acoustic Scale Information in the Image;49
6.5;2.5 The Acoustic Properties of Pulse-Resonance Sounds and the Auditory Variables of Perception;50
6.5.1;2.5.1 Effect of Source Size on Pitch and Timbre;51
6.5.2;2.5.2 Acoustic Scale “Melodies” and the Perception of Pitch and Timbre;52
6.5.2.1;2.5.2.1 Melody 1;55
6.5.2.2;2.5.2.2 Melody 2;55
6.5.2.3;2.5.2.3 Melody 3;55
6.5.2.4;2.5.2.4 Melody 4;56
6.5.3;2.5.3 The Concept of Acoustic Scale and the Definitions of Pitch and Timbre;57
6.5.3.1;2.5.3.1 The “Second Dimension of Pitch” Hypothesis;57
6.5.3.2;2.5.3.2 The Scale of the Filter, Sf., as a Dimension of Timbre;58
6.5.4;2.5.4 The Independence of Spectral Envelope Shape;58
6.5.5;2.5.5 Summary;59
6.6;2.6 Conclusions;60
6.7;References;61
7;Chapter 3: A Theory of Tonal Hierarchies in Music;64
7.1;3.1 Introduction;64
7.2;3.2 Tonal Hierarchy;65
7.2.1;3.2.1 Psychological Principles Underlying Tonal Hierarchies;66
7.2.2;3.2.2 Definitions and Distinctions;67
7.3;3.3 Empirical Research: The Basic Studies;68
7.3.1;3.3.1 The Probe Tone Method;68
7.3.2;3.3.2 Converging Evidence;70
7.3.3;3.3.3 Summarizing the Basic Results: Three Principles of Tonal Hierarchies;71
7.4;3.4 Contemporary Issues that Arise from These Basic Studies;72
7.4.1;3.4.1 Developmental Studies;73
7.4.2;3.4.2 Individual Differences and Neurological Case Studies;76
7.4.3;3.4.3 Tonal Hierarchies and Tone Distributions in Western Music;78
7.4.4;3.4.4 Cross-Cultural Studies of Tonal Hierarchies;79
7.4.5;3.4.5 Tonal Hierarchies in Nontonal Western Music;81
7.4.6;3.4.6 Novel Tone Sets;82
7.4.7;3.4.7 Tone Distributions: Frequency or Duration?;84
7.4.8;3.4.8 Tonal Hierarchies and Computational Models;85
7.4.9;3.4.9 Using Tonal Hierarchies in Key-Finding Models;87
7.4.10;3.4.10 Tonal Hierarchies and Musical Tension;89
7.5;3.5 Tonal Hierarchy Theory and Implications for Cognitive Science;92
7.6;References;95
8;Chapter 4: Music Acquisition and Effects of Musical Experience;101
8.1;4.1 Introduction;101
8.2;4.2 Pitch Organization;102
8.2.1;4.2.1 Development of Pitch Organization: Musical Enculturation;102
8.2.2;4.2.2 Differences Between Adult Musicians and Nonmusicians in Musical Pitch Processing;106
8.2.3;4.2.3 Effects of Formal Musical Training on Children’s Perception of Pitch Structure;109
8.2.4;4.2.4 Summary of the Development of Musical Pitch Acquisition;110
8.3;4.3 Rhythm;111
8.3.1;4.3.1 Development of Metrical Perception: Enculturation;111
8.3.2;4.3.2 Differences Between Adult Musicians and Nonmusicians in Musical Rhythm Processing;115
8.3.3;4.3.3 Effects of Formal Musical Training on Children’s Processing of Rhythm;116
8.3.4;4.3.4 Summary of the Acquisition of Musical Rhythm;117
8.4;4.4 Musical Emotion;118
8.4.1;4.4.1 The Perception of Emotion in Music;119
8.4.1.1;4.4.1.1 Basic Acoustic Cues;119
8.4.1.2;4.4.1.2 Musical-System-Specific Cues;122
8.4.2;4.4.2 The Effects of Experience on the Perception of Emotion in Music;123
8.4.3;4.4.3 Summary of Development of Musical Emotion;124
8.5;4.5 The Effects of Musical Training on Other Cognitive Skills;125
8.5.1;4.5.1 Mathematical Abilities;125
8.5.2;4.5.2 Spatial–Temporal Abilities;126
8.5.3;4.5.3 Language Skills;127
8.5.4;4.5.4 General Intelligence;128
8.5.5;4.5.5 Memory and Attention;129
8.5.6;4.5.6 Conclusions About Benefits of Musical Training in Other Cognitive Domains;130
8.6;4.6 General Conclusions;131
8.7;References;131
9;Chapter 5: Music and Emotion;140
9.1;5.1 Introduction to the Study of Music and Emotion;140
9.2;5.2 What Are Musical Emotions?;142
9.2.1;5.2.1 Emotivist and Cognitivist Positions;142
9.2.2;5.2.2 The Structure of Emotions;145
9.2.3;5.2.3 Summary;148
9.3;5.3 Emotions and Musical Characteristics;148
9.3.1;5.3.1 Summary;151
9.4;5.4 Measuring Emotional Reponses to Music;151
9.4.1;5.4.1 Self-Reports;151
9.4.2;5.4.2 Physiological Measures;152
9.4.3;5.4.3 Measures of Brain Activation;153
9.4.4;5.4.4 Patients with Brain Damage;155
9.4.5;5.4.5 Summary;155
9.5;5.5 Perceived and Felt Emotions: Similarities and Differences;156
9.5.1;5.5.1 Summary;157
9.6;5.6 Chills;158
9.6.1;5.6.1 What Are Chills?;158
9.6.2;5.6.2 How Are Chills Elicited by Music?;159
9.6.3;5.6.3 Summary;160
9.7;5.7 Liking for Music;160
9.7.1;5.7.1 Consonance and Dissonance;161
9.7.2;5.7.2 Familiarity;161
9.7.3;5.7.3 Liking for Sad-Sounding Music;164
9.7.4;5.7.4 Summary;165
9.8;5.8 Conclusions and Future Directions;166
9.9;References;169
10;Chapter 6: Tempo and Rhythm;176
10.1;6.1 Introduction;176
10.2;6.2 Basic Concepts;176
10.2.1;6.2.1 Tempo;177
10.2.2;6.2.2 Rhythm;177
10.2.2.1;6.2.2.1 Grouping;177
10.2.2.2;6.2.2.2 Beat and Meter;178
10.3;6.3 Theoretical Overview;179
10.3.1;6.3.1 Interval Theories;180
10.3.2;6.3.2 Entrainment Theories;181
10.4;6.4 Tempo;183
10.4.1;6.4.1 Tempo Limits and the Concept of Preferred Tempo;183
10.4.1.1;6.4.1.1 Spontaneous Motor Tempo;184
10.4.1.2;6.4.1.2 Preferred Perceptual Tempo;185
10.4.1.3;6.4.1.3 Factors Affecting Preferred Tempo;185
10.4.2;6.4.2 Absolute Memory for Tempo;186
10.4.3;6.4.3 Tempo Discrimination;188
10.4.3.1;6.4.3.1 Weber’s Law and the Multiple-Interval Advantage;188
10.4.3.2;6.4.3.2 Locus of the Multiple-Interval Advantage;190
10.4.4;6.4.4 Produced Tempo;192
10.5;6.5 Rhythm;194
10.5.1;6.5.1 Perception of Grouping;194
10.5.2;6.5.2 Perception of Beat and Meter;197
10.5.2.1;6.5.2.1 Contribution of Different Types of Accents;197
10.5.2.2;6.5.2.2 Role of Tempo in Perception of Metrical Structure;199
10.5.2.3;6.5.2.3 Role of Knowledge and Experience in Perception of Metrical Structure;200
10.5.3;6.5.3 Models of Rhythm;200
10.6;6.6 Summary;203
10.7;References;205
11;Chapter 7: Neurodynamics of Music;211
11.1;7.1 Introduction;211
11.2;7.2 An Introduction to the Neurodynamics of Music;212
11.2.1;7.2.1 Dynamical Systems in Neuroscience and Psychology;212
11.2.2;7.2.2 Dynamical Systems and Canonical Models;214
11.2.3;7.2.3 Networks of Neural Oscillators Resonate to Sound;215
11.2.4;7.2.4 Some Universal Properties of Nonlinear Oscillation;217
11.2.4.1;7.2.4.1 Andronov–Hopf Bifurcation;217
11.2.4.2;7.2.4.2 Entrainment;218
11.2.4.3;7.2.4.3 Nonlinear Amplitude Responses;219
11.2.4.4;7.2.4.4 Higher-Order Resonance;219
11.2.4.5;7.2.4.5 Frequency Selectivity and Detuning;221
11.2.4.6;7.2.4.6 Connectivity and Learning;221
11.2.5;7.2.5 Summary;222
11.3;7.3 Cochlear Resonance, Neural Resonance, and Pitch Perception;223
11.3.1;7.3.1 Summary;226
11.4;7.4 Neurodynamics of Tonality;226
11.4.1;7.4.1 Summary;230
11.5;7.5 Resonating to Rhythm;230
11.5.1;7.5.1 Summary;235
11.6;7.6 Summary and Conclusions;235
11.7;References;236
12;Chapter 8: Memory for Melodies;242
12.1;8.1 Introductory Comments;242
12.2;8.2 Familiarity and Nameability of Melodies;244
12.2.1;8.2.1 Long-Term Memory;245
12.2.2;8.2.2 Short-Term Memory;249
12.3;8.3 Short-Term Versus Long-Term Memory;252
12.4;8.4 Tune Structure;253
12.5;8.5 Musical Experience;256
12.6;8.6 Aging;258
12.7;8.7 Conclusions and New Directions;262
12.8;References;265
13;Index;268