Relevant bibliographies by topics / Cognitive musicology

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Cognitive musicology'

Author: Grafiati
Published: 25 May 2024

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Journal articles on the topic "Cognitive musicology"

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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 (July 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 (June 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 (October 2012): 678–84. http://dx.doi.org/10.1111/j.1756-8765.2012.01224.x.

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Parncutt, Richard. "Introduction: “Interdisciplinary musicology”." Musicae Scientiae 10, no. 1_suppl (March 2006): 7–11. http://dx.doi.org/10.1177/1029864906010001011.

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Tervaniemi, Mari, and Titia L. van Zuijen. "Methodologies of Brain Research in Cognitive Musicology." Journal of New Music Research 28, no. 3 (September 1, 1999): 200–208. http://dx.doi.org/10.1076/jnmr.28.3.200.3114.

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Seifert, Uwe. "Cognitive science: A new research program for musicology." Interface 21, no. 3-4 (January 1992): 219–38. http://dx.doi.org/10.1080/09298219208570609.

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Sun, Jiayin, and Hongyan Wang. "A Cognitive Method for Musicology Based Melody Transcription." International Journal of Computational Intelligence Systems 8, no. 6 (2015): 1165. http://dx.doi.org/10.1080/18756891.2015.1113749.

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Wiggins, Geraint A. "Understanding music with AI—Perspectives on cognitive musicology." Artificial Intelligence 79, no. 2 (December 1995): 373–85. http://dx.doi.org/10.1016/0004-3702(95)90014-4.

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Moelants, Dirk, and Mark Leman. "Music and Schema Theory: Cognitive Foundations of Systematic Musicology." Revue belge de Musicologie / Belgisch Tijdschrift voor Muziekwetenschap 51 (1997): 217. http://dx.doi.org/10.2307/3687199.

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Dissertations / Theses on the topic "Cognitive musicology"

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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 l’organisation des événements musicaux dans le temps et la compréhension de la musique. Nous formalisons ainsi les concepts de matériau, d’objet et de diagramme formel, et nous introduisons le Diagramme Formel Multi-échelle qui décrit la structure musicale à différentes échelles temporelles et niveaux d'analyse. Celui-ci est composé de trois plans que nous introduisons : la forme, la structure et l’organisation. L'implémentation informatique de MORFOS a été réalisée en Python et accepte des représentations audio, symboliques ou vectorielles. Ce logiciel présente une architecture modulaire intégrant différents modules de traitement audio, de classification et de segmentation : nous présentons ainsi différentes mesures implémentées sous forme d’un ensemble de règles et discutons des contraintes associées à l’étude de la classification et de la segmentation à partir d’une représentation audio. Nous présentons ainsi la notion d’Agenda, qui correspond au choix par l’utilisateur d’un ensemble de règles permettant de représenter un modèle « d’écoute » pour l’analyse d’une œuvre musicale par le logiciel. La thèse explore également la question de la complexité de la structure musicale : nous proposons l’expression d’un coût associé à la description de l’objet musical acquis en fonction de son contexte, selon la définition de Kolmogorov. Nous cherchons également à comparer le comportement du logiciel MORFOS avec les phénomènes d'attention et la charge cognitive lors de l'écoute musicale. Une expérience visant à mesurer la charge cognitive pendant la tâche de segmentation musicale a ainsi été conçue. Cette thèse présente par ailleurs des réflexions sur la visualisation des diagrammes formels multi-échelles. A cette occasion, nous avons développé une interface permettant de rendre le logiciel accessible à tous les utilisateurs. Enfin, des exemples d'analyses musicales réalisées avec MORFOS sont présentées, sur une base de données musicales pop ainsi qu’un corpus d'œuvres classiques
This thesis presents the formalization and development of a music analysis software called "Multiscale Oracle Representations For Organized Sounds" (MORFOS). This software aims to implement a multi-scale model of musical form based on Jean-Marc Chouvel's Cognitive Algorithm. The work in this thesis is part of the cognitive analysis in musicology, aimed at understanding the cognitive processes involved in listening to music. We study a hierarchical representation of music and explore the influence of this hierarchy on the organization of musical events over time and on musical comprehension. We formalize the concepts of material, object, and formal diagram, and introduce the Multi-scale Formal Diagram, which describes musical structure at different temporal scales and levels of analysis. This comprises three planes, which we introduce: form, structure, and organization. MORFOS has been implemented in Python and accepts audio, symbolic, and vector representations. This software features a modular architecture integrating different modules for audio processing, classification, and segmentation: we present different measures implemented in the form of a set of rules and discuss the constraints associated with the study of classification and segmentation based on an audio representation. We also introduce the notion of Agenda, which corresponds to the user's choice of a set of rules to represent a "listening" model for the software's analysis of a musical work. The thesis also explores the question of the complexity of the musical structure: we propose the expression of a cost associated with the description of the acquired musical object depending on its context, according to Kolmogorov's definition. We also seek to compare the behavior of MORFOS software with attentional phenomena and cognitive load during musical listening. An experiment designed to measure cognitive load during the musical segmentation task has thus been devised. This thesis also presents reflections on the visualization of multi-scale formal diagrams. To this end, we have developed an interface to make the software accessible to all users. Finally, examples of musical analyses carried out with MORFOS are presented, on a pop music database and a corpus of classical works
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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 rou­tines using speech, music and gesture. Data were derived from micro-ethnographic transcriptions of speech, gesture and music of a total of five hours of videotape, supplemented by text analyses of 14 method-books. The transcripts were analyzed as text from the perspective of critical discourse analysis. At the analytical level the study applied the cognitive concepts of experiencing and learning music, as well as those of educational gen­res of speech and music use. The analyzed data were interpreted and discussed from the per­spectives of interaction-theory and institution-theory. The results show how the music during the lessons was broken down into sepa­rate notes, as read from the score. Music was not addressed as phrases, rhythms, or melodies. Expressive qualities of music performance were not ad­dressed. The characteristics of the interaction were found to be asymmetric, with the teacher being the one controlling the definition of the situation. Student at­tempts to take initiative were ignored by teachers. This asymmetric pattern of interaction had negative consequences for students’ as well as teachers’ opportu­nities to learn. The organization of the teaching situation as well as teaching methods is discussed from the perspective of institution-theory. A major conclu­sion is that the way instrument teaching is organized leaves little room for stu­dents and teachers to discuss and reflect on the teaching process.
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Olivier, Hannelore. "Musical networks : the case for a neural network methodology in advertisement music research." Thesis, Stellenbosch : University of Stellenbosch, 2005. http://hdl.handle.net/10019.1/16618.

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Thesis (M.Mus.)--University of Stellenbosch, 2005.
ENGLISH ABSTRACT: Countless scientists had been struggling for centuries to find a significant connection between cognition, emotion and reasoning – resulting in today’s rather embarrassingly imperfect understanding of even the most basic human cognition. We should apprehend that it is unlikely that major breakthroughs in the Cognitive Sciences, Psychology, Sociology or the Medical Sciences will elucidate everything about the human brain and -behaviour in the very near future. Realizing this, it is realistic that we should transfer our attention to things that we do know and understand, and reconsider the power that lies in the integration of results and an interdisciplinary perspective in research. Using the tools we have to our disposal today – digital tools such as ANNs which did not exist a few decades before – this is actually readily viable today. This thesis demonstrates that it is possible to break the traditional boundaries that have periodically prevented the Humanities and the Natural Sciences to join forces towards a greater understanding of human beings. By using ANNs, we are able to merge data from any subfield within the Humanities and Natural Sciences in a single study. The results, interpretations and applications which could develop from such a study would certainly be more inclusive than those derived from research conducted in one or two of these fields in isolation. Sufficient evidence is provided in this dissertation to support a methodology which employs an artificial neural network to assist with decision-making processes related to the choice of advertisement music. The main objective of this endeavour is to establish the feasibility of combining data from many diverse fields, in the creation of an ANN that can be helpful in research regarding South African advertisement music. The thesis explores the notion that knowledge from many interdisciplinary study fields ought to play a leading role in the creation and assessment of effective, target-group-specific advertisement music. In obtaining this goal, it examines the probability of producing a computer-based tool which can assist people working in the advertising industry to obtain an educated match between product, consumer, and advertisement music. Taking a multidisciplinary point of view, the author suggests a methodology for the design of a digital tool in the form of a musical network model. It is concluded that, by using this musical network, it is indeed possible to guarantee a functional musically-paired commercial, which effectively addresses its target-group and has an appropriate emotional effect in support of the marketing goals of the advertising agent. The thesis also demonstrates that it is possible to gain new insights regarding a fairly unstudied discipline, without necessarily conducting new research studies in the specified field. The thesis proves that - by taking an interdisciplinary approach and by using ANNs - it is possible to attain new data that is scientifically valid, even in an unacknowledged field such as South African advertisement music. Although the scope of the thesis does not provide for the actual implementation of the musical network, the feasibility of the conceptual idea is thoroughly examined, and it is concluded that the theory in it’s entirely is definitely feasible, and can be implemented in a future study.
AFRIKAANSE OPSOMMING: Vir eeue al probeer wetenskaplikes ‘n betekenisvolle verwantskap tussen denke, emosie en redenasie vind. Nietemin het ons vandag slegs ‘n beperkte begrip van selfs die mees basiese menslike kognisie. Ons moet besef dat dit onwaarskynlik is dat deurbrake in die Kognitiewe Wetenskappe, Sielkunde, Sosiologie of die Mediese Wetenskap in die nabye toekoms die volle funksionaliteit van die menslike brein en gedrag sal bekendmaak. Met inagname hiervan, is ‘n aandagsverskuiwing geoorloof - na die dinge wat ons wel weet en verstaan. Die enorme potensiaal opgesluit in die integrasie van resultate en ‘n interdissiplinêre navorsingsperspektief behoort gevolglik heroorweeg te word. Ons beskik tans oor meer as voldoende digitale hulpbronne, waaronder kunsmatige neurale netwerke, wat wel so ‘n benadering kan bewerkstellig. In hierdie tesis word daar gedemonstreer dat dit moontlik is om die grense wat tradisioneel ‘n samewerking tussen die Geestes- en Natuurwetenskappe beperk het, af te breek - ‘n werkswyse wat noodwendig sal lei tot ‘n beter begrip van die mens. Kunsmatige neurale netwerke maak dit moontlik om navorsingsdata uit die Geestes- en Natuurwetenskappe te kombineer in ‘n enkele onderneming. Die bevindinge, interpretasies en toepasings wat potensieel uit so ‘n metodologie sou kon voortspruit, is sonder twyfel meer omvattend as dié afkomstig vanuit ‘n eendimensionele studie. Voldoende bewyse word deur die loop van hierdie studie voorgehou ter ondersteuning van ‘n kunsmatige neurale netwerk-metodologie in die assistering van besluitnemingsprosesse rakende advertensiemusiek. Die hoofdoelwit van die onderneming is om te toets of die ontwerp van ‘n kunsmatige neurale netwerk - deur die kombinasie van data uit diverse studierigtings - wel geoorloof en funksioneel sou kon wees. Die aanname dat inligting uit ‘n aantal interdissiplinêre studierigtings ‘n prominente rol behoort te speel tydens die skep en beoordeling van effektiewe, teikengroep-gerigte advertensiemusiek, word gevolglik ondersoek. Om hierdie objektief te bewerkstellig, word die waarskynlikheid bestudeer na die ontwerp van ‘n rekenaargebaseerde hulpbron - wat mense in die advertensiewese behulpsaam kan wees om ‘n berekende en ingeligte keuse uit te oefen om produk, verbruiker en advertensiemusiek te laat pas. Die outeur benader die probleem vanuit ‘n multidissiplinêne oogpunt, en stel ‘n werkswyse voor vir die ontwerp van ‘n digitale hulpbron – in die vorm van ‘n musikale netwerk model. Daar word bevind dat - deur die gebruik van die voorgestelde model, dit wel moontlik is om die funksionaliteit van ‘n musiekgepaarde advertensie te verseker. Verder word daar gedemonstreer dat nuwe insigte rakende ‘n grotendeels afgeskeepte studierigting soos Suid-Afrikaanse advertensiemusiek moeiteloos bekom kan word, sonder om noodwendig navorsing binne die spesifieke gebied te loods. Laasgenoemde is doenbaar deur ‘n interdissiplinêre navorsingsbenadering, gekombineerd met ‘n kunsmatige neurale netwerk-metodologie. Die omvang van hierdie studie maak nie voorsiening vir die implementering van die musikale netwerk nie. Nietemin word die werkbaarheid van die konseptuele idee in diepte ondersoek, met die gevolgtrekking dat die teorie in sy geheel sonder twyfel prakties is, en in ‘n toekomstige studie geïmplementeer kan word.
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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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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 the negotiation of musical understanding. Chapters 3 through 5 draw on Herbert H. Clark’s joint activity theory of language use to conceptualize music-making, taking into account context, process, and other domains of musical activity. Finally, Chapter 6, in addition to re-defining "virtuosity" for the 21st century instrumentalist, presents a set of philosophical considerations for cognitive studies in music performance.
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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 realidade última e da falsidade da verdade tomada como dogma, analisamos seus estudos e pesquisas como interpretações ou redescrições possíveis do fenômeno musical, para isso nos baseamos na aproximação feita por Gadamer entre Teoria e Filosofia e na proposta de Rorty de que novas redescrições do objeto contribuem para ampliar o seu conhecimento, além disso concordamos com o que Kuhn aponta a respeito dos paradigmas científicos, e que Vattimo atribui especialmente às artes: a persuasão e convencimento retóricos têm um papel preponderante na consolidação de um paradigma, seja ele artístico ou científico. Entendemos as acepções musicais de Daniélou como próximas à de autores como Titus Burckhardt e sua proposição de Arte Sagrada, bem como de Joscelyn Godwin e a Música Especulativa. Analisam-se também os estudos e pesquisas de Daniélou mais como uma proposição, uma contribuição para o desenvolvimento de uma nova possibilidade criativa no domínio musical, do que uma sistematização de uma música já existente. Como resultado, a aproximação do trabalho de Daniélou permite a possibilidade de delimitação e comparação dos grupos de termos Música Especulativa e Especulação Musical; Música Sagrada e Sacralização da Música; Doutrina do Ethos, Teoria dos Afetos, e Expressão dos Sentimentos; a simbologia envolvida na metafísica musical proposta por Daniélou e a abordagem de sua Escala Universal dos Sons que nos permite delimitar os termos Tônica e Fundamental. Por fim propõe-se uma interpretação teóricofilosófica dirigida à poética da criação musical, considerando possibilidades abertas por sua escala como uma espécie diferente do relativismo do sistema do Temperamento Igual, um perspectivismo, campo fértil para a criação.
This thesis aims to extend the contribution of Daniélou\'s studies for the fields of Philosophy of Music, Music Theory and Musical Cognition, going beyond the field of Ethnomusicology within which his work is commonly classified, and to understand its contribution to the understanding of music today, both with regard to its reception and to the possibilities that its creative aspects opens. Being consistent with the system of Indian thought of Alain Daniélou, and its affirmation of the unknowability of ultimate reality and falsehood of the truth taken as dogma, we analyze their studies and researches as possible redescriptions or interpretations of the musical phenomenon, for this we based on the approach made by Gadamer between Theory and Philosophy and Rorty\'s propose that new object redescriptions contribute to broaden your knowledge, beyond this, we agree with Kuhn points about the scientific paradigms, and Vattimo attaches especially to the arts: persuasion and rhetorical conviction have a leading role in the consolidation of a paradigm, be it artistic or scientific. We understand the musical descriptions of Daniélou as close to the authors like Titus Burckhardt and his proposition of Sacred Art as well as Joscelyn Godwin and the Speculative Music. It also analyzes the studies and the surveys of Daniélou more like a proposition, a contribution to the development of a new creative possibility in the field of music, than a systematization of an existing music. As a result, the approach of the Daniélou\'s work allows the possibility of defining and comparing the groups and terms Speculative Music and Musical Speculation; Sacred Music and Sacralization of Music; Doctrine of Ethos, Theory of Affections, and Expression of Feelings; the symbolism involved in musical metaphysical approach proposed by Daniélou and his Universal Scale of the Sounds allows us to define the terms Tonic and Fundamental or Root. Finally we propose a theoretical-philosophical interpretation addressed to the poetics of musical creation considering the possibilities opened up by its scale as a different kind of relativism of the Equal Temperament System, perspectivism, fertile ground for the creation.
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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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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 particulières à la faculté musicale. Certaines activités périphériques et centrales du cerveau peuvent être modélisées relativement correctement à partir d'une conception réductionniste de son fonctionnement. Différents exemples provenant de fonctions cognitives très variées permettent de faire l'hypothèse que la perception de similarité mélodique pourrait être prédite par un modèle additif combinant des traitements des dimensions musicales " hauteur " et " durée ". Ce mémoire fournit quelques données permettant de caractériser les processus mentaux sous-jacents à la perception de similarité mélodique (modularité, perception des propriétés configurationnelles, et expertise musicale). Les similarités entre ces processus et ceux d'autres facultés mentales sont soulignées. Les données montrent une nouvelle relation entre la perception du contour mélodique et la durée, et amènent à reformuler les modèles de traitement existants. Un modèle computationnel de la perception de similarité mélodique a été proposé, ses liens avec les caractéristiques de la loi de Shepard sont soulignés. Toutefois, des limitations importantes bornent le degré de généralisation des données. Cela tient aux caractéristiques des stimuli musicaux utilisés, à l'approche simplificatrice qui a été adoptée, ainsi qu'aux analyses statistiques effectuées
Does the musical expertise of listeners influence the way in which similarity is perceived? How can we rebuild a similarity judgement in terms of the subjacent mental processes? Are these processes specific to melody perception? Similarity perception obeys a basic ecological need: the adaptation of organisms to their environment. A review of the mental processes subjacent with the recognition and generalization of patterns suggests that the mental operations behind melodic similarity perception are not necessarily particular with the musical faculty. Certain peripheral and central activities of the brain can be modelled relatively correctly starting from a reductionistic approach. Various examples coming from very different cognitive faculties makes it possible to make assume that melodic similarity perception could be predicted by an additive model combining the processing of musical dimensions “height” and “duration”. This research provides data making possible to characterize some of the computations underlying melodic similarity perception (modularity, perception of the configurational properties, and musical expertise). Similarities between these processes and those of other mental faculties are underlined. Data shows a new relation between the perception of the melodic contour and duration, and conveys to reformulate the existing processing models. A computational model of melodic similarity perception is proposed. Its links with the of the Shepard law are underlined. However, significant limitations limit the degree of data generalization. It is due to the characteristics of the musical stimuli used, to the simplifying approach which was adopted, as well as with the type statistical analyses carried out
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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
Ph.D.
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 implications for potential meanings of rhythm for improvisation and improvisational music therapy are described. Concepts that are foundational to the ways that the various theories find meaning in music include symbolism, metaphorical conceptualization, and interpersonal interactions. Theoretical foci for analysis include improvised rhythm (i.e., the rhythmic products), an improviser or co-improviser's processes while playing, and the perspective of a listener. Differences between solo improvisation and co-improvisation processes are considered. An integral theory of rhythm in improvisation is proposed along with clinical implications. Potential benefits of the study for music therapy and musicology are proposed and considerations for future investigations regarding the topics of rhythm and improvisation are articulated.
Temple University--Theses
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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 de ses développements transformationnels tout en discutant les rapports entre la tradition analytique américaine et la démarche théorique formelle en Europe. Les concepts abordés permettent de définir la place d'une démarche computationnelle en musicologie et ouvrent des questions philosophiques sur le rapport entre mathématiques et musique.
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Books on the topic "Cognitive musicology"

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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. Berlin: Springer, 1997.

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

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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. Tallinn: Estonian Academy of Music and Theatre, 2009.

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

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

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

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

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

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

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Leman, Marc. Music and Schema Theory: Cognitive Foundations of Systematic Musicology. Springer London, Limited, 2012.

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Book chapters on the topic "Cognitive musicology"

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Leman, Marc. "Cognitive Foundations of Systematic Musicology." In Music and Schema Theory, 187–95. Berlin, Heidelberg: 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, 30–41. Berlin, Heidelberg: Springer Berlin Heidelberg, 1997. http://dx.doi.org/10.1007/bfb0034105.

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Norris, Christopher. "The Perceiver’s Share (2): Deconstructive Musicology and Cognitive Science." In Language, Logic and Epistemology, 185–226. London: Palgrave Macmillan UK, 2004. http://dx.doi.org/10.1057/9780230512368_6.

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Leman, Marc, and Albrecht Schneider. "Origin and nature of cognitive and systematic musicology: An introduction." In Music, Gestalt, and Computing, 11–29. Berlin, Heidelberg: 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, 263–81. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-72116-9_10.

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Godøy, Rolf Inge. "Sonic Object Cognition." In Springer Handbook of Systematic Musicology, 761–77. Berlin, Heidelberg: 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, 747–60. Berlin, Heidelberg: Springer Berlin Heidelberg, 2018. http://dx.doi.org/10.1007/978-3-662-55004-5_34.

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Lesaffre, Micheline. "Investigating Embodied Music Cognition for Health and Well-Being." In Springer Handbook of Systematic Musicology, 779–91. Berlin, Heidelberg: Springer Berlin Heidelberg, 2018. http://dx.doi.org/10.1007/978-3-662-55004-5_36.

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Erdem, Çağrı. "Exploring Musical Agents with Embodied Perspectives." In Current Research in Systematic Musicology, 321–41. Cham: 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 developing these systems. Then comes the retrospective section structured around five projects. Biostomp explores the unintentionality of body signals when used for music interaction. Vrengt demonstrates musical possibilities of sonic microinteraction and shared control. RAW seeks unconventional control through chaos and automation. Playing in the “air” employs deep learning to map muscle exertions to the sound of an “air” instrument. The audiovisual instrument CAVI uses generative modeling to automate live sound processing and investigates the varying sense of agency. These projects show how an artistic–scientific approach can diversify artistic repertoires of musical artificial intelligence through embodied cognition.
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Haugen, Mari Romarheim. "Musical Meter as Shape: An Embodied Perspective on Metrical Trajectories and Curves." In Current Research in Systematic Musicology, 37–48. Cham: Springer Nature Switzerland, 2024. http://dx.doi.org/10.1007/978-3-031-57892-2_3.

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AbstractThe perception of musical rhythm includes not only the sonic rhythm but also the endogenous reference structures, such as meter. Musical meter is often described and understood as points in time or durations between such points. In this chapter, I argue that musical meter also has a shape. I propose that we perceive and make sense of musical meter based on our previous musical experiences involving meter-related bodily motion. In other words, the meter-related motion is integral to the perceived meter—they are the same. Meter thus has a shape that relates to the embodied sensations of these movements. Also crucial is the notion that musical meter is conditioned by musical culture. This perspective on meter as shape is highly influenced by Godøy’s motor-mimetic perspective on music perception and musical shape cognition and concurs with the multimodal approach to sonic design that acknowledges motion as intrinsic to music performance and perception.
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Conference papers on the topic "Cognitive musicology"

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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 necessary to reassess the basic assumptions underlying musicological research as science of mind (Geisteswissenschaft). We propose a digital habitat to integrate computational thinking/literacy in musicology and to become acquainted with model building and computer simulation. Jupyter Notebook provides a basis for such a digital habitat. We describe our use of Jupyter Notebook as a teaching environment for computational thinking/literacy.
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