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Journal articles on the topic 'Cognitive musicology'

Author: Grafiati
Published: 25 May 2024

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1

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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2

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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3

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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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11

Shchelkanova, Svitlana. "Poetics of the symphony genre in the discourse of cognitive musicology (a case study of V. Silvestrov’s works)." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 65, no. 65 (December 9, 2022): 50–64. http://dx.doi.org/10.34064/khnum1-65.03.

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Statement of the problem. The article is devoted to methodological problems of musical science, namely, to the functioning of the category of poetics in the analysis of the symphony genre. This approach is especially relevant when considering samples of a modern symphony, which embodies the genre invariant in the most individualized way, and needs new approaches to comprehend its innovative nature. Analysis of recent research and publications. The problems indicated in the article reach three levels of research: poetics as a category of musicology, the genre of the symphony, and the phenomenon of cognitive musicology in modern domestic science. Among the important studies of poetics, we can point out the analytical research performed by A. Polishchuk. As for the symphony genre, the works by O. Zinkevych are the most important. The problems of cognitive musicology are being developed at the department of interpretology and analysis of music of Kharkiv I. P. Kotlyarevsky National University of Arts under the leadership of L. Shapovalova. Also, the main provisions of the study are outlined in more detail in the dissertation of the author of the article. Main objective(s) of the study – approbation of the mode of poetics of the symphony in cognitive musicology using the examples of early symphonies of V. Sylvestrov, which are significantly different from the established models of the embodiment of the genre invariant of the symphony; awareness of their innovative nature and specificity through the category of poetics. The scientific novelty consists in the correlation of the category of the poetics of the symphony with the ontological foundations of music, as well as in the application of this approach to the analysis of the ontogenesis of V. Sylvestrov’s early symphonic creative work as a stylistic system. Methodology. The research uses the following methods of modern humanities and musicology: genre, structural-functional, onto-sonological, semantic, hermeneutic, and cognitive. Results. Poetics is a methodological mode that works in the analysis of the phenomenological nature of modern symphony samples, since it, unlike the established categories in musicology, takes into account both musical and nonmusical discourses, allows to correctly illuminate the nature of the modern symphony, which goes beyond the structural invariant. Poetics is understood both as a methodological guideline that allows for the interpretation of different-level manifestations of the specificity of the composition, which reveal its ontological nature, and as a system that embodies the inner language of the author at all levels of the musical composition. Conclusions. The being of the symphony genre and the experience of its analytical comprehension is a moving, “livsng” semiotics system in musicology. The poetics of the symphony as a way of inhabiting existence, its structuring reaches the level of the world picture, which embodies the dichotomy “Me – World” and distinguishes its most essential quality – ontological.
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12

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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13

Jõks, Eerik, and Marju Raju. "The Estonian Language and Its Influence on Music: A Cognitive Sciences Approach." Folklore: Electronic Journal of Folklore 90 (December 2023): 109–36. http://dx.doi.org/10.7592/fejf2023.90.joks_raju.

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Musicology may seem a specific small sector of humanitarian scholarship to the layman, but it hides variety within from highly theoretical subjects such as music theory to the fieldwork with indigenous repertoires and their performance, as found in ethnomusicology. There is a shift in contemporary musicology, its focus moving more towards studies of musical performances and the use of empirical study designs to complement the analysis of musical scores. These interdisciplinary empirical studies cross the border of humanitarian scholarship and apply the methods of the natural sciences, for example spectrogram analysis of singing and the measurement of the temporal structure of recorded music. The cognitive sciences of music (CSM) can be looked at as an umbrella term for branches of musicology that use empirical research methods and draw their research questions from music related individual and group processes. One of the major topics of CSM relates to research in linguistics. Music and language, as well as speech, are closely linked as the human voice is a natural part of vocal music and is considered a quintessential element in musical thinking, vocal and instrumental alike. The music–language–speech relationship intrigues Estonian musicologists as research questions focusing on related topics arise in different fields of musicology, including natural settings and functional songs (musical development, spontaneous singing, runosong, ecclesiastical singing) to the vocal art music performed by professional singers (some chronological examples: Ross & Lehiste 2001; Raju 2015; Lippus & Ross 2017; Jõks 2021; Vurma et al. 2022). The purpose of this referative overview article is to introduce a selection of previous research and discuss the results. The endeavour of the authors is to find an abstract common denominator of selected CSM research projects to establish the most estimable useful knowledge that Estonian CSM has to offer to the international scholarly community, as well as to follow-up research in Estonia. Although we can see the results of that support, and we can see the universal perception and cognitive processes of language and music in Estonian research, there are also several interesting prosodic-musical differences relating to the fact that Estonian belongs to the Uralic language family, more specifically Western Finnish language group. Indo-Germanic (mainly German, Russian, Latin, Italian, and English) language related prosody and singing culture does not necessarily support the natural language usage and therefore represses emotional and spontaneous involvement in singing. It seems that in the process in which Estonian scholars deal with their distinctive mother tongue, indigenous musical repertoires, and idiomatic singing, intuition – more precisely a scholarly intuition –, might play an important role.
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14

Курленя, Константин Михайлович. "The Search for Meaning in Music: Scientific Breakthroughs and Deadlocks. Analytical Review of Selected Achievements of Musical Cognitive Science." Научный вестник Московской консерватории, no. 2(45) (June 23, 2021): 136–63. http://dx.doi.org/10.26176/mosconsv.2021.45.2.007.

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В статье анализируются опыт отечественного и зарубежного когнитивного музыкознания, теоретические основы формализации музыкального мышления и возможности его представления в виде алгоритмов, необходимых для моделирования искусственного интеллекта в сфере музыкальной деятельности. Отмечаются различия в способах нахождения и формулирования смысла, возможностях оценки его истинности или ложности, в процессах личностного понимания и его алгоритмического представления. Указывается, что развитие когнитивного музыкознания приводит к необходимости формирования и применения новых междисциплинарных стратегий научного поиска. Основные тенденции музыкальной когнитивистики обусловлены универсальностью парадигм мышления и перспективами их формализации. The article analyzes the experience of domestic and foreign cognitive musicology, the theoretical foundations of the formalization of musical thinking and the possibility of its presentation in the form of algorithms necessary for modeling artificial intelligence in the field of musical activity. Differences are noted in the methods of finding and formulating the meaning, the possibilities of assessing its truth or falsity, in the processes of personal understanding and its algorithmic presentation. It is indicated that the development of cognitive musicology leads to the need for the formation and application of new interdisciplinary strategies for scientific research. The main trends in musical cognitive science are due to the universality of the paradigms of thinking and the perspectives of their formalization.
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15

Mesnage, Marcel. "Book Review: Music. Gestalt and Computing. Studies in Cognitive and Systematic Musicology." Musicae Scientiae 2, no. 2 (September 1998): 203–7. http://dx.doi.org/10.1177/102986499800200207.

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16

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. <br />
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17

Halle, John. "From Linguistics to Musicology. Notes on Structuralism Musical Generativism, Cognitive Science, and Philosophy." Signata, no. 6 (December 31, 2015): 287–311. http://dx.doi.org/10.4000/signata.1109.

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18

Bai, Junjie, Kan Luo, Jun Peng, Jinliang Shi, Ying Wu, Lixiao Feng, Jianqing Li, and Yingxu Wang. "Music Emotions Recognition by Machine Learning With Cognitive Classification Methodologies." International Journal of Cognitive Informatics and Natural Intelligence 11, no. 4 (October 2017): 80–92. http://dx.doi.org/10.4018/ijcini.2017100105.

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Music emotions recognition (MER) is a challenging field of studies addressed in multiple disciplines such as musicology, cognitive science, physiology, psychology, arts and affective computing. In this article, music emotions are classified into four types known as those of pleasing, angry, sad and relaxing. MER is formulated as a classification problem in cognitive computing where 548 dimensions of music features are extracted and modeled. A set of classifications and machine learning algorithms are explored and comparatively studied for MER, which includes Support Vector Machine (SVM), k-Nearest Neighbors (KNN), Neuro-Fuzzy Networks Classification (NFNC), Fuzzy KNN (FKNN), Bayes classifier and Linear Discriminant Analysis (LDA). Experimental results show that the SVM, FKNN and LDA algorithms are the most effective methodologies that obtain more than 80% accuracy for MER.
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19

Elschek, Oskcár. "Book Review: The Convergence of Musicology and Music Cognition: Musik & Ästhetik." Musicae Scientiae 2, no. 1 (March 1998): 102–5. http://dx.doi.org/10.1177/102986499800200108.

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20

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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21

Asano, Rie, Pia Bornus, Justin T. Craft, Sarah Dolscheid, Sarah E. M. Faber, Viviana Haase, Marvin Heimerich, et al. "Spring School on Language, Music, and Cognition." Music & Science 1 (January 1, 2018): 205920431879883. http://dx.doi.org/10.1177/2059204318798831.

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The interdisciplinary spring school “Language, music, and cognition: Organizing events in time” was held from February 26 to March 2, 2018 at the Institute of Musicology of the University of Cologne. Language, speech, and music as events in time were explored from different perspectives including evolutionary biology, social cognition, developmental psychology, cognitive neuroscience of speech, language, and communication, as well as computational and biological approaches to language and music. There were 10 lectures, 4 workshops, and 1 student poster session. Overall, the spring school investigated language and music as neurocognitive systems and focused on a mechanistic approach exploring the neural substrates underlying musical, linguistic, social, and emotional processes and behaviors. In particular, researchers approached questions concerning cognitive processes, computational procedures, and neural mechanisms underlying the temporal organization of language and music, mainly from two perspectives: one was concerned with syntax or structural representations of language and music as neurocognitive systems (i.e., an intrapersonal perspective), while the other emphasized social interaction and emotions in their communicative function (i.e., an interpersonal perspective). The spring school not only acted as a platform for knowledge transfer and exchange but also generated a number of important research questions as challenges for future investigations.
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22

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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23

Zon, Bennett. "From great man to fittest survivor: Reputation, recapitulation and survival in Victorian concepts of Wagner's genius." Musicae Scientiae 13, no. 2_suppl (September 2009): 415–45. http://dx.doi.org/10.1177/1029864909013002181.

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The transposition of the Great Man into the Fittest Survivor is at the very root of an endemic interchange between the sciences and the arts in late Victorian culture, giving rich metaphoric substance to more heavily concretised scientific terminology. Herbert Spencer's famous phrase, “survival of the fittest” is, arguably, one of the most commonly transposed and consequently influential scientific expressions of the Victorian period, and as such, one of its most malleable idioms. In Victorian musicology this influence is especially obvious in biographical works which privilege Richard Wagner as the greatest genius of musical history. Thus in Mezzotints in Modern Music (1899) James Huneker declares that “Wagner carried within his breast the precious eucharist of genius. ” It is the attitude of Huneker and like-minded musicologists, like C. Hubert H. Parry, William Wallace, Francis Hueffer and Richard Wallaschek, which forms the basis of a three-part exploration of Wagner's genius, covering (1) the role of “endurance” in Victorian definitions of genius, from Carlyle and Sully to Galton; (2) the influence of German morphology on evolutionary terminology in Britain, with particular reference to ontogeny, phylogeny and recapitulation; and (3) Spencer's adaptation of German morphology and his influence on Victorian perceptions of Wagner's genius. These collectively argue through the paradigm of Wagner that the formulation of late Victorian musical genius was incomplete without recourse to evolutionary terminology of survival. Indeed, for Victorian musicology, Wagner, the Great Man, had evolved Into Wagner, the Fittest Survivor.
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24

Romero, Brenda M. "Musical Semiotics as a Tool for the Social Study of Music. By Óscar Hernández Salgar. Translated by Brenda M. Romero." Ethnomusicology Translations, no. 2 (July 1, 2016): 1–33. http://dx.doi.org/10.14434/emt.v0i2.22335.

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Recent studies on musical signification have been characterized by an apparently insurmountable gap between disciplines that focus on the musical text as sound (music theory, musicology), those that focus on the hearing subject (cognitive sciences, psychology of music), and those that focus on social discourses about music (ethnomusicology, anthropology, sociology). This article argues that the most recent theoretical advances in music semiotics provide means to overcome this gap. After a brief examination of some key concepts in music semiotics, the author identifies three approaches to this problem: the semiotic-hermeneutic approach, the cognitive-embodied approach, and the social-political approach. This classification allows him to introduce a brief methodological proposal for the study of musical signification from different academic perspectives.Originally published in Spanish in Cuadernos de Música, Artes Visuales, y Artes Escénicas 7, no. 1 (January 2011):39-77.
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25

Kaipainen, Mauri, and Otto Laske. "Two Views of the First International Conference on Cognitive Musicology, 26-29 August 1993, Jyvaskyla, Finland." Computer Music Journal 18, no. 2 (1994): 96. http://dx.doi.org/10.2307/3680447.

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26

Norris, Christopher. "In Defence of 'Structural Listening': Some Problems With the New Musicology." Musicological Annual 41, no. 2 (December 1, 2005): 19–45. http://dx.doi.org/10.4312/mz.41.2.19-45.

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This essay raises a number of issues with regard to recent developments in music theory. Among them is the turn against 'analysis' or 'structural listening' on account of their (supposed) investment in a discourse of mainstream musicology whose aim is to perpetuate the canon of acknowledged 'great works' and the kinds of elitist value-judgement that are conventionally applied to such works. Along with this goes the idea – derived from Paul de Man and exponents of literary deconstruction – that notions such as those of 'organic form', structural unity, thematic integration, long-range tonal or harmonic development, etc., are products of a certain 'aesthetic ideology' with dubious, even sinister, implications when transposed to the wider realm of cultural politics. I maintain that this is a false, or at any rate a highly tendentious line of thought which itself involves the illicit transposition from one domain (that of literary criticism) where such arguments have a certain force to another (that of music theory) where they simply don't apply unless by a great and implausible stretch of analogy. Thus de Man's case against naively organicist readings of poetic metaphor which assume a direct continuity (even identity) between mind and nature, subject and object, or language and phenomenal intuition must appear distinctly off-the-point when applied to our sensuous but also conceptually-informed experience of music. My essay pursues these questions via a reading of various theorists on both sides of the debate, including Adorno, whose emphasis on the virtues of 'structural listening' as a means of resistance to routine, habitual, or ideologically conditioned modes of response offers perhaps the most powerful rejoinder to this current revolt against analysis in all its forms. I go on to remark that those forms have been far more diverse – and often less committed to a hard-line organicist creed – than their detractors like to make out, tending as they do to equate 'analysis' with Heinrich Schenker's deeply conservative, dogmatic, and ideologically-loaded approach. In support of my counter-argument I draw on various developments in cognitive science and the psychology of perception, along with a recent debate between the philosophers Peter Kivy and Jerrold Levinson concerning the latter's highly controversial claim that musical understanding is limited to very short stretches of temporal (retentive and anticipatory) grasp. I conclude that our appreciation of music can be greatly deepened and enriched by the kinds of sustained or long-range structural comprehension that analysis seeks to provide, and that any theory which rules this out – or puts it down to mere 'aesthetic ideology' – is ipso facto on the wrong track.
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27

Kielar-Turska, Maria. "Stefan Szuman – człowiek wielowymiarowy." Psychologia Rozwojowa 28, no. 1 (2023): 11–24. http://dx.doi.org/10.4467/20843879pr.23.001.18176.

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The paper presents Stefan Szuman as a multidimensional person both in his personal life and academic work. He was characterised by his academic knowledge in several areas: medicine, psychology and art. He communicated with professionals from various fields – philosophy, pedagogy, literary studies, linguistics and musicology – such as: Witkacy, Bruno Schulz or Jan Puget. In his research, he was interested in topics related to mental development (the essence of development; developmental factors; cognitive, emotional, personality changes), education, teaching (students’ attention, teaching skills) and communing with art. He used different research methods: observation, conversation, quasi-experiment and tests. He presented the results of his researches using appropriate and sophisticated language. The paper shows the current remembrance of Szuman and his works both through public events (e.g. art exhibitions) and conferences.
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Sloboda, John A., and Jane Ginsborg. "25 years of ESCOM: Achievements and challenges." Musicae Scientiae 22, no. 2 (March 19, 2018): 147–60. http://dx.doi.org/10.1177/1029864918764574.

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This reflection on the first 25 years of ESCOM’s activities is in two parts. In the first part we analyse the country and discipline spread of contributors to its journal Musicae Scientiae and its formal membership. In the second we address the choice of “cognitive sciences of music” as the initial focus of both Society and journal by comparing the topics of early meetings and publications with those that are current now. Journal contributors and members are both concentrated in a small number of countries. When corrected for population size, the countries with the highest levels of activity are, in order: Finland, Estonia, UK, Sweden, Germany, Belgium, Switzerland, and Austria. This has not changed substantially over the duration of ESCOM’s existence. In contrast, there have been significant changes in the disciplinary spread of contributions, psychology becoming increasingly popular in recent years to the near exclusion of some other disciplinary approaches including ethnomusicology, computational modelling and theoretical musicology. Current topics include performance and composition, emotion, musical development, perception, music therapy and well-being, music learning, preferences, cognition, and neuropsychological approaches. An early aspiration of the Society was that the wide range of disciplines represented by the cognitive sciences of music might eventually converge, but this has proved difficult to achieve. An increasing convergence on the use of English as its normative language, however, has provided ESCOM with both new challenges and some opportunities.
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Tissari, Heli. "Miten yksi keho muuttui moneksi." AFinLA-e: Soveltavan kielitieteen tutkimuksia, no. 12 (April 16, 2020): 268–84. http://dx.doi.org/10.30660/afinla.84566.

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This article discusses the enormous potential of interdisciplinary conversation. In this particular case, the conversation is between musicologists and a linguist, and concerns conceptual metaphors describing emotional experiences. While conceptual metaphor theory was formed through considering the embodied experience of individual human beings, recent research in musicology has focused on intersubjectivity, that is, group experiences and discussions. Albeit already familiar with intersubjectivity, linguists can certainly learn from musicologists. Another fruitful point of contact is to compare many cognitive linguists’ focus on emotions as forces that can make a person behave uncontrollably with musicologists’ preferred understanding of emotions as regulated in the moment. This brings us closer to our lived, everyday experiences. Such considerations may serve not only as a basis for interdisciplinary collaboration but also as an opportunity to envision new ways of conducting linguistic research.
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30

Bai, Junjie, Lixiao Feng, Jun Peng, Jinliang Shi, Kan Luo, Zuojin Li, Lu Liao, and Yingxu Wang. "Dimensional Music Emotion Recognition by Machine Learning." International Journal of Cognitive Informatics and Natural Intelligence 10, no. 4 (October 2016): 74–89. http://dx.doi.org/10.4018/ijcini.2016100104.

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Music emotion recognition (MER) is a challenging field of studies that has been addressed in multiple disciplines such as cognitive science, physiology, psychology, musicology, and arts. In this paper, music emotions are modeled as a set of continuous variables composed of valence and arousal (VA) values based on the Valence-Arousal model. MER is formulated as a regression problem where 548 dimensions of music features were extracted and selected. A wide range of methods including multivariate adaptive regression spline, support vector regression (SVR), radial basis function, random forest regression (RFR), and regression neural networks are adopted to recognize music emotions. Experimental results show that these regression algorithms have led to good regression effect for MER. The optimal R2 statistics and VA values are 29.3% and 62.5%, respectively, which are obtained by the RFR and SVR algorithms in the relief feature space.
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31

THOMSON, WILLIAM. "From Sounds To Music: The Contextualizations of Pitch." Music Perception 21, no. 3 (2004): 431–56. http://dx.doi.org/10.1525/mp.2004.21.3.431.

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Current musicology demands opposing explanations of pitch structure, a styles-driven approach that ignores both the kinetics common to diverse musics and the broadly shared bases of human perception. To establish a unified theory, a ““from-bit-to-whole”” path is argued, noting sensory, neural, and cognitive domains as they are relevant and empirically confirmed. After preliminary discussion of the most elemental dynamics of tone bunching into wholes, an extensive examination of melodic pitch framing ensues. The tonality frame is observed in melodies from a broad sampling of eras and cultures; thus is confirmed a conception of organization that ties the spectral content of the single tone to the chord and to melody, both bearing in common the properties of sonance and root. Such an explanation helps link current musical practice with conceptualizations and practices of both ancient and exotic cultures.
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32

Čvirik, Marián. "Are we living in a ‘Yellow Submarine’?" Per Musi 24 (October 31, 2023): 1–13. http://dx.doi.org/10.35699/2317-6377.2023.48032.

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The presented article deals with the aspect of attitudes towards the selected songs as well as the moods it brings with the help of Thayer mood model. The aim of the presented article is (1) to investigate the attitudes towards the selected Beatles album, (2) to investigate the effect of songs on mood using the Mood model, and (3) to investigate the effect of selected demographic factors (age and gender) on the attitude towards the songs and the mood created by the songs from the album ‘Yellow Submarine’ in Slovak conditions. The results indicate that there is a significant link between the cognitive and affective components of attitudes within the selected album. It has also been shown that, in terms of moods, the album brings considerable variety. The results can be used both in the fields of musicology and psychology and as an introduction to the study of audio marketing.
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33

Bimbot, Frédéric, Emmanuel Deruty, Gabriel Sargent, and Emmanuel Vincent. "System & Contrast." Music Perception 33, no. 5 (June 1, 2016): 631–61. http://dx.doi.org/10.1525/mp.2016.33.5.631.

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This article introduces the System &Contrast (S&C) model, which aims at describing the inner organization of structural segments within music pieces as: (i) a carrier system, i.e., a sequence of morphological elements forming a network of self-deducible syntagmatic relationships, and (ii) a contrast, i.e., a substitutive element, usually the last one, which departs from the logic implied by the carrier system. Initially used for the structural annotation of pop songs (Bimbot, Deruty, Sargent, & Vincent, 2012), the S&C model provides a framework to describe implication patterns in musical segments by encoding similarities and relations between its elements. It is applicable at several timescales to various musical dimensions in a polymorphous way, thus offering an attractive meta-description of musical contents. We formalize the S&C model, illustrate how it applies to music and establish its filiation with Narmour’s implication-realization model (Narmour, 1990, 1992) and cognitive rule-mapping (Narmour, 2000). We introduce the minimum description length scheme as a productive paradigm to support the estimation of S&C descriptions. The S&C model highlights promising connections between music data processing and information retrieval on the one hand, and modern theories in music perception, cognition and semiotics on the other hand, together with interesting perspectives in Musicology.
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Aliyeva, Imina G., and Irina B. Gorbunova. "The Intonational System of Azerbaijani Modes: a Study with the Use of Computer Technologies." IKONI / ICONI, no. 1 (2022): 79–91. http://dx.doi.org/10.33779/2658-4824.2022.1.079-091.

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The perception of Azerbaijani frets when performed on evenly tempered instruments is based on the property of human consciousness to generalize different phenomena, recognizing their common meaning. Azerbaijani frets form a stable image in consciousness, and the pitch of the 12-step uniform temperament completely determines the individuality of the frets and their differentiation. Acoustic measurements related to the pitch intonation of Azerbaijani music (both traditional and compositional), with the study of their microintonation schemes, as well as the timbre characteristics of Azerbaijani folk instruments have so far remained out of the field of view of researchers and have not been the subject of special study. The article deals with issues related to the intonation system of Azerbaijani frets, with their existence in contemporary musical culture, cites the field of cognitive musicology, which allows us to present the intonation system of Azerbaijani frets in the form of a cognitive structure, which has significant prospects for their implementation in the field of contemporary musical research with the involvement of music computer technologies. A particularly important aspect is associated with an adequate representation of the range of problems under consideration in the system of contemporary musical education, which is also possible and very productive when using modern music computer technologies.
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Toulson, Rob, and Russ Hepworth-Sawyer. "Connected learning journeys in music production education." Journal of Music, Technology & Education 11, no. 3 (December 1, 2018): 269–86. http://dx.doi.org/10.1386/jmte.11.3.269_1.

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The field of music production education is a challenging one, exploring multiple creative, technical and entrepreneurial disciplines, including music composition, performance electronics, acoustics, musicology, project management and psychology. As a result, students take multiple ‘learning journeys’ on their pathway towards becoming autonomous learners. This article uniquely evaluates the journey of climbing Bloom’s cognitive domain in the field of music production and gives specific examples that validate teaching music production in higher education through multiple, connected ascents of the framework. Owing to the practical nature of music production, Kolb’s Experiential Learning Model is also considered as a recurring function that is necessary for climbing Bloom’s domain, in order to ensure that learners are equipped for employability and entrepreneurship on graduation. The authors’ own experiences of higher education course delivery, design and development are also reflected upon with reference to music production pathways at both the University of Westminster (London, United Kingdom) and York St John University (York, United Kingdom).
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Wu, Ke, Yanjin Wu, and Yisheng Chen. "The Role of Musicals in Music Education for Children with Hearing Impairment." Highlights in Art and Design 4, no. 3 (December 20, 2023): 109–16. http://dx.doi.org/10.54097/e5e2gwb6.

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This paper explores the multifaceted role of musicals in the music education of children with hearing impairments, providing a comprehensive theoretical and practical analytical framework that integrates perspectives from education, psychology, musicology, and linguistics. Initially, the paper outlines the general impact of music education on child development, with a special focus on the unique educational needs of children with hearing impairments. It then delves into a multidisciplinary exploration of how musicals can foster the development of cognitive, psychological, social, and linguistic skills in these children. Through specific case studies, this paper demonstrates the effective application of musicals in actual teaching, while also assessing the practical value of various teaching methods and strategies. Finally, the paper discusses the challenges and future opportunities in musical education, offering insights into future research directions. This study aims to provide deep insights into the field of music education for children with hearing impairments and to guide future educational practices and research.
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Di Stefano, Nicola. "Temporal and spatial accounts of sound perception. An overview of the main historical sources and theoretical problems." Gestalt Theory 45, no. 3 (December 1, 2023): 183–97. http://dx.doi.org/10.2478/gth-2023-0020.

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Summary Music has been primarily conceived as a temporal art. However, over the last two centuries or so, researchers across different disciplines including musicology, psychology, and philosophy, have been intrigued by the spatial nature of music and sounds, using spatial concepts to define music. This paper aims to demonstrate that an understanding of music perception from a temporal perspective inherently implies a certain spatial dimension. To do this, first, I briefly examine some key arguments that lead to conceiving sound perception in temporal terms. At the same time, I highlight some of the limitations of a purely temporal account of sound perception which necessitate the incorporation of spatial considerations into the conceptualization of sound perception. Consequently, I move on to consider prominent spatial accounts of musical sounds that have been elaborated by psychologists, musicologists, and music composers. In conclusion, I discuss some of the challenges arising from the analogy between music and space, whether conceived in perceptual or cognitive terms.
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Gerrod Parrott, W. "Ur-Emotions and Your Emotions: Reconceptualizing Basic Emotion." Emotion Review 2, no. 1 (December 21, 2009): 14–21. http://dx.doi.org/10.1177/1754073909345547.

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The term ur-emotion is proposed to replace basic emotion as a name for the aspects of emotion that underlie perceived similarities of emotion types across cultures and species. The ur- prefix is borrowed from the German on analogy to similar borrowings in textual criticism and musicology. The proposed term ur-emotion is less likely to be interpreted as referring to the entirety of an emotional state than is the term basic emotion. Ur-emotion avoids reductionism by indicating an abstract underlying structure that accounts for similarities between emotions without implying that the differences are unimportant. This article is dedicated to the memory of Bob Solomon, and is framed in terms of his decades-long analysis and critique of the concept of basic emotions.
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Csákány, Csilla. "Encouraging Guidelines in Neuromusicological Research Regarding Classical Music’s Usage in Sonic Therapy - When Science Becomes Magic." Studia Universitatis Babeş-Bolyai Musica 67, no. 1 (June 30, 2022): 21–35. http://dx.doi.org/10.24193/subbmusica.2022.1.02.

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"In systematic musicology as a branch of music psychology we found an intriguing orientation called cognitive neuroscience of music, or neuromusicology. It studies the function of the brain in music processing, the way music perception and production manifests in brain. Compared to other analytical models of music cognition, the mapping of the brain’s functioning serves to examine the outcome of music rather than its process, and as the music therapy methods discussed reflect, most approaches follow this ontological direction. As recent scientific researches shows, the brain mapping technique differentiates moment of listening, playing classical music or improvising. In the light of the research findings, our main focus was to get to know and understand how our musical brains functions during classical music audition so we could argue from a scientific approach not only the existing therapeutic methods used in music therapy, but the perception of classical music in the present. In the master class “Dialogue of the Arts”, we explore with our students in all grades the possible links between music and other artistic and scientific disciplines. One of the most exciting aspects of this is music and brain research, an incredibly fast-developing field whose results could reinforce the place and role of classical music in contemporary society, reinforcing existing broad-based promotion of classical music education (Kodály, El sistema etc.) Keywords: music cognition, neuromusicology, sonic therapy, classical music, models of therapy. "
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Edlund, Bengt. "Book Review: The Convergence of Musicology and Music Cognition: Does Practice Make Perfect? Current Theory and Research on Instrumental Music Practice." Musicae Scientiae 2, no. 1 (March 1998): 99–101. http://dx.doi.org/10.1177/102986499800200107.

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Mühlhans, Jörg H. "Low frequency and infrasound: A critical review of the myths, misbeliefs and their relevance to music perception research." Musicae Scientiae 21, no. 3 (February 13, 2017): 267–86. http://dx.doi.org/10.1177/1029864917690931.

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Over the last several decades low frequency and infrasound have become relevant to many fields of research – most recently psychology and musicology, among others. Interpretation of data from experimental research has raised concern that low frequency and infrasound could be potentially harmful to humans’ well-being. While the physiological and psychological effects of infrasound are well documented, a variety of myths promulgated by pseudoscientific authors and newspapers still make it difficult to distinguish between fact and fiction, especially for people with little or no knowledge in acoustics. Myths are widespread today and result mainly from the one-dimensional view on sound, out-of-context citations, and a number of “sensational” findings from biased studies. The aim of this review is to evaluate the relevance of data from a music-psychological and psychoacoustic point of view, to give a consistent overview of the history of research, to examine the transferability of findings, and to trace the origins of myths to debunk them. Additionally, general information about the characteristics of low frequency sound, its production, measurement, and difficulties in experimental research is given to avoid mistakes in future research.
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Baroni, Mario. "Music, musicality, “musilanguage”." Musicae Scientiae 12, no. 1_suppl (March 2008): 197–218. http://dx.doi.org/10.1177/1029864908012001091.

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The aims of this article are to select, to summarise, and to critically discuss the principal topics presented in the papers of this special issue. Two main themes have been developed: the first makes reference to the origins of music, with a comparison of anthropological conceptions (the origins of mankind) with psychological conceptions (the musical development of infants). Particular attention is given to the “musilanguage” theory proposed by Steven Brown in 2000. The second main theme is related to the impact of theories of “origins” on what musicology today thinks of as the nature and sense of music. In order to provide concrete arguments pertaining to these topics, a section of the article is devoted to the main relationships between primordial proto-musical behaviours and adult musical activity. The presence of pre-verbal, “multimodal”, affective, interactive and ritual aspects of proto-musical behaviour, thought of as the more important characteristics of musical phenomena, has been considered as common both to anthropological and psychological theories and to their impact on today's conceptions of music. Three specific topics are discussed: proto-narrativity, musicality, and the relationships between musical structures and temporal dynamics.
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Plotnikova, O. M. "HEURISTIC POTENTIAL OF THE "ART WORLD" METACONCEPT IN MUSIC COMMUNICATION." Arts education and science 1, no. 2 (2021): 33–41. http://dx.doi.org/10.36871/hon.202102004.

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The topical problem of modern musicology is the comprehension of scientific representativeness of the generally accepted terms and concepts in the context of post-non-classical scientific picture of the world and cognitive science. As a navigator of conceptual understanding of a musical work, the article considers the content of the art history metaconcept "art world". The trigger mechanism for its creation in the lexical system of musicological language is the procedure of understanding the autonomous, integral, intonation and sound concept of the composition. The study of the semantics of the "art world" metaconcept reveals its constants and invariants. Philosophical, socio-cultural genesis represents the variable periphery and the "core" — the key name of the concept that generates multiple notions within the scientific discipline and in the vast scientific field of transdisciplinary interactions. The analysis of nominative linguistic units presents etymological, historical and actual semantic layers. The hierarchical structure of the "art world" metaconcept as a theoretical object and a mechanism for the formation of figurative and artistic representations is a dynamic system of interaction between various semiotic, static and procedural elements, which determines the semantic multiplicity of interpretations. Being a complex, mental structure of musician's language and consciousness and actively participating in cross-cultural communication, the "art world" metaconcept is able to mark the branch cultural and historical method of scientific cognition.
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Лянь, И. "Concerning the problem of comparative art criticism methodology in the context of musicology in a multicultural world." Журнал Общества теории музыки, no. 3(43) (January 26, 2024): 27–32. http://dx.doi.org/10.26176/otmroo.2023.43.3.003.

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Современный культурно-исторический контекст вызвал к жизни сопоставительные исследования. Прежде всего, это тенденции в культурной политике, направленные против унификации (глобализации) художественных явлений. И если предметом сравнительного литературоведения являются межлитературные диалоги, то таким же образом предметом сравнительного музыковедения должны стать диалоги межкультурные. Главная цель в масштабной перспективе — обнаружить те типологические линии сходства и различия между культурными явлениями, которые словно переступают через границы географических отдаленностей. В данной статье объективную основу сравниваемости разнокультурных явлений предполагается искать не в текстах, а в когнитивных основаниях различных культур. Например, если ориентироваться на современное флейтовое искусство в Китае, то речь может идти о выявлении не только стилевых и жанровых моделей, на которые китайские авторы ориентируются, овладевая арсеналом западноевропейского искусства игры на флейте. The modern cultural and historical context has given rise to comparative studies. First of all, these are trends in cultural policy directed against the unification (globalization) of artistic phenomena. And if the subject of comparative literary criticism is interliterary dialogues, then in the same way the subject of comparative musicology should be intercultural dialogues. The main goal in a large-scale perspective is to discover those typological lines of similarity and difference between cultural phenomena that seem to transcend the boundaries of geographical distances. In this article, the objective basis for the comparability of different cultural phenomena is supposed to be sought not in texts, but in the cognitive foundations of different cultures. For example, if we focus on flute art, then we can talk about identifying not only the style and genre models that Chinese authors focus on when mastering the tools of Western European art of playing the flute.
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Anufrieva, N. I., and N. V. Anchutina. "Stereotypes of Musicians-Performers Using National Instruments: Psychological and Culturological Aspects." Contemporary problems of social work 7, no. 1 (March 31, 2021): 39–45. http://dx.doi.org/10.17922/2412-5466-2021-7-1-39-45.

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the purpose of work is to prove psychological prerequisites of playing music for national instruments in condition of traditional Russian performing school which are that the specifics of a playing the national instruments are caused both by tradition canons, and individual socio- and ethnopsychological manifestations of the musician identity. Characteristic qualities of the performer predetermine any given stereotypes which are considered in article. The system method of art studies (musicology), cognitive approach to a research of the identity of the musician and also the principle of the theory of psychological types of creative persons served as methods of a research. Research conclusions are that: stereotypes of performing musicians define style of interpretation and explain any given effect on listeners. Cultural and educational work of the performing musician begins to be filled with special sense as the musician is a performer and creator of composition and the concept of her artistic realization, and features of stereotypes of performing musicians affect efficiency and success of their creative activity – concert work and enlightenment.
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Zbikowski, Lawrence. "Ole Kühl's. Musical Semantics: Cognitive Musicology and the Challenge of Musical Meaning Musical Semantics. European Semiotics/Sémiotique Européenne Vol. 7. Bern: Peter Lang, 2007." Musicae Scientiae 13, no. 2 (September 2009): 448–62. http://dx.doi.org/10.1177/102986490901300211.

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47

Parncutt, Richard. "Listening to music in the real world? A critical discussion of Marc Leman's (1995)music and schema theory: Cognitive foundations of systematic musicology*." Journal of New Music Research 27, no. 4 (December 1998): 380–408. http://dx.doi.org/10.1080/09298219808570754.

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48

Solomonova, Olga B., Galyna F. Zavgorodnia, Olha V. Muravska, Alla D. Chernoivanenko, and Oksana O. Aleksandrova. "Interconnection of linguistics and musical art." Linguistics and Culture Review 5, S4 (November 9, 2021): 700–713. http://dx.doi.org/10.21744/lingcure.v5ns4.1711.

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The terminology of music semiology, which is an academic discipline with a significant educational resonance and a necessary component of music and educational practice at its higher educational and qualification levels, lies at the intersection of the main aspects of musicology such as the history of music, the theory and analysis of musical forms, music aesthetics and the theory of music interpretation, and others. Music semiology covers the transitional methodological abilities due to its subject reference points and the wide range of the material involved in the cognitive field. Music semiology can be considered a necessary basic discipline for the professional training of musicologists and practicing musicians of any programme. There is no doubt about the importance of mastering the language system, which is fundamental in the chosen field of communication. As an academic discipline, music semiology can be presented according to the way its terminology is built, it includes three main themes among which each of the following continues the meaning of the previous one by deepening and enlarging, detailing in an analytical way. Scientific novelty is determined by the fact that unlike music semiotics and the theory of music semantics.
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FRY, KATHERINE. "Variations on the Musical Sublime." Journal of the Royal Musical Association 147, no. 2 (November 2022): 645–53. http://dx.doi.org/10.1017/rma.2022.23.

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It can sometimes seem as if musicology is perpetually running late. At least, that is the impression that emerges from two new histories of music and the discourse of the sublime in European culture and aesthetics. Both books stress an imbalance between music and other scholarly fields as a premise for revisiting the long history of the sublime, charting its rise to prominence in the late-seventeenth century with the reception of Peri Hupsous (On Sublimity, attributed to the Greek critic Longinus), to its dominant place in British, German, and French aesthetics and criticism in the late-eighteenth and the nineteenth centuries. During this period, the sublime was debated by critics, literary writers, theologians, philosophers and musicians, and used to evoke multiple meanings and applications. Put simply: the sublime was more than a set of intrinsic qualities – such as elevation, grandeur, excess, power, persuasion, innovation and so on – to be located in an external object, style, or mode of expression. It was also an experience and state of mind identified with the (usually male) perceiving subject, an emotional and cognitive confrontation with that which is overwhelming, unknowable, or indescribable.1
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Juliana, Juliana, Risa Anggraini, and Ardytha Ardytha. "Analysis of Metaphorical Expressions Used in Johnny Cashs’ Song Lyrics." Edumaspul: Jurnal Pendidikan 7, no. 2 (October 1, 2023): 5963–68. http://dx.doi.org/10.33487/edumaspul.v7i2.7493.

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This research explores Johnny Cash's song lyrics using George Lakoff's metaphor theory. It aims to understand the metaphorical expressions in Cash's song lyrics by analyzing their recurring themes and their connection to the socio-cultural context of the artist's era. The research includes identify metaphorical expressions and examine thematic motifs, the cultural and historical context that influenced the author's use of metaphors. The research also examined the influence of metaphorical language on the narrative depth and affective impact of Cash's compositions. Grounded theory in established metaphor analysis and the function of metaphor in artistic expression, the research expands upon the cognitive linguistic perspective by situating the analysis within Lakoff's theory. It gains insight into how metaphors communicate complex emotions, abstract ideas, and societal contemplations in Cash's lyrics. The research uses a systematic methodology to select songs and employs techniques for identifying metaphors based on Lakoff's theoretical framework. Thematic analysis is used to identify recurring patterns within the metaphorical expressions, while cultural contextualization helps understand the factors that shaped Cash's imaginative use of metaphors. This research had significant contribution to musicology, literary studies, and cultural analysis. By analyzing the metaphorical depth of Cash's lyrics from Lakoff's theory, it provides an original perspective on the artist's thought process and enhances the understanding of the lasting importance and thematic complexity of his contributions in contemporary music.
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