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Books on the topic 'Musical perception'

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Author: Grafiati

Published: 4 June 2021

Last updated: 31 July 2024

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1

Rita, Aiello, and Sloboda John A, eds. Musical perceptions. New York: Oxford University Press, 1994.

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2

Israel, Anyahuru, and Ohiaraumunna Tom, eds. Musical sense and musical meaning: An indigenous African perception. Amsterdam: Rozenberg, 2008.

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3

Peter, Desain, and Windsor Luke, eds. Rhythm perception and production. Exton, PA: Swets & Zeitlinger Publishers, 2000.

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4

Beauchamp, James W., ed. Analysis, Synthesis, and Perception of Musical Sounds. New York, NY: Springer New York, 2007. http://dx.doi.org/10.1007/978-0-387-32576-7.

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5

Niall, Griffith, and Todd Peter M, eds. Musical networks: Parallel distributed perception and performace. Cambridge, Mass: MIT Press, 1999.

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6

Bamberger, Jeanne Shapiro. The art of listening: Developing musical perception. 5th ed. New York: Harper & Row, 1988.

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7

J, Tafuri, ed. Didattica della musica e percezione musicale. Bologna: Zanichelli, 1988.

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8

Christensen, Erik. The musical timespace. Aalborg: Aalborg University Press, 1996.

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9

Joos, Maxime. La perception du temps musical chez Henri Dutilleux. Paris: L'Harmattan, 1999.

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10

Bruce, Gregory. An investigation of duplex perception with musical triads. Birmingham: University of Birmingham, 1999.

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11

Iyer, Padma. Music perception and cognition. New Delhi: Vishvabharti Publications, 2004.

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12

Pritschet, Hans. Wahrnehmung des Grundtons von Dreiklängen: Eine experimentelle Untersuchung. Regensburg: S. Roderer, 1992.

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13

Ansaldi, Giovanni. La "lingua degli angeli": Introduzione all'ascolto della musica. Milano: Guerini e associazioni, 1993.

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14

Kaipainen, Mauri. Dynamics of musical knowledge ecology: Knowing-what and knowing-how in the world of sounds. [Helsinki]: Suomen Musiikkitieteellinen Seura, 1994.

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15

Bāṃlādeśa Insṭiṭiuṭa aba Thiẏeṭāra Ārṭasa, ed. A historical perception of traditional musical instruments for younger generation. Chittagong: Bangladesh Institute of Theatre Arts (BITA), 2013.

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16

Pineau, Marion. Percevoir la musique: Une activité cognitive. Paris: L'Harmattan, 2001.

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17

Deutsch, D. Ear and brain: How we make sense of sounds. New York: Springer, 2003.

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18

Gerhard, Schmitt. Musikalische Analyse und Wahrnehmung: Grundlegung einer interdisziplinären Systematik zur semantischen Analyse von Musik und Sprache, dargestellt an ausgewählten Beispielen zeitgenössischer Klangkunst. Osnabrück: Electronic Publishing, 2010.

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19

Toop, David. Sinister resonance: The mediumship of the listener. New York: Continuum, 2010.

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20

David, Butler. The musician's guide to perception and cognition. New York: Schirmer Books, 1992.

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21

Eberlein, Roland. Theorien und Experimente zur Wahrnehmung musikalischer Klänge. Frankfurt am Main: Lang, 1989.

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22

Beauchamp, James W. Analysis, synthesis, and perception of musical sounds: The sound of music. New York: Springer, 2010.

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23

Chouvel, Jean-Marc, and Xavier Hascher. Esthétique et cognition. Paris: Publications de la Sorbonne, 2013.

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24

Evers, Stefan. Musikperzeption und visuelle Reizverarbeitung: Eine Übersicht und experimentelle Beiträge aus dem Bereich der ereigniskorrelierten Potentiale. Aachen: Shaker, 2003.

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25

DeGraf, Galen Philip. Navigating Musical Periodicities: Modes of Perception and Types of Temporal Knowledge. [New York, N.Y.?]: [publisher not identified], 2018.

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26

Bermúdez, Miguel Angel Perdomo, and Miguel Angel Perdomo Bermúdez. Capacidad de discriminación auditiva para las diferencias de altura de los sonidos y lateralidad auditiva: Informe de investigación. [La Habana]: Ministerio de Cultura, Centro de Investigación y Desarrollo de la Música Cubana, 1985.

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27

Irène, Deliège, and Sloboda John A, eds. Perception and cognition of music. Hove, East Sussex: Psychology Press, 1997.

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28

Edlund, Bengt. Performance and perception of notational variants: A study of rhythmic patterning in music. Uppsala: [Academia Ubsaliensis], 1985.

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29

Rauchfleisch, Udo. Musik schöpfen, Musik hören: Ein psychologischer Zugang. Göttingen: Vandenhoeck & Ruprecht, 1996.

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30

Müller, Mira. Empirical studies of music aesthetics. Leipzig: Leipziger Universitätsverlag, 2012.

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31

Bovey, François. L' écoute harmonique subjective, ou, Comment la subjectivité peut affiner notre perception des accords, des intervalles et des sons. Paris: Van de Velde, 2005.

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32

Bovey, François. L' écoute harmonique subjective ou Comment la subjectivité. Paris: Van de Velde Musique, 2005.

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33

Schwarzer, Gudrun. Entwicklung der Melodiewahrnehmung: Analytische und holistische Prozesse. Heidelberg: R. Asanger, 1993.

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34

Auhagen, Wolfgang. Experimentelle Untersuchungen zur auditiven Tonalitätsbestimmung in Melodien. Kassel: G. Bosse, 1994.

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35

Laiho, Timo. Perception, time and music analysis: An introduction to analytic-generative methodology. Helsinki: University of Helsinki, Department of Philosophy, History, Culture and Art Studies, Musicology, 2013.

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36

London, Justin. Hearing in time: Psychological aspects of musical meter. 2nd ed. New York: Oxford University Press, 2012.

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37

Suoniemi, Kari. Havaintokyky, musikaalisuus ja musiikinkuuntelukokemukset: Empriirinen tutkimus auditiivisen ajattelukyvyn, aktiivisen musiikinharrastuksen sekä iän ja sukupuolen yhteydestä päivittäisiin musiikinkuuntelukokemuksiin. Tampere: Tampere University Press, 2008.

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38

Nussbaum, Charles. Musical Perception. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199600472.013.009.

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39

McAdams, Stephen, and Bruno L. Giordano. The Perception of Musical Timbre. Edited by Susan Hallam, Ian Cross, and Michael Thaut. Oxford University Press, 2015. http://dx.doi.org/10.1093/oxfordhb/9780198722946.013.12.

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40

McAdams, Stephen, and Bruno L. Giordano. The perception of musical timbre. Edited by Susan Hallam, Ian Cross, and Michael Thaut. Oxford University Press, 2012. http://dx.doi.org/10.1093/oxfordhb/9780199298457.013.0007.

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Abstract:

This article discusses musical-timbre perception. Musical timbre is a combination of continuous perceptual dimensions and discrete features to which listeners are differentially sensitive. The continuous dimensions often have quantifiable acoustic correlates. The timbre-space representation is a powerful psychological model that allows predictions to be made about timbre perception in situations beyond those used to derive the model in the first place. Timbre can play a role in larger-scale movements of tension and relaxation and thus contribute to the expression inherent in musical form. Under conditions of high blend among instruments composing a vertical sonority, timbral roughness is a major component of musical tension. However, it strongly depends on the way auditory grouping processes have parsed the incoming acoustic information into events and streams.

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41

Anyahuru, Israel, Tom Ohiaraumunna, and Meki Nzewi. Musical Sense and Musical Meaning: An Indigenous African Perception. Unisa Press, 2008.

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42

Bamberger, Jeanne Shapiro. Art of Listening: Developing Musical Perception. 5th ed. Addison Wesley Longman, 1998.

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43

Desain, Peter. Rhythm Perception and Production. Taylor & Francis Group, 2012.

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44

(Editor), Niall Griffith, and Peter M. Todd (Editor), eds. Musical Networks: Parallel Distributed Perception and Performance. The MIT Press, 1999.

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45

Beauchamp, James. Analysis, Synthesis, and Perception of Musical Sounds. Springer, 2008.

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46

Musical imagery. Lisse: Swets & Zeitlinger, 2003.

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47

Popper, Arthur N., Mari Riess Jones, and Richard R. Fay. Music Perception. Springer New York, 2012.

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48

Jones, Mari Riess, Arthur Popper, and Richard R. Fay. Music Perception. Springer, 2011.

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49

Music analysis and musical perception: Studies in the psychology of musical structure. [Lancaster: the Author], 1988.

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50

Sloboda, John A., and Irene Deliege. Perception and Cognition of Music. Taylor & Francis Group, 2004.

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