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1
Nattiez, Jean-Jacques. "Musicologie historique, ethnomusicologie, analyse: Une musicologie générale est-elle possible?" Musicae Scientiae 14, n.º 2_suppl (septiembre de 2010): 333–55. http://dx.doi.org/10.1177/10298649100140s218.
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Rousseaux, Francis y Et Alainbonardi. "“Music-ripping”: Des Pratiques Qui Provoquent la Musicologie". Musicae Scientiae 7, n.º 1_suppl (septiembre de 2003): 111–23. http://dx.doi.org/10.1177/10298649040070s106.
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Hors des placements habituels de l'informatique dans le domaine de la musique et de Ja musicologie, on constate depuis peu l'apparition de systèmes hommes-machines qui manifestent leur existence en rupture avec une tradition certes encore jeune, mais déjà operante. Car si ces systèmes singuliers opèrent incontestablement dans les champs d'expansion usuels de la musique, ne font aucune référence systèmatique aux catégories musicologiques connues. Au contraire, les expérimentations qu'ils rendent possibles inaugurent des usages où l'écoute. la composition et la transmission musicales se confondent dans un geste parfois qualifié de “music-ripping”. Nous montrerons en quoi les pratiques de “music-ripping” provoquent la musicologie traditionnelle, dont les catégories canoniques s'avèrent ici impuissantes au compte rendu. Pour ce faire, il nous faudra: expliciter un jeu de catégories minimal qui suffise à sous-tendre lesmodeles usuels de la musique assistée par ordinateur; faire de même pour les systèmes hommes-machines (anti-musicologiques?) dont l'existence nous trouble; examiner les conditions de possibilité de réduction du second ensemble catégorial au premier; conclure sur la nature du “music-ripping”.
3
Vangenot, Sylvie. "L'oreille absolue: une oreille plus “fine” ?" Musicae Scientiae 4, n.º 1 (marzo de 2000): 3–29. http://dx.doi.org/10.1177/102986490000400101.
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Il est souvent dit des musiciens qui possèdent l'oreille absolue qu'ils ont une “bonne oreille”. Celle-ci est associée à une exceptionnelle capacité de discrimination, une plus grande sensibilité aux plus petites différences de hauteur. Nous présentons deux expériences. La première est une tàche d'identification. Elle vise à mettre en évidence l'oreille absolue. Cinquante sept élèves du conservatoire et/ou étudiants en musicologie doivent identifier et placer sur une portée les sons qu'ils entendent. Trois groupes sont alors constitués: les possesseurs de l'oreille absolue, les possesseurs de l'oreille absolue partielle et les non-possesseurs de l'oreille absolue. Nous montrons que plusieurs facteurs affectent la précision des identifications, comme la qualité de timbre et le type de notes. La deuxième partie de ce travail est consacrée à la perception de la hauteur. Une expérience de mesure de seuils permet de montrer que l'acuité des possesseurs de l'oreille absolue est identique à celle des individus non doués d'un tel savoir-faire. De surcroît, l'apprentissage de la musique ne permet pas une augmentation des capacités discriminatives.
4
Guirard, Laurent. "L'apport des théories attributionnelles de la motivation dans l'étude des questions d'aptitude musicale". Musicae Scientiae 1, n.º 2 (julio de 1997): 183–204. http://dx.doi.org/10.1177/102986499700100203.
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Les théories motivationnelles de l'attribution ont démontré l'influence pédagogique néfaste des croyances et des pratiques sociales ou éducatives erronées qui focalisent l'attention de l'éléve sur l'évaluation comparée de ses capacités. Or, il semble que plusieurs facteurs psychologiques et sociaux propres à l'apprentissage musical encouragent de telles tendances, et constituent ainsi une difficulté motivationnelle spécifique dont cet article tente, à travers une revue interdisciplinaire de la question, de préciser la nature et les déterminants. En analysant leur effet sur la motivation et l'apprentissage, nous présentons d'abord une série de facteurs cognitifs qui en musique peuvent favoriser l'explication des résultats de l'éléve par son niveau d'aptitude (interactions entre la disparité de l'âge du début de l'apprentissage et le développement normal des processus attributionnels, normes de réussite idéalisées, biais de perspective attributionnelle, carence du feedback, etc.). Nous nous intéressons ensuite à un facteur social qui aggrave et maintient cette tendance: la propension paradoxale du musicien à vouloir faire passer pour naturelles, des compétences et des productions artistiques appartenant objectivement au domaine de l'acquis et de la culture. Nous présentons comment plusieurs approches systématiques ont isolé et analysé, par des méthodes indépendantes (sociologie, épistémologie, musicologie), les fonctions et les effets de cette tendance ancienne et solidement ancrée dans les croyances et les pratiques du milieu. Au terme de cette confrontation, il apparaît que la négligence ou la simple dénonciation des spécificités éthologiques et épistémologiques du milieu, peut sérieusement affecter la diffusion, l'interdisciplinarité, voire la valeur des recherches motivationnelles en pédagogie musicale.
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Laske, Otto E. "Introduction to Cognitive Musicology". Computer Music Journal 12, n.º 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, n.º 1 (julio de 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, n.º 1 (1 de junio de 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, n.º 4 (octubre de 2012): 678–84. http://dx.doi.org/10.1111/j.1756-8765.2012.01224.x.
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Seifert, Uwe. "Investigating the Musical Mind: Situated Cognition, Artistic Human-Robot Interaction Design, and Cognitive Musicology". Trans-Humanities Journal 4, n.º 1 (2011): 149–62. http://dx.doi.org/10.1353/trh.2011.0006.
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Tervaniemi, Mari y Titia L. van Zuijen. "Methodologies of Brain Research in Cognitive Musicology". Journal of New Music Research 28, n.º 3 (1 de septiembre de 1999): 200–208. http://dx.doi.org/10.1076/jnmr.28.3.200.3114.
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Nogueira, Marcos. "Música e semântica incorporada". Epistemus. Revista de Estudios en Música, Cognición y Cultura 4, n.º 2 (21 de diciembre de 2016): 9. http://dx.doi.org/10.21932/epistemus.4.3039.2.
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O surgimento de uma musicologia cognitiva, nas últimas três décadas, responde a forte demanda representada pela recuperação da questão do sentido musical. Em um novo cientificismo, entretanto, as práticas tradicionais de objetivação do sentido, associadas ao formalismo e, mais amplamente, a um estruturalismo musicológico, foram recusadas. Com isso a busca por novos paradigmas teórico-metodológicos constituiu o foco central dos empreendimentos acadêmicos na área. O presente estudo apoia-se especificamente em uma semântica enacionista da música, que se afasta sensivelmente do referencial conexionista de grande parte dos estudos em musicologia cognitiva desenvolvidos desde os anos 1980. Proponho investigar a superfície linguística de nossas descrições do entendimento musical, visando aos dispositivos imaginativos a partir dos quais as elaboramos. Para fundamentar esse direcionamento metodológico cotejo-o com os procedimentos da hermenêutica musical da chamada nova musicologia.
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Parncutt, Richard. "Introduction: “Interdisciplinary musicology”". Musicae Scientiae 10, n.º 1_suppl (marzo de 2006): 7–11. http://dx.doi.org/10.1177/1029864906010001011.
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Seifert, Uwe. "Cognitive science: A new research program for musicology". Interface 21, n.º 3-4 (enero de 1992): 219–38. http://dx.doi.org/10.1080/09298219208570609.
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Sun, Jiayin y Hongyan Wang. "A Cognitive Method for Musicology Based Melody Transcription". International Journal of Computational Intelligence Systems 8, n.º 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, n.º 2 (diciembre de 1995): 373–85. http://dx.doi.org/10.1016/0004-3702(95)90014-4.
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Moelants, Dirk y 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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Leman, Marc y Pieter-Jan Maes. "The Role of Embodiment in the Perception of Music". Empirical Musicology Review 9, n.º 3-4 (5 de enero de 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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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, n.º 2 (1 de diciembre de 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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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, n.º 65 (9 de diciembre de 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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Rosario, Verônica Magalhaes, Cybelle Maria Veiga Loureiro y Cristiano Mauro Assis Gomes. "relação entre Música e Atenção". Per Musi, n.º 40 (16 de junio de 2021): 1–18. http://dx.doi.org/10.35699/2317-6377.2020.14912.
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O presente artigo apresenta um levantamento sobre a relação entre atenção e música, a partir de uma revisão de estudos nas áreas da musicologia cognitiva, neurociências e musicoterapia no campo de música e atenção. O texto divide-se em três seções que agrupam uma revisão de estudos afins: (a) Fundamentos teóricos sobre atenção e música; (b) Evidências neurocientíficas sobre atenção e música; (c) Aplicações terapêuticas da música na atenção. Os estudos da musicologia cognitiva demonstram que agrupamentos perceptivos e expectativas são fatores determinantes para o recrutamento das diversas dimensões da atenção. Exames de neuroimagem, testes neuropsicológicos e estudos sobre a sincronicidade rítmica acrescentam evidências neurocientíficas sobre a forte relação entre música e atenção. As evidências relatadas neste estudo demonstram que música pode ser utilizada em contexto terapêutico com efeitos benéficos para pessoas com prejuízos na atenção ou como um recurso para desviar a atenção de sensações dolorosas ou situações estressantes.
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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 (1 de enero de 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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Jõks, Eerik y Marju Raju. "The Estonian Language and Its Influence on Music: A Cognitive Sciences Approach". Folklore: Electronic Journal of Folklore 90 (diciembre de 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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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, n.º 2(45) (23 de junio de 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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Mesnage, Marcel. "Book Review: Music. Gestalt and Computing. Studies in Cognitive and Systematic Musicology". Musicae Scientiae 2, n.º 2 (septiembre de 1998): 203–7. http://dx.doi.org/10.1177/102986499800200207.
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Helding, Lynn. "The Constitution of Voice Knowledge". Journal of Singing 80, n.º 2 (25 de octubre de 2023): 117–21. http://dx.doi.org/10.53830/dslr8533.
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The editor in chief considers the fund of knowledge upon which singers draw by first considering how this knowledge is “constituted” (a term coined by author Jonathan Rauch), then how knowledge advances over time via academic writing and adult learning opportunities like the new NATS Science-Informed Voice Pedagogy Institute. She calls for both sides of the pedagogy aisle (science and art) to cross over by echoing cognitive musicologist David Huron’s call to learn as much as possible through effort, and by cognitive scientist Gary Marcus’ example of learning to play a musical instrument as an adult with no previous experience.
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Fitch, W. Tecumseh. "Four principles of bio-musicology". Philosophical Transactions of the Royal Society B: Biological Sciences 370, n.º 1664 (19 de marzo de 2015): 20140091. http://dx.doi.org/10.1098/rstb.2014.0091.
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As a species-typical trait of Homo sapiens , musicality represents a cognitively complex and biologically grounded capacity worthy of intensive empirical investigation. Four principles are suggested here as prerequisites for a successful future discipline of bio-musicology. These involve adopting: (i) a multicomponent approach which recognizes that musicality is built upon a suite of interconnected capacities, of which none is primary; (ii) a pluralistic Tinbergian perspective that addresses and places equal weight on questions of mechanism, ontogeny, phylogeny and function; (iii) a comparative approach, which seeks and investigates animal homologues or analogues of specific components of musicality, wherever they can be found; and (iv) an ecologically motivated perspective, which recognizes the need to study widespread musical behaviours across a range of human cultures (and not focus solely on Western art music or skilled musicians). Given their pervasiveness, dance and music created for dancing should be considered central subcomponents of music, as should folk tunes, work songs, lullabies and children's songs. Although the precise breakdown of capacities required by the multicomponent approach remains open to debate, and different breakdowns may be appropriate to different purposes, I highlight four core components of human musicality—song, drumming, social synchronization and dance—as widespread and pervasive human abilities spanning across cultures, ages and levels of expertise. Each of these has interesting parallels in the animal kingdom (often analogies but in some cases apparent homologies also). Finally, I suggest that the search for universal capacities underlying human musicality, neglected for many years, should be renewed. The broad framework presented here illustrates the potential for a future discipline of bio-musicology as a rich field for interdisciplinary and comparative research.
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Leman, Marc. "The Need for a Cross-Cultural Empirical Musicology". Empirical Musicology Review 8, n.º 1 (24 de octubre de 2013): 19. http://dx.doi.org/10.18061/emr.v8i1.3920.
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The paper by Lara Pearson shows that a case study based on qualitative description may reveal interesting aspects about the co-occurrence of hand gestures and singing in a particular music culture. However, above all the paper lets us dream about what could be possible if forces from cultural studies and music cognition research were to be combined. A cross-cultural empirical musicology holds the promise of scientific work that goes far beyond qualitative descriptions.
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Dowling, W. Jay. "Book Review: The Convergence of Musicology and Music Cognition: Perception and Cognition of Music". Musicae Scientiae 2, n.º 1 (marzo de 1998): 95–98. http://dx.doi.org/10.1177/102986499800200106.
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Halle, John. "From Linguistics to Musicology. Notes on Structuralism Musical Generativism, Cognitive Science, and Philosophy". Signata, n.º 6 (31 de diciembre de 2015): 287–311. http://dx.doi.org/10.4000/signata.1109.
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Bai, Junjie, Kan Luo, Jun Peng, Jinliang Shi, Ying Wu, Lixiao Feng, Jianqing Li y Yingxu Wang. "Music Emotions Recognition by Machine Learning With Cognitive Classification Methodologies". International Journal of Cognitive Informatics and Natural Intelligence 11, n.º 4 (octubre de 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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Sloboda, John A. y Jane Ginsborg. "25 years of ESCOM: Achievements and challenges". Musicae Scientiae 22, n.º 2 (19 de marzo de 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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Elschek, Oskcár. "Book Review: The Convergence of Musicology and Music Cognition: Musik & Ästhetik". Musicae Scientiae 2, n.º 1 (marzo de 1998): 102–5. http://dx.doi.org/10.1177/102986499800200108.
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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, n.º 1 (30 de junio de 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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Allingham, Emma y Christopher Corcoran. "Report on the 10th International Conference of Students of Systematic Musicology (SysMus17)". Music & Science 1 (1 de enero de 2018): 205920431774171. http://dx.doi.org/10.1177/2059204317741717.
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The 10th annual International Conference of Students of Systematic Musicology (SysMus) took place on September 13–15, 2017, at Queen Mary University of London (UoL). The SysMus series has established itself as an international, student-run conference series aimed at introducing graduate students to networking and discussing their work in an academic conference environment. The term “Systematic Musicology,” first coined by Guido Adler (1885), nowadays covers a wide range of systematic or empirical approaches to theoretical, psychological, neuroscientific, ethnographic, and computational methodologies in music research. Presentations for SysMus17 focused on three central topics in relation to music: cognition and neuroscience, computation, and health and well-being. Each of these topics was the subject of workshops as well as keynotes by Prof. Lauren Stewart (Goldsmiths University of London and Music in the Brain Centre, Aarhus University), Prof. Elaine Chew and Dr. Marcus Pearce (both Queen Mary UoL), Dr. Daniel Müllensiefen (Goldsmiths UoL), and Prof. Aaron Williamon (Royal College of Music). Further presentations addressed issues relating to harmony and rhythm, musicians and performance, music and emotion, and sociology of music. This year’s conference brought together early-career researchers from the fields of musicology, psychology, and medicine, allowing them to socialize, share their work, and gain insight into interdisciplinary approaches to their subjects. SysMus17 was organized by students at Queen Mary’s Music Cognition Lab and was particularly marked by the series’ 10th anniversary, the live streaming of all presentations via social media, and a carbon-offsetting Green Initiative. The proceedings of SysMus17 will be available on demand from the conference website ( www.sysmus17.qmul.ac.uk ) and the videos will be made available for public access.
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Ayyildiz, Ceren, Iza Ray Korsmit, Rúben Carvalho y Andres von Schnehen. "The 15th International Conference of Students of Systematic Musicology (SysMus22)". Music & Science 6 (enero de 2023): 205920432311704. http://dx.doi.org/10.1177/20592043231170472.
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The International Conferences of Students of Systematic Musicology (SysMus) are a series of interdisciplinary student-run conferences with the aim of promoting intellectual exchange between early-career researchers in various fields of systematic musicology. In 2022, the 15th conference was hosted by the Institute for Psychoacoustics and Electronic Music (IPEM) in Ghent, Belgium, and was held in a hybrid format, allowing researchers to be present and participate in the events in person and online. SysMus22 comprised 43 posters, 23 presentations, 6 workshops, a panel discussion, musical demonstrations, and 3 musical performances. Topics were as diverse as music cognition, psychology, health and well-being, music theory and performance, technology, and philosophy, among others. Adding to the richness and diversity of topics were keynote lectures given by Psyche Loui (MIND Laboratory, Northeastern University), Mendel Kaelen (Wavepaths), and Rebecca Schaefer (Music, Brain, Health & Technology Laboratory, Leiden University). The whole conference was marked by a friendly, warm, and stimulating atmosphere, encouraging the exchange of ideas between all participants and particularly among researchers at the beginning of their academic careers in systematic musicology. This report provides an overview of SysMus22, the topics it covered, and the format it employed, with a critical discussion of the benefits and challenges posed by the hybrid format.
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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, n.º 2 (1 de julio de 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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Bimbot, Frédéric, Emmanuel Deruty, Gabriel Sargent y Emmanuel Vincent. "System & Contrast". Music Perception 33, n.º 5 (1 de junio de 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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Kaipainen, Mauri y Otto Laske. "Two Views of the First International Conference on Cognitive Musicology, 26-29 August 1993, Jyvaskyla, Finland". Computer Music Journal 18, n.º 2 (1994): 96. http://dx.doi.org/10.2307/3680447.
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Zon, Bennett. "From great man to fittest survivor: Reputation, recapitulation and survival in Victorian concepts of Wagner's genius". Musicae Scientiae 13, n.º 2_suppl (septiembre de 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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Andreatta, Moreno. "Une introduction musicologique à la recherche « mathémusicale » : aspects théoriques et enjeux épistémologiques". Circuit 24, n.º 2 (13 de agosto de 2014): 51–66. http://dx.doi.org/10.7202/1026184ar.
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Cette contribution se propose de présenter certains aspects théoriques et discuter quelques enjeux épistémologiques des recherches menées par l’auteur dans le domaine des rapports entre mathématiques et musique. Après une introduction générale sur le contexte de la recherche « mathémusicale » à l’Ircam et la place du projet misa (Modélisation informatique des structures algébriques en musique) au sein des activités de recherche de l’équipe Représentations musicales, nous discutons le problème de la formalisation algébrique de la théorie des ensembles de classes de hauteurs (Set Theory) et de la théorie transformationnelle (Transformational Theory), deux paradigmes analytiques dont nous avons étudié les aspects théoriques et computationnels à travers une démarche de modélisation informatique des structures et processus musicaux. L’analyse musicale basée sur les ensembles de classes de hauteurs et leurs transformations soulève des questions philosophiques intéressantes, notamment dans ses rapports avec la phénoménologie et les sciences cognitives. En particulier, en confrontant notre point de vue musicologique avec la phénoménologie, nous pouvons avancer l’hypothèse d’une pertinence de la catégorie de « structuralisme phénoménologique » dans une relecture/réactivation de la tradition structurale en analyse musicale.
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Plotnikova, O. M. "HEURISTIC POTENTIAL OF THE "ART WORLD" METACONCEPT IN MUSIC COMMUNICATION". Arts education and science 1, n.º 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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Barbeitas, Flavio. "Luzes sobre a música a partir da filosofia da linguagem". Per Musi, n.º 35 (diciembre de 2016): 124–46. http://dx.doi.org/10.1590/permusi20163507.
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Resumo: Já se falou que a finalidade da musicologia compreenderia a descoberta do que a "linguagem musical" nos ensina do ser humano que seja diferente daquilo que a linguagem falada e outras manifestações e instituições primordiais dele nos ensinam. Nesses termos, parece óbvio que tal tarefa depende muito do que se entende por "linguagem". Não obstante o paradigma da linguagem ter sido um bordão na concepção musical ocidental, a comparação tendeu mais a enfatizar certas "carências" e "lacunas" da música, apresentando-a inequivocamente como inferior e mais limitada quanto, por exemplo, a uma eventual função cognitiva. O presente artigo pretende rediscutir essa questão à luz de contribuições contemporâneas do pensamento sobre a linguagem, notadamente na obra de alguns filósofos italianos, como Giorgio Agamben, Paolo Virno e Adriana Cavarero.
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Kiss, Luca, Cecilia Guiot, Sarah Hashim, Nicolas D’Aleman Arango y Martin A. Miguel. "The 14th International Conference of Students of Systematic Musicology (SysMus21)". Music & Science 5 (enero de 2022): 205920432210766. http://dx.doi.org/10.1177/20592043221076613.
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The 14th International Conference of Students of Systematic Musicology (SysMus21) was held in a hybrid format that allowed both in-person and online participants to join. The SysMus conference series aims to foster a dynamic and interdisciplinary environment for students and early career researchers to share and discuss their work in the fields of systematic musicology and its related disciplines. This year at SysMus21, a total number of 26 oral and 35 poster presentations were held, covering a range of topics including well-being, data science, absorption and imagery, social connections, rhythm and groove, music information retrieval, sociology, cognition, and emotion. An introductory talk was given by Peter Vuust (Center for Music in the Brain, Aarhus University, Denmark), and two keynotes were presented by Jonna Vuoskoski (RITMO Center, University of Oslo, Norway) and Nori Jacoby (Max Planck Institute for Empirical Aesthetics, Frankfurt, Germany). Additionally, four workshops were held by Caitlyn Trevor, Joshua Bamford, Niels Christian Hansen, and Svenja Reiner, focusing on research skills relevant for developing a career in academia. In this report, an overview of the conference is provided including a summary of keynotes, presentations, workshops, and social activities, as well as a review of the advantages and challenges of the hybrid set-up.
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Golden, Michael. "Musicking as ecological behaviour: an integrated ‘4E’ view". idea journal 17, n.º 02 (1 de diciembre de 2020): 230–47. http://dx.doi.org/10.37113/ij.v17i02.349.
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In this article, I bring together research from ethnomusicology, ecology, neuroscience, ‘4E’ cognition theory and evolutionary musicology in support of the idea that musicking, human musicking in particular, can best be understood as an emergent ecological behaviour. ‘Ecological’ here is used to mean an active process of engaging with and connecting ourselves to our various environmental domains – social, physical and metaphysical – and although I will focus on musicking, these concepts may apply to other artistic behaviours as well. The essential ideas from the Santiago theory of cognition, the work of Maturana and Varela and one of the foundations of contemporary 4E cognition theory, are that we as living beings ‘bring forth’ both the inner and outer worlds we experience, and this process (cognition) is common to all life. Music is also a process (not an object), one that emerges from properties of life itself and serves to link body/mind and environment. Understood this way, ‘co-constructing body-environments’ applies to the arts in general.
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Figueiredo, Fabio Leão y Angela Elisabeth Lühning. "Terça neutra: um intervalo musical de possível origem árabe na música tradicional do nordeste brasileiro". OPUS 24, n.º 1 (26 de abril de 2018): 101. http://dx.doi.org/10.20504/opus2018a2405.
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A terça neutra, inexistente nas escalas musicais ocidentais, é um intervalo musical documentado na cultura árabe há mais de 1.000 anos. Porém, encontramos e analisamos sua presença em alguns gêneros musicais do nordeste brasileiro. Escolhemos obras fonográficas de grupos musicais vocais e instrumentais da cultura tradicional nordestina e analisamos quase 70 amostras através de procedimentos acústicos e estatísticos. Constatamos que a terça neutra de 355 cents, em situação de vozes simultâneas, está presente de maneira recorrente, com grande precisão estatística, nos grupos analisados. Conduzimos discussões nos campos das ciências cognitivas, da etnomusicologia e da musicologia, contextualizando a terça neutra em dimensões históricas e socioculturais mais amplas da realidade nordestina e sua importância na discussão sobre a diversidade da música brasileira.
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Kielar-Turska, Maria. "Stefan Szuman – człowiek wielowymiarowy". Psychologia Rozwojowa 28, n.º 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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Norris, Christopher. "In Defence of 'Structural Listening': Some Problems With the New Musicology". Musicological Annual 41, n.º 2 (1 de diciembre de 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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Célleri Quinde, Silvana Patricia, Mónica Alejandra Logroño Becerra, Edison Renato Ruiz López y Edwin Alberto Inca Chunata. "Estimulación musical para las funciones cognitivas del inglés en la educación superior". ConcienciaDigital 3, n.º 2.1 (20 de mayo de 2020): 188–98. http://dx.doi.org/10.33262/concienciadigital.v3i2.1.1233.
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Este trabajo tiene por objeto mostrar los resultados de un experimento planteado con grupos de estudiantes de diferentes edades a quienes se les aplicó musicología como un método de aprendizaje del idioma inglés. Al estimular el sentido auditivo en los diferentes grupos de prueba se identificaron las destrezas asimiladas por los estudiantes de tres entornos distintos en su formación y características, el primero un grupo de treinta estudiantes de la Facultad de Administración de Empresas, el segundo, un grupo de 30 estudiantes de la Facultad de Ciencias y el tercer grupo de 40 estudiantes de educación secundaria. El experimento concluye que el método es eficiente y logra una mejora significativa en el aprendizaje del idioma inglés, la hipótesis fue probada aplicando el estadístico T de Student para grupos correlacionados en el que se comparó el rendimiento anterior con el posterior al método en un grupo de 10 estudiantes seleccionados de manera aleatoria.
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Hawkins, Stan. "Perspectives in popular musicology: music, Lennox, and meaning in 1990s pop". Popular Music 15, n.º 1 (enero de 1996): 17–36. http://dx.doi.org/10.1017/s0261143000007947.
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Scholars of popular music in the 1990s are increasingly aware that traditional musicology has failed to recognise commercial pop music as a legitimate academic area of study. Intransigence on the part of many Western music institutions towards recognising the field of popular music study is attributable to issues that have been heatedly debated and discussed in most disciplines of popular music study. Even withstanding the expansion of critical approaches in the 1970s, which paved the way forward to the emergence of new musicological discourses by the late 1980s, musicologists engaged in popular music research have continued to feel some sense of isolation from the mainstream for obvious reasons. The implications of consumerism, commercialism, trend and hype, with the vigorous endorsement of modernist ideologies, have repeatedly curtailed any serious opportunity for studying popular music in Western music institutions. To start accommodating this area of music within any musicological discourse, scholars active within the field of popular music have had to branch out into new interdisciplinary directions to locate and interpret the ideological strands of meaning that bind pop music to its political, cultural and social context. Musical codes and idiolects are in the first instance culturally derived, with communication processes constructing the cultural norms that determine our cognition and emotional responses to musical sound (Ruud 1986). Any proposal of popular music analysis therefore needs to seek the junctures at which a range of texts interlock with musicology. Similarly, the point at which consumer demand and musical authenticity fuse requires careful consideration; it is the commodification of pop music that continues to problematise the process of its aesthetic evaluation within our Western culture.
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Tissari, Heli. "Miten yksi keho muuttui moneksi". AFinLA-e: Soveltavan kielitieteen tutkimuksia, n.º 12 (16 de abril de 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.