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Cognitive Musicology
Cognitive musicology is a branch of cognitive science concerned with computationally modeling musical knowledge with the goal of understanding both music and cognition. Cognitive musicology can be differentiated from other branches of music psychology via its methodological emphasis, using computer modeling to study music-related knowledge representation with roots in artificial intelligence and cognitive science. The use of computer models provides an exacting, interactive medium in which to formulate and test theories. This interdisciplinary field investigates topics such as the parallels between language and music in the brain. Biologically inspired models of computation are often included in research, such as neural networks and evolutionary programs. This field seeks to model how musical knowledge is represented, stored, perceived, performed, and generated. By using a well-structured computer environment, the systematic structures of these cognitive phenomena can be inves ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Andranik Tangian
Andranik Semovich Tangian (Melik-Tangyan) (Russian: Андраник Семович Тангян (Мелик-Тангян)); born March 29, 1952) is a Soviet Armenian-German mathematician, political economist and music theorist. Tangian is known for the mathematical theory of democracy, the Third Vote election method, criticism of flexicurity employment strategy and models of artificial perception of music. He is professor of the Institute for Economics (ECON) of the Karlsruhe Institute of Technology. Biography Andranik Tangian was born in Moscow, Soviet Union, on March 29, 1952. After the graduation from the Faculty of Mechanics and Mathematics of the Moscow State University in 1974, he has worked at the Gubkin Russian State University of Oil and Gas and the Central Economic Mathematical Institute of the Academy of Sciences of the Soviet Union, where he got his PhD in mathematics in 1979. From 1980 to 1983 he worked as assistant professor at the Academy of National Econo ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Musicology
Musicology (from Greek μουσική ''mousikē'' 'music' and -λογια ''-logia'', 'domain of study') is the scholarly analysis and research-based study of music. Musicology departments traditionally belong to the humanities, although some music research is scientific in focus (psychological, sociological, acoustical, neurological, computational). Some geographers and anthropologists have an interest in musicology so the social sciences also have an academic interest. A scholar who participates in musical research is a musicologist. Musicology traditionally is divided in three main branches: historical musicology, systematic musicology and ethnomusicology. Historical musicologists mostly study the history of the western classical music tradition, though the study of music history need not be limited to that. Ethnomusicologists draw from anthropology (particularly field research) to understand how and why people make music. Systematic musicology includes music theory, aes ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Cognitive Musicology
Cognitive musicology is a branch of cognitive science concerned with computationally modeling musical knowledge with the goal of understanding both music and cognition. Cognitive musicology can be differentiated from other branches of music psychology via its methodological emphasis, using computer modeling to study music-related knowledge representation with roots in artificial intelligence and cognitive science. The use of computer models provides an exacting, interactive medium in which to formulate and test theories. This interdisciplinary field investigates topics such as the parallels between language and music in the brain. Biologically inspired models of computation are often included in research, such as neural networks and evolutionary programs. This field seeks to model how musical knowledge is represented, stored, perceived, performed, and generated. By using a well-structured computer environment, the systematic structures of these cognitive phenomena can be inves ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Footnotes
A note is a string of text placed at the bottom of a page in a book or document or at the end of a chapter, volume, or the whole text. The note can provide an author's comments on the main text or citations of a reference work in support of the text. Footnotes are notes at the foot of the page while endnotes are collected under a separate heading at the end of a chapter, volume, or entire work. Unlike footnotes, endnotes have the advantage of not affecting the layout of the main text, but may cause inconvenience to readers who have to move back and forth between the main text and the endnotes. In some editions of the Bible, notes are placed in a narrow column in the middle of each page between two columns of biblical text. Numbering and symbols In English, a footnote or endnote is normally flagged by a superscripted number immediately following that portion of the text the note references, each such footnote being numbered sequentially. Occasionally, a number between brack ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Music Therapy
Music therapy, an allied health profession, "is the clinical and evidence-based use of music interventions to accomplish individualized goals within a therapeutic relationship by a credentialed professional who has completed an approved music therapy program." Music therapy is a broad field. Music therapists use music-based experiences to address client needs in one or more domains of human functioning: cognitive, academic, emotional/psychological; behavioral; communication; social; physiological (sensory, motor, pain, neurological and other physical systems), spiritual, aesthetics. Music experiences are strategically designed to utilize the elements of music for therapeutic effects, including melody, harmony, key, mode, meter, rhythm, pitch/range, duration, timbre, form, texture, and instrumentation. Some common music therapy practices include developmental work (communication, motor skills, etc.) with individuals with special needs, songwriting and listening in reminiscenc ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Psychoacoustics
Psychoacoustics is the branch of psychophysics involving the scientific study of sound perception and audiology—how humans perceive various sounds. More specifically, it is the branch of science studying the psychological responses associated with sound (including noise, speech, and music). Psychoacoustics is an interdisciplinary field of many areas, including psychology, acoustics, electronic engineering, physics, biology, physiology, and computer science. Background Hearing is not a purely mechanical phenomenon of wave propagation, but is also a sensory and perceptual event; in other words, when a person hears something, that something arrives at the ear as a mechanical sound wave traveling through the air, but within the ear it is transformed into neural action potentials. The outer hair cells (OHC) of a mammalian cochlea give rise to enhanced sensitivity and better frequency resolution of the mechanical response of the cochlear partition. These nerve pulses then travel to ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Music Psychology
Music psychology, or the psychology of music, may be regarded as a branch of both psychology and musicology. It aims to explain and understand musical behaviour and experience, including the processes through which music is perceived, created, responded to, and incorporated into everyday life. Modern music psychology is primarily empirical; its knowledge tends to advance on the basis of interpretations of data collected by systematic observation of and interaction with human participants. Music psychology is a field of research with practical relevance for many areas, including music performance, composition, education, criticism, and therapy, as well as investigations of human attitude, skill, performance, intelligence, creativity, and social behavior. Music psychology can shed light on non-psychological aspects of musicology and musical practice. For example, it contributes to music theory through investigations of the perception and computational modelling of musical ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Cognitive Neuroscience Of Music
The neuroscience of music is the scientific study of brain-based mechanisms involved in the cognitive processes underlying music. These behaviours include music listening, performing, composing, reading, writing, and ancillary activities. It also is increasingly concerned with the brain basis for musical aesthetics and musical emotion. Scientists working in this field may have training in cognitive neuroscience, neurology, neuroanatomy, psychology, music theory, computer science, and other relevant fields. The cognitive neuroscience of music represents a significant branch of music psychology, and is distinguished from related fields such as cognitive musicology in its reliance on direct observations of the brain and use of brain imaging techniques like functional magnetic resonance imaging (fMRI) and positron emission tomography (PET). Elements of music Pitch Sounds consist of waves of air molecules that vibrate at different frequencies. These waves travel to the basilar memb ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Music Acquisition
Music Acquisition is a theory that people can acquire music Music is generally defined as the art of arranging sound to create some combination of form, harmony, melody, rhythm or otherwise expressive content. Exact definitions of music vary considerably around the world, though it is an aspe ... over time. Research shows that the definition or attributes used for expression through language can also be used for expression through music or musical instruments This theory is influenced by the concept of language acquisition, gaining the ability to perceive and comprehend a language over time. Language acquisition also includes the use and production of language as a form of expression. Scientifically, there is insufficient information or cases to determine that music acquisition is even possible. References External links * NCBI Music and Early Language Acquisition Music psychology {{music-stub ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Ray Jackendoff
Ray Jackendoff (born January 23, 1945) is an American linguist. He is professor of philosophy, Seth Merrin Chair in the Humanities and, with Daniel Dennett, co-director of the Center for Cognitive Studies at Tufts University. He has always straddled the boundary between generative linguistics and cognitive linguistics, committed to both the existence of an innate universal grammar (an important thesis of generative linguistics) and to giving an account of language that is consistent with the current understanding of the human mind and cognition (the main purpose of cognitive linguistics). Jackendoff's research deals with the semantics of natural language, its bearing on the formal structure of cognition, and its lexical and syntactic expression. He has conducted extensive research on the relationship between conscious awareness and the computational theory of mind, on syntactic theory, and, with Fred Lerdahl, on musical cognition, culminating in their generative theory ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Fred Lerdahl
Alfred Whitford (Fred) Lerdahl (born March 10, 1943, in Madison, Wisconsin) is the Fritz Reiner Professor Emeritus of Musical Composition at Columbia University, and a composer and music theorist best known for his work on musical grammar and cognition, rhythmic theory, pitch space, and cognitive constraints on compositional systems. He has written many orchestral and chamber works, three of which were finalists for the Pulitzer Prize for Music: ''Time after Time'' in 2001, String Quartet No. 3 in 2010, and ''Arches'' in 2011. Life Lerdahl studied with James Ming at Lawrence University, where he earned his BMus in 1965, and with Milton Babbitt, Edward T. Cone, and Earl Kim at Princeton University, where he earned his MFA in 1967. At Tanglewood he studied with Arthur Berger in 1964 and Roger Sessions in 1966. He then studied with Wolfgang Fortner at the Hochschule für Musik in Freiburg/Breisgau in 1968–69, on a Fulbright Scholarship. From 1991 to 2018 Lerdahl was Fritz ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
