Perception and Cognition of Music

Perception and Cognition of Music

Perception and Cognition of Music

Perception and Cognition of Music

Synopsis

This text comprises of reviews of work relating to music and mind. It presents a range of approaches from the psychological through the computational, to the musicological. The reviews were selected from papers submitted at the Third International Conference on Music Perception and Cognition Liege 1994 to illustrate the wide range of perspectives now being adopted in studying how humans make and respond to music. The book is divided ino five sections. The first part illustrates the role of analysis and ethnomusicology in understanding cultural determinants of musical behaviour. The second part charts what is known about aquisition of musical competence, from pre-birth through to the expert performer. The evidence accumulated about specific areas of the brain which control musical thinking and behaviour is examined in Part Three. The fourth part examines how neurological, behavioural and artificial intelligence approaches are converging to shed light on processes in auditory perception. Finally, Part Five highlights the important developments in how we conceptualize the way in which musical structures are represented in the mind.

Excerpt

The Third International Conference on Music Perception and Cognition (ICMPC) was held at Liège in July 1994. The European Society for the Cognitive Sciences of Music (ESCOM) was honoured to be invited to host the ICMPC in its first European venue. The first ICMPC was held at Kyoto, Japan, in 1989, and the second in Los Angeles in 1992. The fourth (Montreal, August 1996) will already have taken place by the time this volume is published. The third ICMPC is the first in the series to have stimulated a book of this sort, and we hope that it may begin a tradition to be followed by our successor organisers. The present book includes but a few of the numerous conferences and lectures given during this congress. All of these presentations were made by members of the ESCOM which, together with the ICMPC, thus held its own tri-annual conference, the first of which took place at Trieste in October 1991.

As we shall see, the issues discussed in these articles are varied and cover domains and research objects which were the basic concept of ESCOM (founded at a first Triennial Conference in Trieste, and for whom the third ICMPC also served as its second Triennial Conference): treating the musical phenomenon in its full complexity, through its neurophysiological, psychological, but also cultural, historic and sociological aspects, since these may not be isolated from one another without compromising the real reach of the works, their implication . . .

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