Rolf Inge Godøy
- Published in print:
- 2011
- Published Online:
- January 2012
- ISBN:
- 9780199553792
- eISBN:
- 9780191728617
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199553792.003.0069
- Subject:
- Psychology, Music Psychology, Cognitive Psychology
The links between musical sound and various body movements are so numerous and robust that researchers have come to believe that sensations of body movement are integral to musical experience as ...
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The links between musical sound and various body movements are so numerous and robust that researchers have come to believe that sensations of body movement are integral to musical experience as such, or to put it differently, that the perception and cognition of music is a fusion of auditory and motor sensations. In the context of music and consciousness, one consequence of this auditory-motor fusion is the belief that awareness of musical sound can be understood as an awareness of various sound-related actions. For this reason, this chapter focuses on sound-action awareness in music. It presents a spectrum of research that may shed light on this as well as some ideas on how sound-action awareness might encourage us to revise established ways of thinking in Western music theory.Less
The links between musical sound and various body movements are so numerous and robust that researchers have come to believe that sensations of body movement are integral to musical experience as such, or to put it differently, that the perception and cognition of music is a fusion of auditory and motor sensations. In the context of music and consciousness, one consequence of this auditory-motor fusion is the belief that awareness of musical sound can be understood as an awareness of various sound-related actions. For this reason, this chapter focuses on sound-action awareness in music. It presents a spectrum of research that may shed light on this as well as some ideas on how sound-action awareness might encourage us to revise established ways of thinking in Western music theory.
Mari Tervaniemi
- Published in print:
- 2003
- Published Online:
- March 2012
- ISBN:
- 9780198525202
- eISBN:
- 9780191689314
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198525202.003.0019
- Subject:
- Psychology, Music Psychology
This chapter provides a discussion on the evidence on musical sound processing. Data acquired in the mismatch negativity (MMN) paradigm have shown that temporally and spectrally complex sounds as ...
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This chapter provides a discussion on the evidence on musical sound processing. Data acquired in the mismatch negativity (MMN) paradigm have shown that temporally and spectrally complex sounds as well as their relations are automatically represented in the human auditory cortex. Furthermore, the MMN data indicate that these neural sound representations are spatially distinct between phonetic and musical sounds within and between the cerebral hemispheres. The majority of the MMN studies were conducted in pitch dimension but also temporal aspects of sound processing are under increasing experimentation. Up to some extent, also musical expertise is reflected in sound representation accuracy as indexed by the MMN. In addition, an overview on studies using musical sounds and sound successions to investigate the automatic neural sound processing is given. The chapter then outlines the recent studies comparing musicians and nonmusicians. In general, the results offer fundamental insight to the brains' ability to encode and differentiate acoustically complex sounds despite the focus of the listener's attention.Less
This chapter provides a discussion on the evidence on musical sound processing. Data acquired in the mismatch negativity (MMN) paradigm have shown that temporally and spectrally complex sounds as well as their relations are automatically represented in the human auditory cortex. Furthermore, the MMN data indicate that these neural sound representations are spatially distinct between phonetic and musical sounds within and between the cerebral hemispheres. The majority of the MMN studies were conducted in pitch dimension but also temporal aspects of sound processing are under increasing experimentation. Up to some extent, also musical expertise is reflected in sound representation accuracy as indexed by the MMN. In addition, an overview on studies using musical sounds and sound successions to investigate the automatic neural sound processing is given. The chapter then outlines the recent studies comparing musicians and nonmusicians. In general, the results offer fundamental insight to the brains' ability to encode and differentiate acoustically complex sounds despite the focus of the listener's attention.
Carl Stumpf
- Published in print:
- 2012
- Published Online:
- September 2012
- ISBN:
- 9780199695737
- eISBN:
- 9780191742286
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199695737.001.0001
- Subject:
- Psychology, Music Psychology, Developmental Psychology
This book was first published in German in 1911. The text sets out a path-breaking hypothesis on the earliest musical sounds in human culture. Alongside research in such diverse fields as classical ...
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This book was first published in German in 1911. The text sets out a path-breaking hypothesis on the earliest musical sounds in human culture. Alongside research in such diverse fields as classical philosophy, acoustics, and mathematics, Stumpf became one of the most influential psychologists of the late 19th century. He was the founding father of Gestalt psychology, and collaborated with William James, Edmund Husserl, and Wolfgang Köhler. This book was the culmination of more than twenty-five years of empirical and theoretical research in the field of music. The first part of the book discusses the origin and forms of musical activities as well as various existing theories on the origin of music, including those of Darwin, Rousseau, Herder, and Spencer. The second part summarizes his works on the historical development of instruments and music, and studies a putatively global range of music from non-European cultures to demonstrate the psychological principles of tonal organization, as well as providing a range of cross-cultural musical transcriptions and analyses. This became a foundation document for comparative musicology, the elder sibling to modern Ethnomusicology, and the book provides access to the original recordings Stumpf used in this process. This book is available for the first time in the English language.Less
This book was first published in German in 1911. The text sets out a path-breaking hypothesis on the earliest musical sounds in human culture. Alongside research in such diverse fields as classical philosophy, acoustics, and mathematics, Stumpf became one of the most influential psychologists of the late 19th century. He was the founding father of Gestalt psychology, and collaborated with William James, Edmund Husserl, and Wolfgang Köhler. This book was the culmination of more than twenty-five years of empirical and theoretical research in the field of music. The first part of the book discusses the origin and forms of musical activities as well as various existing theories on the origin of music, including those of Darwin, Rousseau, Herder, and Spencer. The second part summarizes his works on the historical development of instruments and music, and studies a putatively global range of music from non-European cultures to demonstrate the psychological principles of tonal organization, as well as providing a range of cross-cultural musical transcriptions and analyses. This became a foundation document for comparative musicology, the elder sibling to modern Ethnomusicology, and the book provides access to the original recordings Stumpf used in this process. This book is available for the first time in the English language.
Joseph M. Ortiz
- Published in print:
- 2011
- Published Online:
- August 2016
- ISBN:
- 9780801449314
- eISBN:
- 9780801460920
- Item type:
- chapter
- Publisher:
- Cornell University Press
- DOI:
- 10.7591/cornell/9780801449314.003.0005
- Subject:
- Literature, Shakespeare Studies
This chapter considers Shakespeare's exploration of musical harmony as a means of political representation. Jacques Attali, French economist and former adviser to President Mitterand, famously ...
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This chapter considers Shakespeare's exploration of musical harmony as a means of political representation. Jacques Attali, French economist and former adviser to President Mitterand, famously claimed that “listening to music is listening to all noise, realizing that its appropriation and control is a reflection of power, that it is essentially political.” From Julius Caesar to The Tempest, Shakespeare restores to music the “noisiness” that Attali sees as instrumental to its demystification. In this way, Shakespeare allows his audience to witness the political appropriation of music and compare it to their own listening experience, even at the risk of exposing his own plays as artificial constructions. Rather than make use of music's interpretive promiscuity to create a sense of dramatic unity, Shakespeare's plays often highlight the incongruence between language and musical sound—an incongruence that is always a possibility when someone attempts to describe an actual musical performance.Less
This chapter considers Shakespeare's exploration of musical harmony as a means of political representation. Jacques Attali, French economist and former adviser to President Mitterand, famously claimed that “listening to music is listening to all noise, realizing that its appropriation and control is a reflection of power, that it is essentially political.” From Julius Caesar to The Tempest, Shakespeare restores to music the “noisiness” that Attali sees as instrumental to its demystification. In this way, Shakespeare allows his audience to witness the political appropriation of music and compare it to their own listening experience, even at the risk of exposing his own plays as artificial constructions. Rather than make use of music's interpretive promiscuity to create a sense of dramatic unity, Shakespeare's plays often highlight the incongruence between language and musical sound—an incongruence that is always a possibility when someone attempts to describe an actual musical performance.
K. J. Donnelly
- Published in print:
- 2014
- Published Online:
- April 2014
- ISBN:
- 9780199773497
- eISBN:
- 9780199358816
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199773497.003.0006
- Subject:
- Music, Popular, History, Western
This chapter points to aesthetics developments that are partly inspired by technological developments (particularly the move from analogue to digital sound). Increasingly, film sound effects work ...
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This chapter points to aesthetics developments that are partly inspired by technological developments (particularly the move from analogue to digital sound). Increasingly, film sound effects work less to bolster a sense of verisimilitude than as an aesthetic effect in themselves. Sound design in many films might be understood as essentially musical in nature, following a musical logic rather than any other. Any movement from speech-centered film to one that allows more prominence to ‘noises’ is potentially a shift from film dominated by synchronized dialogue to one with significant amounts of asynchrony and sound as an effect in itself, whether through loud music or featured sounds. This chapter also suggests that the sometimes startling collapse of the space between diegetic sound and non-diegetic music manifests to a degree a collapse of psychological space.Less
This chapter points to aesthetics developments that are partly inspired by technological developments (particularly the move from analogue to digital sound). Increasingly, film sound effects work less to bolster a sense of verisimilitude than as an aesthetic effect in themselves. Sound design in many films might be understood as essentially musical in nature, following a musical logic rather than any other. Any movement from speech-centered film to one that allows more prominence to ‘noises’ is potentially a shift from film dominated by synchronized dialogue to one with significant amounts of asynchrony and sound as an effect in itself, whether through loud music or featured sounds. This chapter also suggests that the sometimes startling collapse of the space between diegetic sound and non-diegetic music manifests to a degree a collapse of psychological space.
