Music and the Cognitive Sciences 1990 (Contemporary Music Review (M.E. Sharpe))

Book Cover......Page 1
Title......Page 3
Copyright......Page 5
Contents......Page 7
Introduction: Cognitive Science and Music—An Overview......Page 10
Music in Culture......Page 16
An Interactive Experimental Method for the Determination of Musical Scales in Oral Cultures......Page 23
The Influence of the Taambura Drone on the Perception of Proximity Among Scale Types in North Indian Classical Music......Page 30
Constraints on Music Cognition—Psychoacoustical......Page 46
Identification and Blend of Timbres as a Basis for Orchestration......Page 64
What is the Octave of a Harmonically Rich Note?......Page 84
Brighness and Octave Position: Are Changes in Spectral Envelope and in Tone Height Perceptually Equivalent?......Page 98
Constraints on Music Cognition—Neural......Page 111
Split-Brain Studies of Music Perception and Cognition......Page 128
Music Structure in Cognition......Page 141
Is the Perception of Melody Governed by Motivic Arguments or by Generative Rules or by Both?......Page 159
Transformation, Migration and Restoration Shades of Illusion in te Perception of Music......Page 172
Associationism and Musical Soundtrack Phenomena......Page 184
Rhythm Perception: Interactions Between Time and Intensity......Page 201
Mechanisms of Cue Extraction in Memory for Musical Time......Page 213
Generativity, Mimesis and the Human Body in Music Performance......Page 230
Representation of Musical Structure......Page 244
A Connectionist and a Traditional AI Quantizer, Symbolic Versus Sub-Symbolic Models of Rhythm Perception......Page 263
Computer Perception of Phrase Structure......Page 283
Critical Study of Sundberg's Rules for Experssion in the Performance of Melodies......Page 296
Contribution to the Design of an Expert System for the Generation of Tonal Multiple Counterpoint......Page 305
Computer-Aided Comparison of Syntax Systems in Three Piano Pieces by Debussy......Page 316
General Issues in Cognitive Musicology......Page 338
Psychological Analysis of Musical Composition......Page 345
How do We Perceive Atonal Music? Suggestions for a Theoretical Approach?......Page 362
Name Index......Page 377
Subject Index......Page 388
Notes For Contributors......Page 398