Perception And Cognition Of Music
Herausgeber: Deliege, Irene; Sloboda, John A
Perception And Cognition Of Music
Herausgeber: Deliege, Irene; Sloboda, John A
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This text comprises of papers relating to music and mind. It presents a range of approaches from the psychological through the computational, to the musicological.
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This text comprises of papers relating to music and mind. It presents a range of approaches from the psychological through the computational, to the musicological.
Produktdetails
- Produktdetails
- Verlag: Taylor & Francis
- Seitenzahl: 480
- Erscheinungstermin: 22. Mai 2015
- Englisch
- Abmessung: 229mm x 152mm x 25mm
- Gewicht: 635g
- ISBN-13: 9781138877092
- ISBN-10: 1138877093
- Artikelnr.: 42794376
- Verlag: Taylor & Francis
- Seitenzahl: 480
- Erscheinungstermin: 22. Mai 2015
- Englisch
- Abmessung: 229mm x 152mm x 25mm
- Gewicht: 635g
- ISBN-13: 9781138877092
- ISBN-10: 1138877093
- Artikelnr.: 42794376
Irene Deliege, John A. Sloboda
Part 1: Musicological Approaches. S. Arom
G. Leothaud
F. Voisin
Experimental Ethnomusicology: An Interactive Approach to the Study of Musical Scales. D. Cohen
R. Katz
Attitudes to the Time Axis and Cognitive Constraints: The Case of Arabic Vocal Folk Music. E. Rigbi-Shafrir
Radical Subjectivization of Time in the Music of the Fin-de-siecle: An Example by Max Reger. P. Verdix
Cognitive Sciences and Historical Sciences in Music: Ways Towards Conciliation. Part 2: Development Approaches. R.M. Abrams
K.K. Gerhardt
Some Aspects of the Foetal Sound Environment. S. Trehub
E. Schellenberg
D. Hill
The Origins of Music Perception and Cognition: A Developmental Approach. T. Umemoto
Developmental Approaches to Music Cognition and Behaviour. K.E. Behne
The Development of "Musikerleben" in Adolescence: How and Why Young People Listen to Music. A.C. Lehmann
The Acquisition of Expertise in Music: Efficiency of Deliberate Practice as a Moderating Variable in Accounting for Sub-expert Performance. Part 3: Biological Approaches. A.D. Parel
I. Peretz
Is Music Autonomous from Language? A Neurophysiological Appraisal. M. Besson
Electrophysiological Studies of Music Processing. Part 4: Acoustical and Computational Approaches.J.M. Hajda
R.A Kendall
E.C. Carterette
M.L. Harshberger
Methodological Issues in Timbre Research. Part 5: Structural Approaches. L.L. Cuddy
Tonal Relations. I. Cross
Pitch Schemata. I. Deliege
M. Melen
Cue Abstraction in the Representation of Musical Form. J.J. Nattiez
What is the Pertinence of Lerdahl-Jackendoff Theory. F. Lerdahl
Composing and Listening: A Reply to Nattiez. M. Imberty
Epistemic Subject
Psychological Subject: Regarding Lerdahl and Jackendoff's Generative Theory of Tonal Music. M. Imberty
Intertwining the Objectivity of Cognitive Analysis and the Subjectivity of the Oeuvre's Interpretations.
G. Leothaud
F. Voisin
Experimental Ethnomusicology: An Interactive Approach to the Study of Musical Scales. D. Cohen
R. Katz
Attitudes to the Time Axis and Cognitive Constraints: The Case of Arabic Vocal Folk Music. E. Rigbi-Shafrir
Radical Subjectivization of Time in the Music of the Fin-de-siecle: An Example by Max Reger. P. Verdix
Cognitive Sciences and Historical Sciences in Music: Ways Towards Conciliation. Part 2: Development Approaches. R.M. Abrams
K.K. Gerhardt
Some Aspects of the Foetal Sound Environment. S. Trehub
E. Schellenberg
D. Hill
The Origins of Music Perception and Cognition: A Developmental Approach. T. Umemoto
Developmental Approaches to Music Cognition and Behaviour. K.E. Behne
The Development of "Musikerleben" in Adolescence: How and Why Young People Listen to Music. A.C. Lehmann
The Acquisition of Expertise in Music: Efficiency of Deliberate Practice as a Moderating Variable in Accounting for Sub-expert Performance. Part 3: Biological Approaches. A.D. Parel
I. Peretz
Is Music Autonomous from Language? A Neurophysiological Appraisal. M. Besson
Electrophysiological Studies of Music Processing. Part 4: Acoustical and Computational Approaches.J.M. Hajda
R.A Kendall
E.C. Carterette
M.L. Harshberger
Methodological Issues in Timbre Research. Part 5: Structural Approaches. L.L. Cuddy
Tonal Relations. I. Cross
Pitch Schemata. I. Deliege
M. Melen
Cue Abstraction in the Representation of Musical Form. J.J. Nattiez
What is the Pertinence of Lerdahl-Jackendoff Theory. F. Lerdahl
Composing and Listening: A Reply to Nattiez. M. Imberty
Epistemic Subject
Psychological Subject: Regarding Lerdahl and Jackendoff's Generative Theory of Tonal Music. M. Imberty
Intertwining the Objectivity of Cognitive Analysis and the Subjectivity of the Oeuvre's Interpretations.
Part 1: Musicological Approaches. S. Arom
G. Leothaud
F. Voisin
Experimental Ethnomusicology: An Interactive Approach to the Study of Musical Scales. D. Cohen
R. Katz
Attitudes to the Time Axis and Cognitive Constraints: The Case of Arabic Vocal Folk Music. E. Rigbi-Shafrir
Radical Subjectivization of Time in the Music of the Fin-de-siecle: An Example by Max Reger. P. Verdix
Cognitive Sciences and Historical Sciences in Music: Ways Towards Conciliation. Part 2: Development Approaches. R.M. Abrams
K.K. Gerhardt
Some Aspects of the Foetal Sound Environment. S. Trehub
E. Schellenberg
D. Hill
The Origins of Music Perception and Cognition: A Developmental Approach. T. Umemoto
Developmental Approaches to Music Cognition and Behaviour. K.E. Behne
The Development of "Musikerleben" in Adolescence: How and Why Young People Listen to Music. A.C. Lehmann
The Acquisition of Expertise in Music: Efficiency of Deliberate Practice as a Moderating Variable in Accounting for Sub-expert Performance. Part 3: Biological Approaches. A.D. Parel
I. Peretz
Is Music Autonomous from Language? A Neurophysiological Appraisal. M. Besson
Electrophysiological Studies of Music Processing. Part 4: Acoustical and Computational Approaches.J.M. Hajda
R.A Kendall
E.C. Carterette
M.L. Harshberger
Methodological Issues in Timbre Research. Part 5: Structural Approaches. L.L. Cuddy
Tonal Relations. I. Cross
Pitch Schemata. I. Deliege
M. Melen
Cue Abstraction in the Representation of Musical Form. J.J. Nattiez
What is the Pertinence of Lerdahl-Jackendoff Theory. F. Lerdahl
Composing and Listening: A Reply to Nattiez. M. Imberty
Epistemic Subject
Psychological Subject: Regarding Lerdahl and Jackendoff's Generative Theory of Tonal Music. M. Imberty
Intertwining the Objectivity of Cognitive Analysis and the Subjectivity of the Oeuvre's Interpretations.
G. Leothaud
F. Voisin
Experimental Ethnomusicology: An Interactive Approach to the Study of Musical Scales. D. Cohen
R. Katz
Attitudes to the Time Axis and Cognitive Constraints: The Case of Arabic Vocal Folk Music. E. Rigbi-Shafrir
Radical Subjectivization of Time in the Music of the Fin-de-siecle: An Example by Max Reger. P. Verdix
Cognitive Sciences and Historical Sciences in Music: Ways Towards Conciliation. Part 2: Development Approaches. R.M. Abrams
K.K. Gerhardt
Some Aspects of the Foetal Sound Environment. S. Trehub
E. Schellenberg
D. Hill
The Origins of Music Perception and Cognition: A Developmental Approach. T. Umemoto
Developmental Approaches to Music Cognition and Behaviour. K.E. Behne
The Development of "Musikerleben" in Adolescence: How and Why Young People Listen to Music. A.C. Lehmann
The Acquisition of Expertise in Music: Efficiency of Deliberate Practice as a Moderating Variable in Accounting for Sub-expert Performance. Part 3: Biological Approaches. A.D. Parel
I. Peretz
Is Music Autonomous from Language? A Neurophysiological Appraisal. M. Besson
Electrophysiological Studies of Music Processing. Part 4: Acoustical and Computational Approaches.J.M. Hajda
R.A Kendall
E.C. Carterette
M.L. Harshberger
Methodological Issues in Timbre Research. Part 5: Structural Approaches. L.L. Cuddy
Tonal Relations. I. Cross
Pitch Schemata. I. Deliege
M. Melen
Cue Abstraction in the Representation of Musical Form. J.J. Nattiez
What is the Pertinence of Lerdahl-Jackendoff Theory. F. Lerdahl
Composing and Listening: A Reply to Nattiez. M. Imberty
Epistemic Subject
Psychological Subject: Regarding Lerdahl and Jackendoff's Generative Theory of Tonal Music. M. Imberty
Intertwining the Objectivity of Cognitive Analysis and the Subjectivity of the Oeuvre's Interpretations.