Perception and Cognition of Music (eBook, PDF)
The Sorbonne Lectures
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Perception and Cognition of Music: The Sorbonne Lectures presents revised and updated materials delivered in four distinguished lectures at the Université Paris-Sorbonne and the Université de Montréal, originally published in French. The book bridges the fields of music psychology, music theory, and music analysis by way of a consideration of several aspects of music listening through the lens of cognitive psychology. Auditory grouping processes play a role in organizing the continuous incoming sensory information into events, streams of events, and segments of streams that form musical uni...
Perception and Cognition of Music: The Sorbonne Lectures presents revised and updated materials delivered in four distinguished lectures at the Université Paris-Sorbonne and the Université de Montréal, originally published in French. The book bridges the fields of music psychology, music theory, and music analysis by way of a consideration of several aspects of music listening through the lens of cognitive psychology. Auditory grouping processes play a role in organizing the continuous incoming sensory information into events, streams of events, and segments of streams that form musical units. Perceived properties of events and streams depend on how the incoming information is organized. Special attention is given to timbre as an understudied musical parameter, which can be a strong structuring force and form-bearing element in music through orchestration practice. The development of systems of abstract knowledge built on different musical parameters within a given culture focuses on the cognitive processing of pitch systems and structures and their role in the mental representation of hierarchical event structures in listeners' minds. Finally, given that music is a temporal art par excellence, the temporality of music listening is explored through a collaborative project involving a composer, psychologists, and musicologists around the conception and creation of a musical work and the perception and affective response it engenders in a live-concert experiment. Each chapter concludes with elements for reflection to expand the necessary transdisciplinary approach that music scholarship needs.
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