« II. Evolution, Ecology, and the Beat | Main | IV. Music, Emotion, and Meaning »
Tuesday
Oct012013

III. Dimensions of Musical Experience

Part Idue April 25
 
Stevens, S. S. “On the Theory of Scales of Measurement.” In Science, New Series, Vol. 103, No. 2684 (Jun. 7, 1946), pp. 677-680.
 
And here’s good, brief, primer on the fundamental content of the article above, in plain English. (Or corporatespeak?): Peter Flom. Nominal, ordinal, interval, ratioStatistical Analysis Consulting (Professional/commercial web page). First retrieved September 1, 2013.
 
Lerdahl, Fred (1992). Cognitive constraints on compositional systems. In Contemporary Music Review 6:2, 97-121.
 
*** 
 
Part II—(optional for following week)
 
AUDITORY SCENE ANALYSIS (Foundations):
 
Bregman, Albert. Auditory Scene Analysis: hearing in complex environments. In McAdams, S. & Bigand, E. (eds.) Thinking in Sound: The Cognitive Psychology of Human Audition. Oxford: Oxford University Press, 10-36.
 
Gregory, Andrew (1994). Timbre and Auditory StreamingMusic Perception 12:2, 161-174.
 
EXPERIMENTS:
 
Povel & Essens (1987). Grouping conditions in listening to music: an approach to Lerdahl & Jackendoff’s grouping preference rules. In Music Perception 4:4, 325-359.
  

Tekman, Hasan Gürkan (1995). Cue trading in the perception of rhythmic structureMusic Perception13:1, 17-38.

 

Dowling, W.J. (1973). Rhythmic groups and subjective chunks in memory for melodies. Perception & Psychophysics, 14, 37-40.

 

Differentiation of dimensions and their impact on perception

McAdams, Stephen (1989). Psychological constraints on form-bearing dimensions in music. Originally in Contemporary Music Review, 4:1, 181-198.
 
McAdams, S., and Matzkin, D. (2003). “The roots of musical variation in perceptional similarity and invariance.” In I. Peretz & R. J. Zatorre (Eds.), The Cognitive Neuroscience of Music. New York: Oxford University Press, 76-94.
 
Deliège, Irène (2001). Similarity Perception ↔ Categorization ↔ Cue Abstraction. In Music Perception 18:3, 233-243.
  

Additional reading:

Wessel, David (1979). Timbre Space as a Musical Control Structure. Computer Music Journal, 3/2, 45-52.

 

Carson, Benjamin (2007). Perceiving and distinguishing simple timespan ratios without metric reinforcementJournal of New Music Research 36/4. 313-336 [focus on pp 317-322].

Reader Comments

There are no comments for this journal entry. To create a new comment, use the form below.

PostPost a New Comment

Enter your information below to add a new comment.

My response is on my own website »
Author Email (optional):
Author URL (optional):
Post:
 
Some HTML allowed: <a href="" title=""> <abbr title=""> <acronym title=""> <b> <blockquote cite=""> <code> <em> <i> <strike> <strong>