Cognitive Foundations of Musical Pitch

Nonfiction, Entertainment, Music, Instruments & Instruction, Instruction & Study, Theory & Criticism, Health & Well Being, Psychology, Cognitive Psychology
Cover of the book Cognitive Foundations of Musical Pitch by Carol L. Krumhansl, Oxford University Press
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Author: Carol L. Krumhansl ISBN: 9780190287443
Publisher: Oxford University Press Publication: November 15, 2001
Imprint: Oxford University Press Language: English
Author: Carol L. Krumhansl
ISBN: 9780190287443
Publisher: Oxford University Press
Publication: November 15, 2001
Imprint: Oxford University Press
Language: English

This book addresses the central problem of music cognition: how listeners' responses move beyond mere registration of auditory events to include the organization, interpretation, and remembrance of these events in terms of their function in a musical context of pitch and rhythm. Equally important, the work offers an analysis of the relationship between the psychological organization of music and its internal structure. Combining over a decade of original research on music cognition with an overview of the available literature, the work will be of interest to cognitive and physiological psychologists, psychobiologists, musicians, music researchers, and music educators. The author provides the necessary background in experimental methodology and music theory so that no specialized knowledge is required for following her major arguments.

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This book addresses the central problem of music cognition: how listeners' responses move beyond mere registration of auditory events to include the organization, interpretation, and remembrance of these events in terms of their function in a musical context of pitch and rhythm. Equally important, the work offers an analysis of the relationship between the psychological organization of music and its internal structure. Combining over a decade of original research on music cognition with an overview of the available literature, the work will be of interest to cognitive and physiological psychologists, psychobiologists, musicians, music researchers, and music educators. The author provides the necessary background in experimental methodology and music theory so that no specialized knowledge is required for following her major arguments.

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