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Introducing the neuronal mechanisms of pitch and harmony, and the role of neuronal oscillations for brain and mind, this unique title demonstrates that musical pitch is a temporal and not a spectral phenomenon, and musical harmony is not a cultural heritage but a mathematical necessity based on neurobiological mechanisms.
Harmony is an integral part of our auditory environment. Resonances characterised by harmonic frequency relationships are found throughout the natural world and harmonic sounds are essential elements of speech, communication and, of course, music. Providing neurophysiological data and theories that are suitable to explain the neural code of pitch and harmony, the author demonstrates that musical pitch is a temporal phenomenon and musical harmony is a mathematical necessity based on neuronal mechanisms. Moreover, he offers new evidence for the role of an auditory time constant for speech and music perception as well as for similar neuronal processing mechanisms of auditory and brain waves. Successfully relating current neurophysiological results to the ancient ideas of Pythagoras, this unique title will appeal to specialists in the fields of neurophysiology, neuroacoustics, linguistics, behavioural biology and musicology as well as to a broader audience interested in the neural basis of music perception.
This classic reference work, the best one-volume music dictionary available, has been brought completely up to date in this new edition. Combining authoritative scholarship and lucid, lively prose, the Fourth Edition of The Harvard Dictionary of Music is the essential guide for musicians, students, and everyone who appreciates music. The Harvard Dictionary of Music has long been admired for its wide range as well as its reliability. This treasure trove includes entries on all the styles and forms in Western music; comprehensive articles on the music of Africa, Asia, Latin America, and the Near East; descriptions of instruments enriched by historical background; and articles that reflect today’s beat, including popular music, jazz, and rock. Throughout this Fourth Edition, existing articles have been fine-tuned and new entries added so that the dictionary fully reflects current music scholarship and recent developments in musical culture. Encyclopedia-length articles by notable experts alternate with short entries for quick reference, including definitions and identifications of works and instruments. More than 220 drawings and 250 musical examples enhance the text. This is an invaluable book that no music lover can afford to be without.
This eBook is a collection of articles from a Frontiers Research Topic. Frontiers Research Topics are very popular trademarks of the Frontiers Journals Series: they are collections of at least ten articles, all centered on a particular subject. With their unique mix of varied contributions from Original Research to Review Articles, Frontiers Research Topics unify the most influential researchers, the latest key findings and historical advances in a hot research area! Find out more on how to host your own Frontiers Research Topic or contribute to one as an author by contacting the Frontiers Editorial Office: frontiersin.org/about/contact.
Our understanding of music is inherently metaphorical, and metaphoricity pervades all sorts of musical discourses, be they theoretical, analytical, philosophical, pedagogical, or even scientific. The notions of "body" and "force" are the two most pervasive and comprehensive scientific metaphors in musical discourse. Throughout various intertwined contexts in history, the body–force pair manifests multiple layers of ideological frameworks and permits the conceptualization of music in a variety of ways. Youn Kim investigates these concepts of body and force in the emerging field of music psychology in the late nineteenth and early twentieth centuries. The field’s discursive space spans diverse contexts, including psychological theories of auditory perception and cognition, pedagogical theories on the performer’s bodily mechanism, speculative and practical theories of musical rhythm, and aesthetical discussion of the power of music. This investigation of body and force aims to illuminate not just the past scene of music psychology but also the notions of music that are being constructed at present.
This book provides a comprehensive overview of music data analysis, from introductory material to advanced concepts. It covers various applications including transcription and segmentation as well as chord and harmony, instrument and tempo recognition. It also discusses the implementation aspects of music data analysis such as architecture, user interface and hardware. It is ideal for use in university classes with an interest in music data analysis. It also could be used in computer science and statistics as well as musicology.
This volume presents a selection of research papers on various topics at the interface of statistics and computer science. Emphasis is put on the practical applications of statistical methods in various disciplines, using machine learning and other computational methods. The book covers fields of research including the design of experiments, computational statistics, music data analysis, statistical process control, biometrics, industrial engineering, and econometrics. Gathering innovative, high-quality and scientifically relevant contributions, the volume was published in honor of Claus Weihs, Professor of Computational Statistics at TU Dortmund University, on the occasion of his 66th birthday.
The ICTM Study Group on Music Archaeology was founded in the early 1980s by Ellen Hickmann, John Blacking, Mantle Hood and Cajsa S. Lund. This is the third volume of the new anthology series published by the study group, bringing together theoretical and methodological approaches in the study of past music cultures. Each volume of the series is composed of concise case studies, bringing together the world's foremost researchers on a particular subject, reflecting the wide scope of music-archaeological research world-wide. The series draws in perspectives from a range of different disciplines, including newly emerging fields such as archaeoacoustics, but particularly encouraging both music-archaeological and ethnomusicological perspectives.
A state-of-the-art overview of the latest theory and research in music psychology, written by leaders in the field. This authoritative, landmark volume offers a comprehensive state-of-the-art overview of the latest theory and research in music perception and cognition. Eminent scholars from a range of disciplines, employing a variety of methodologies, describe important findings from core areas of the field, including music cognition, the neuroscience of music, musical performance, and music therapy. The book can be used as a textbook for courses in music cognition, auditory perception, science of music, psychology of music, philosophy of music, and music therapy, and as a reference for researchers, teachers, and musicians. The book's sections cover music perception; music cognition; music, neurobiology, and evolution; musical training, ability, and performance; and musical experience in everyday life. Chapters treat such topics as pitch, rhythm, and timbre; musical expectancy, musicality, musical disorders, and absolute pitch; brain processes involved in music perception, cross-species studies of music cognition, and music across cultures; improvisation, the assessment of musical ability, and singing; and music and emotions, musical preferences, and music therapy. Contributors Fleur Bouwer, Peter Cariani, Laura K. Cirelli, Annabel J. Cohen, Lola L. Cuddy, Shannon de L'Etoile, Jessica A. Grahn, David M. Greenberg, Bruno Gingras, Henkjan Honing, Lorna S. Jakobson, Ji Chul Kim, Stefan Koelsch, Edward W. Large, Miriam Lense, Daniel Levitin, Charles J. Limb, Psyche Loui, Stephen McAdams, Lucy M. McGarry, Malinda J. McPherson, Andrew J. Oxenham, Caroline Palmer, Aniruddh Patel, Eve-Marie Quintin, Peter Jason Rentfrow, Edward Roth, Frank A. Russo, Rebecca Scheurich, Kai Siedenburg, Avital Sternin, Yanan Sun, William F. Thompson, Renee Timmers, Mark Jude Tramo, Sandra E. Trehub, Michael W. Weiss, Marcel Zentner
The book "Cognitive and Computational Neuroscience - Principles, Algorithms and Applications" will answer the following question and statements: System-level neural modeling: what and why? We know a lot about the brain! Need to integrate data: molecular/cellular/system levels. Complexity: need to abstract away higher-order principles. Models are tools to develop explicit theories, constrained by multiple levels (neural and behavioral). Key: models (should) make novel testable predictions on both neural and behavioral levels. Models are useful tools for guiding experiments. The hope is that the information provided in this book will trigger new researches that will help to connect basic neuroscience to clinical medicine.