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Cognitive Musicology
Cognitive musicology is a branch of cognitive science concerned with computationally modeling musical knowledge with the goal of understanding both music and cognition. Cognitive musicology can be differentiated from other branches of music psychology via its methodological emphasis, using computer modeling to study music-related knowledge representation with roots in artificial intelligence and cognitive science. The use of computer models provides an exacting, interactive medium in which to formulate and test theories. This interdisciplinary field investigates topics such as the parallels between language and music in the brain. Biologically inspired models of computation are often included in research, such as neural networks and evolutionary programs. This field seeks to model how musical knowledge is represented, stored, perceived, performed, and generated. By using a well-structured computer environment, the systematic structures of these cognitive phenomena can be investig ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Cognitive Science
Cognitive science is the interdisciplinary, scientific study of the mind and its processes. It examines the nature, the tasks, and the functions of cognition (in a broad sense). Mental faculties of concern to cognitive scientists include perception, memory, attention, reasoning, language, and emotion. To understand these faculties, cognitive scientists borrow from fields such as psychology, economics, artificial intelligence, neuroscience, linguistics, and anthropology.Thagard, PaulCognitive Science, ''The Stanford Encyclopedia of Philosophy'' (Fall 2008 Edition), Edward N. Zalta (ed.). The typical analysis of cognitive science spans many levels of organization, from learning and decision-making to logic and planning; from neuron, neural circuitry to modular brain organization. One of the fundamental concepts of cognitive science is that "thinking can best be understood in terms of representational structures in the mind and computational procedures that operate on those structur ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Andranik Tangian
Andranik Semovich Tangian (Melik-Tangyan) (Russian: Андраник Семович Тангян (Мелик-Тангян)); born March 29, 1952) is a Soviet Armenian-German mathematician, political economist and music theorist. He is professor of the Institute for Economics (ECON) of the Karlsruhe Institute of Technology. Biography As a self-taught composer, he debuted with orchestral music to the play ''The Last Trimester'' at the Moscow in 1977. Tangian spent the academic year 1990/91 at the University of Hagen and published his first monograph on the mathematical theory of democracy in 1991. During the next two academic years, Tangian has been visiting professor/researcher at the computer music studio ACROE–LIFIA of the Grenoble Institute of Technology, where he wrote a monograph on artificial perception and music. From 1993 to 2002 Tangian ran a project on constructing objective functions for econometric decision models at the University of Hagen. Works Mathematica ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Musicology
Musicology is the academic, research-based study of music, as opposed to musical composition or performance. Musicology research combines and intersects with many fields, including psychology, sociology, acoustics, neurology, natural sciences, formal sciences and computer science. Musicology is traditionally divided into three branches: music history, systematic musicology, and ethnomusicology. Historical musicologists study the history of musical traditions, the origins of works, and the biographies of composers. Ethnomusicologists draw from anthropology (particularly field research) to understand how and why people make music. Systematic musicology includes music theory, aesthetics, pedagogy, musical acoustics, the science and technology of musical instruments, and the musical implications of physiology, psychology, sociology, philosophy and computing. Cognitive musicology is the set of phenomena surrounding the cognitive modeling of music. When musicologists carry out ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Cognitive Musicology
Cognitive musicology is a branch of cognitive science concerned with computationally modeling musical knowledge with the goal of understanding both music and cognition. Cognitive musicology can be differentiated from other branches of music psychology via its methodological emphasis, using computer modeling to study music-related knowledge representation with roots in artificial intelligence and cognitive science. The use of computer models provides an exacting, interactive medium in which to formulate and test theories. This interdisciplinary field investigates topics such as the parallels between language and music in the brain. Biologically inspired models of computation are often included in research, such as neural networks and evolutionary programs. This field seeks to model how musical knowledge is represented, stored, perceived, performed, and generated. By using a well-structured computer environment, the systematic structures of these cognitive phenomena can be investig ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Footnotes
In publishing, a note is a brief text in which the author comments on the subject and themes of the book and names supporting citations. In the editorial production of books and documents, typographically, a note is usually several lines of text at the bottom of the page, at the end of a chapter, at the end of a volume, or a house-style typographic usage throughout the text. Notes are usually identified with superscript numbers or a symbol.''The Oxford Companion to the English Language'' (1992) p. 709. Footnotes are informational notes located at the foot of the thematically relevant page, whilst endnotes are informational notes published at the end of a chapter, the end of a volume, or the conclusion of a multi-volume book. Unlike footnotes, which require manipulating the page design (text-block and page layouts) to accommodate the additional text, endnotes are advantageous to editorial production because the textual inclusion does not alter the design of the publication. H ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Music Therapy
Music therapy, an allied health profession, "is the clinical and evidence-based use of music interventions to accomplish individualized goals within a therapeutic relationship by a credentialed professional who has completed an approved music therapy program." It is also a vocation, involving a deep commitment to music and the desire to use it as a medium to help others. Although music therapy has only been established as a profession relatively recently, the connection between music and therapy is not new. Music therapy is a broad field. Music therapists use music-based experiences to address client needs in one or more domains of human functioning: cognitive, academic, emotional/psychological; behavioral; communication; social; physiological (sensory, motor, pain, neurological and other physical systems), spiritual, aesthetics. Music experiences are strategically designed to use the elements of music for therapeutic effects, including melody, harmony, key, mode, meter, rhythm, ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Psychoacoustics
Psychoacoustics is the branch of psychophysics involving the scientific study of the perception of sound by the human auditory system. It is the branch of science studying the psychological responses associated with sound including noise, speech, and music. Psychoacoustics is an interdisciplinary field including psychology, acoustics, electronic engineering, physics, biology, physiology, and computer science. Background Hearing is not a purely mechanical phenomenon of wave propagation, but is also a sensory and perceptual event. When a person hears something, that something arrives at the ear as a mechanical sound wave traveling through the air, but within the ear it is transformed into neural action potentials. These nerve pulses then travel to the brain where they are perceived. Hence, in many problems in acoustics, such as for Auditory system, audio processing, it is advantageous to take into account not just the mechanics of the environment, but also the fact that both the ear ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Music Psychology
The psychology of music, or music psychology, is a branch of psychology, cognitive science, neuroscience, and/or musicology. It aims to explain and understand musical behaviour and experience, including the processes through which music is perceived, created, responded to, and incorporated into everyday life. Modern work in the psychology of music is primarily empirical; its knowledge tends to advance on the basis of interpretations of data collected by systematic observation of and interaction with human participants. In addition to its basic-science role in the cognitive sciences, the field has practical relevance for many areas, including music performance, composition, education, criticism, and therapy; investigations of human attitude, skill, performance, intelligence, creativity, and social behavior; and links between music and health. The psychology of music can shed light on non-psychological aspects of musicology and musical practice. For example, it contrib ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Cognitive Neuroscience Of Music
The neuroscience of music is the scientific study of brain-based mechanisms involved in the cognitive processes underlying music. These behaviours include music listening, Performance, performing, Musical composition, composing, reading, writing, and ancillary activities. It also is increasingly concerned with the brain basis for Aesthetics of music, musical aesthetics and musical emotion. Scientists working in this field may have training in cognitive neuroscience, neurology, neuroanatomy, psychology, music theory, computer science, and other relevant fields. The cognitive neuroscience of music represents a significant branch of music psychology, and is distinguished from related fields such as cognitive musicology in its reliance on direct observations of the brain and use of brain imaging techniques like functional magnetic resonance imaging (fMRI) and positron emission tomography (PET). Elements of music Pitch Sounds consist of waves of air molecules that vibrate at differen ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Music Acquisition
Music acquisition is the process by which people acquire an understanding of music. Research shows that the definition or attributes used for expression through language can also be used for expression through music or musical instruments The study of music acquisition is heavily related to the concept of language acquisition Language acquisition is the process by which humans acquire the capacity to perceive and comprehend language. In other words, it is how human beings gain the ability to be aware of language, to understand it, and to produce and use words and s ..., gaining the ability to perceive and comprehend a language over time. Language acquisition also includes the use and production of language as a form of expression. References External links * NCBI Music and Early Language Acquisition Music psychology {{music-stub ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Ray Jackendoff
Ray Jackendoff (born January 23, 1945) is an American linguist. He is professor of philosophy, Seth Merrin Chair in the Humanities and, with Daniel Dennett, co-director of the Center for Cognitive Studies at Tufts University. He has always straddled the boundary between generative linguistics and cognitive linguistics, committed to both the existence of an innate universal grammar (an important thesis of generative linguistics) and to giving an account of language that is consistent with the current understanding of the human mind and cognition (the main purpose of cognitive linguistics). Jackendoff's research deals with the semantics of natural language, its bearing on the formal structure of cognition, and its lexical and syntactic expression. He has conducted extensive research on the relationship between conscious awareness and the computational theory of mind, on syntactic theory, and, with Fred Lerdahl, on musical cognition, culminating in their generative theory of t ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Fred Lerdahl
Alfred Whitford (Fred) Lerdahl (born March 10, 1943) is an American music theorist and composer. Best known for his work on musical grammar, Music cognition, cognition, Rhythm, rhythmic theory, and pitch space, he and the linguist Ray Jackendoff developed the Chomsky-inspired generative theory of tonal music. Lerdahl has written numerous orchestral and chamber works, three of which were finalists for the Pulitzer Prize for Music: ''Time after Time'' in 2001, String Quartet No. 3 in 2010, and ''Arches (Lerdahl), Arches'' in 2011. He is a Professor Emeritus of Musical Composition at Columbia University. Life Alfred Whitford "Fred" Lerdahl was born on March 10, 1943, in Madison, Wisconsin. His maternal uncle was the astronomer Albert Whitford (astronomer), Albert Whitford. Lerdahl studied with James Ming at Lawrence University, where he earned his BMus in 1965, and with Milton Babbitt, Edward Cone, Edward T. Cone, and Earl Kim at Princeton University, where he earned his MFA in 1 ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
