Grouping Mechanisms in Music

Deutsch, Diana

doi:10.1016/b978-0-12-381460-9.00006-7

Cited by 104 publications

(62 citation statements)

References 180 publications

(117 reference statements)

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“…We have previously shown that lifelong accumulated hours of music practice are associated both with cognitive and emotional capacity. Although our studies showed that these associations were mainly determined by genetic factors 10, 25, 26, others have argued on the basis of intervention studies that the development of cognition could potentially be stimulated by early music training 9. Further, both cognition and emotional ability are important for good health 27, 28.…”

Section: Discussionmentioning

confidence: 55%

“…Secondly, musical engagement is related to intrinsic rather than extrinsic motivation 7, with a tendency to perform tasks because they are rewarding in themselves 8. Finally, practicing music is correlated with cognitive abilities, including both general intelligence and more narrow abilities, such as auditory discrimination and various linguistic abilities 9. In principle, these diverse associations could reflect various underlying causal scenarios.…”

Section: Introductionmentioning

confidence: 99%

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Predictors of continued playing or singing – from childhood and adolescence to adult years

et al. 2015

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AimMany individuals play an instrument or sing during childhood, but they often stop later in life. This study surveyed adults representative of the Swedish population about musical activities during childhood.MethodsWe asked 3820 adults (65% women) aged from 27 to 54 from the Swedish Twin Registry, who took extra music lessons to those provided at school, to fill in a web‐based questionnaire. Factors analysed were the age they started studying music, the instrument they played, kind of teaching, institution and educational content, number of lessons and perceived characteristics of the lessons, the music environment during their childhood years and their preferred music genre. All variables were dichotomised.ResultsFactors strongly associated with continued playing or singing were male sex, young starting age, cultural family background, self‐selected instrument, attending music classes and more than once a week, church‐related or private education, pop, rock or classical music, playing by ear and improvisation.ConclusionSeveral significant predictors determined whether a child continued to sing or play an instrument as an adult and many could be externally influenced, such as starting at a young age, taking music classes more than once a week, improvisation and the type of music they played.

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Section: Discussionmentioning

confidence: 55%

Section: Introductionmentioning

confidence: 99%

Predictors of continued playing or singing – from childhood and adolescence to adult years

et al. 2015

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“…Differences in pitch, loudness, timing, and timbre all affect how one perceives auditory streams (e.g., Iverson, 1995;Micheyl, Hanson, Demany, Shamma, & Oxenham, 2013); for instance, listeners may perceptually group notes that are most proximal in pitch, thus more distant pitches tend to be heard as two segregated streams. An example of this is shown in Figure 5a, where the music comes from a single source, but the differences in pitch induce the listener to segregate the sequence into two streams (for related examples, see Deutsch, 1987;1999;Dowling, Lung, & Herrbold, 1987). This type of contrapuntal ambiguity can occur in fugues, which contain multiple voices.…”

Section: Ambiguity and Cognitive Control In Musical Structurementioning

confidence: 99%

Processing structure in language and music: a case for shared reliance on cognitive control

Slevc

Okada

2014

Psychon Bull Rev

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The relationship between structural processing in music and language has received increasing interest in the last several years, spurred by the influential Shared Syntactic Integration Resource Hypothesis (SSIRH;Patel, 2003). According to this resource-sharing framework, music and language rely on separable syntactic representations but recruit shared cognitive resources to integrate these representations into evolving structures. The SSIRH is supported by findings of interactions between structural manipulations in music and language. However, other recent evidence suggests that such interactions can also arise with non-structural manipulations, and some recent neuroimaging studies report largely non-overlapping neural regions involved in processing musical and linguistic structure. These conflicting results raise the question of exactly what shared (and distinct) resources underlie musical and linguistic structural processing. This paper suggests that one shared resource is prefrontal cortical mechanisms of cognitive control, which are recruited to detect and resolve conflict that occurs when expectations are violated and interpretations must be revised. By this account, musical processing involves not just the incremental processing and integration of musical elements as they occur, but also the incremental generation of musical predictions and expectations, which must sometimes be overridden and revised in light of evolving musical input.

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“…All such melodic variables can be functionally embedded as part of a mixed parametric aggregate where many parameters group together. These joint continuations emanate from the Gestalt principle of common fate (for an overview, see Deutsch, 2013). Here a number of different voices are perceptually aggregated into one overriding group that collectively obeys a single principle.…”

Section: A Pitch-height Parametric Scale Of Octave Spacesmentioning

confidence: 99%

“…According to a statistical study by Ammirante and Russo (2015), skips in this repertory seem to occur most often in a low register, not only staying within a given melodic ambit but in doing so mimicking speech contours, which rise quickly and then fall slowly (and inevitably) at sentence completion. Deutsch (2013) has suggested that these shapes (P*R0P*) may have been laid down in infant development and perhaps derive from the common paralinguistic contours of speech directed toward soothing infants. Other studies conclude instead that reversal is not inborn (Schellenberg, Adachi, Purdy, & McKinnon, 2002) but rather learned (Patel, 2008;Vos & Troost, 1989) as an archetypal schema (stylistically described by Meyer, 1956Meyer, , 1973Meyer, , 1989Meyer, , 2000Narmour, 1990;Rosner & Meyer, 1982.…”

Section: Reversalmentioning

confidence: 99%

Toward a Unified Theory of the I-R Model (Part 1)

Narmour

2015

Music Perception

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By extensively revising the I-R model of melody (Meyer, 1973; Narmour, 1984, 1989, 1990, 1991a, 1991b, 1992, 1996, 2000) we can explain the structural functions of many musical parameters. Here I will deal with melodic interval, registral direction, pitch height, scale-step (major and minor), duration (interval, length, rate, speed, and pace), tempo, dynamics (loudness), and texture (saving the other parameters for a later essay). By reconceptualizing the model’s core concept of functional directionality within parametric scales, only three isomorphic structural analogues become cognitively necessary, namely, process (and its variant duplication), reversal, and return. Attached signs (0, ∼, −, and +) augment the main symbols (P, D, and R) so as to track strength of implication, realization, and denial. A new theory of rhythmic structure is put forth. And with an aim toward theoretical unification, the reconfigured model confronts the combinatorial complexities of parametric interactions and offers convincing interpretations of congruence and noncongruence—the primary sources of musical affects. Works of Brahms, Debussy, Mussorgsky-Ravel, and Schoenberg are analyzed.

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Grouping Mechanisms in Music

Cited by 104 publications

References 180 publications

Predictors of continued playing or singing – from childhood and adolescence to adult years

Predictors of continued playing or singing – from childhood and adolescence to adult years

Processing structure in language and music: a case for shared reliance on cognitive control

Toward a Unified Theory of the I-R Model (Part 1)

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