Perception of Music

Dowling, W. Jay

doi:10.1002/9780470753477.ch15

Cited by 5 publications

(4 citation statements)

References 70 publications

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“…Familiarity with stylespecific musical structures (e.g., popular songs, typical chord progressions) gives rise to learned expectancies (e.g., Andrews & Dowling, 1991;Dowling, 2001). By contrast, the proposal of innate or culture-free principles of melodic expectancy is somewhat contentious and the focus of the present report.…”

Section: Models Of Melodic Expectancymentioning

confidence: 89%

“…Obvious differences between musical styles both within (e.g., jazz, pop, and classical) and across (e.g., Indian, Chinese, African, and European) cultures provide ample evidence that exposure to music and learning guide the formation of expectancies. Familiarity with style-specific musical structures (e.g., popular songs, typical chord progressions) gives rise to learned expectancies (e.g., Andrews & Dowling, 1991; Dowling, 2001). By contrast, the proposal of innate or culture-free principles of melodic expectancy is somewhat contentious and the focus of the present report.…”

Section: Models Of Melodic Expectancymentioning

confidence: 99%

See 1 more Smart Citation

Expectancy in melody: Tests of children and adults.

Schellenberg¹,

Adachi²,

Purdy³

et al. 2002

Journal of Experimental Psychology: General

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Melodic expectancies among children and adults were examined. In Experiment 1, adults, 11-year-olds, and 8-year-olds rated how well individual test tones continued fragments of melodies. In Experiment 2, 11-, 8-, and 5-year-olds sang continuations to 2-tone stimuli. Response patterns were analyzed using 2 models of melodic expectancy. Despite having fewer predictor variables, the 2-factor model (E. G. Schellenberg, 1997) equaled or surpassed the implication-realization model (E. Narmour, 1990) in predictive accuracy. Listeners of all ages expected the next tone in a melody to be proximate in pitch to the tone heard most recently. Older listeners also expected reversals of pitch direction, specifically for tones that changed direction after a disruption of proximity and for tones that formed symmetric patterns.

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Section: Models Of Melodic Expectancymentioning

confidence: 89%

Section: Models Of Melodic Expectancymentioning

confidence: 99%

Expectancy in melody: Tests of children and adults.

Schellenberg¹,

Adachi²,

Purdy³

et al. 2002

Journal of Experimental Psychology: General

View full text Add to dashboard Cite

show abstract

“…The different effects of familiarity and experience seem to point to two different types of musical knowledge. Listeners bring to this task both specific knowledge of particular songs and general knowledge of musical structure in their culture-in this case, a knowledge of the tonal framework and the metrical framework and rhythmic patterns of Western European songs (Dowling, 2001). Familiarity with particular songs appears to operate in much the same way for both nonmusician and expert listeners.…”

Section: Discussionmentioning

confidence: 99%

Melody recognition at fast and slow tempos: Effects of age, experience, and familiarity

Dowling

Bartlett

Halpern

et al. 2008

Perception & Psychophysics

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“…As one might predict, melody perception and cognition has indeed captured the majority of research (Table 3). This, of course, continues a tradition that dates back at least to Seashore, but has been enhanced in more recent years by several researchers, principally W. Jay Dowling (see, for example, Dowling, 2001). Research in child development is in second place (see the Developmental category and special issue Volume 9 No.…”

Section: Path 2: Jack a Taylormentioning

confidence: 91%

Psychomusicology: A program, a journal, and divergent paths.

Carlsen¹,

Taylor²,

Williams³

2009

Psychomusicology: Music, Mind and Brain

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Carlsen, Taylor, and Williams present the background that brought each of them first to music and then to psychomusicology. Carlsen's story outlines the development and structure of the academic program of psychomusicology within the systematic musicology program at the University of Washington School of Music. Taylor explores the impact of that program on the inauguration of the Center for Music Research in the College of Music at Florida State University. Williams' path gives birth to the journal Psychomusicology and then to the establishment of the arts technology program at Illinois State University. The sub-text in all these paths is the goal to provide music students from a broad array of backgrounds with those research skills necessary to explore the questions in music that depend upon suitable application of the scientific method.

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Perception of Music

Cited by 5 publications

References 70 publications

Expectancy in melody: Tests of children and adults.

Expectancy in melody: Tests of children and adults.

Melody recognition at fast and slow tempos: Effects of age, experience, and familiarity

Psychomusicology: A program, a journal, and divergent paths.

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