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    Wyświetlanie 1-2 z 2
    Tytuł:
    The neo-Pythagorean view of musical structure in the light of music psychology
    Autorzy:
    Podlipniak, Piotr
    Powiązania:
    https://bibliotekanauki.pl/articles/2125139.pdf
    Data publikacji:
    2020-01-10
    Wydawca:
    Katolicki Uniwersytet Lubelski Jana Pawła II. Towarzystwo Naukowe KUL
    Tematy:
    musical structure
    neo-Pythagoreanism
    tonality
    mental representations of music
    musicology
    Opis:
    The aim of this paper is to show why the neo-Pythagorean claims concerning musical structure are out-of-date and require the incorporation of contemporary psychological knowledge. The neo-Pythagorean view of musical structure has been analyzed and confronted with the contemporary neuropsychological view of music perception. It has been also suggested that musical intervals exist solely in human brains as a kind of interpretation of acoustic sounds. These sounds can be interpreted differently depending on many factors, which the popular speech-to-song illusion clearly illustrates. Another example of neo-Pythagorean ideas about musical structure that need psychological knowledge is tonal hierarchy, which also exists solely in human brains. Therefore, the popular musicological description of musical intervals in terms of mathematical proportions is misleading. It has been proposed that current musicological theories should always be confronted and consistent with contemporary psychological knowledge. This implies closer cooperation between musicology and the psychology of music.
    Źródło:
    Roczniki Psychologiczne; 2019, 22, 2; 121-134
    1507-7888
    Pojawia się w:
    Roczniki Psychologiczne
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    On certain ‘tools’for research into the perception and creation of music and the complex ways in which they affect one another
    Autorzy:
    Humięcka-Jakubowska, Justyna
    Powiązania:
    https://bibliotekanauki.pl/articles/780287.pdf
    Data publikacji:
    2011
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    perception
    musical structure
    modelling
    entropy
    probability
    Markov process
    mutual information
    parse
    expectation
    surprise
    Opis:
    Perception is a constructive mental process, which cannot be considered impersonally. Similarly, music cannot be cognised solely on the basis of its score, since its coming into being is strictly connected to the activation of human memory and sound imagination. The patterns that emerge from the sounds of heard music enable the listener to draw conclusions regarding the structures those sounds embody. However, such conclusions are accompanied by a degree of uncertainty, which concerns not just the perceived moment of the heard music, but also the way in which it is represented in the listener’s memory. Perception is an inferential, multi-layered, uncertain process, in which particular patterns seem more likely than others. Mental representations of those probabilities lie behind such essential musical phenomena as surprise, tension, expectation and pitch identification, which are fixed elements of theperception of music. The aim of the present article is to describe the essence of three selected types of music modelling, based on spectral anticipation (Shlomo Dubnov), based on memory (Rens Bod), and exploiting the dynamic character of music to obtain information (Samer Abdallah and Mark Plumbley). All these models take account of the element of uncertainty that accompanies the perception of music; hence they make use the foundations of information theory and statistical analysis as measurement ‘tools’. The use of these tools makes it possible to obtain numerical rates, which inform us of the degree of predictability of the musical structures being analysed. One crucial advantage of these methods is the possibility of evaluating them in respect to the use of real musical structures, deriving from actual music, and not abstract structures formed for the purposes of research. We obtain cognitive insight into the analysed music by employing methods of a mathematical provenance, and so we have the possibility of examining music whilst taking account of the role of the listener, but with the use of objectivised methods.
    Źródło:
    Interdisciplinary Studies in Musicology; 2011, 10; 61-76
    1734-2406
    Pojawia się w:
    Interdisciplinary Studies in Musicology
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
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