Results 111 to 120 of about 22,108 (157)
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Contemporary Music Review, 1989
The intelligent appreciation of classical music requires a listener to recreate in his mind the rhythmic and tonal structures originally conceived by the composer and realised in sound by the performer. The present paper reviews the theory of rhythm and tonality, and shows how it can be used to construct working models of the perception and production ...
H. Christopher Longuet-Higgins +1 more
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The intelligent appreciation of classical music requires a listener to recreate in his mind the rhythmic and tonal structures originally conceived by the composer and realised in sound by the performer. The present paper reviews the theory of rhythm and tonality, and shows how it can be used to construct working models of the perception and production ...
H. Christopher Longuet-Higgins +1 more
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Background Music and Cognitive Performance
Perceptual and Motor Skills, 2010The present experiment employed standardized test batteries to assess the effects of fast-tempo music on cognitive performance among 56 male and female university students. A linguistic processing task and a spatial processing task were selected from the Criterion Task Set developed to assess verbal and nonverbal performance.
Angel, Leslie A. +2 more
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Philosophical Psychology, 2017
AbstractDiscussions of extended cognition have increasingly engaged with the empirical and methodological practices of cognitive science and psychology. One topic that has received increased attention from those interested in the extended mind is music cognition.
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AbstractDiscussions of extended cognition have increasingly engaged with the empirical and methodological practices of cognitive science and psychology. One topic that has received increased attention from those interested in the extended mind is music cognition.
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Cognitive Styles of Music Listening
Music Perception, 2008BARON-COHEN'S EMPATHIZER-SYSTEMIZER-THEORY (E-S theory, Baron-Cohen, Knickmeyer, & Belmonte, 2005) distinguishes two general cognitive styles. Empathizing is characterized as the capacity to respond to feeling states of other individuals, whereas systemizing is characterized as the capacity to respond to regularities of objects and events.
Kreutz, G. +2 more
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Cognition, 1983
A cognitive/constructive view of music is put forth that diverges from traditional conceptions of music (e.g., music as sound; music as behavior; music as communication). The present view attempts to be compatible with the evidence of historic style changes that have occurred in the notated repertory of Western music. Two levels of cognitive processing
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A cognitive/constructive view of music is put forth that diverges from traditional conceptions of music (e.g., music as sound; music as behavior; music as communication). The present view attempts to be compatible with the evidence of historic style changes that have occurred in the notated repertory of Western music. Two levels of cognitive processing
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Disorders of musical cognition
2008This article presents an overview of case studies of acquired disorders of musical listening. Like any cognitive faculty, music is multifaceted, and the identification of the neural basis of any complex faculty must proceed, hand in hand, with an elucidation of its cognitive architecture.
Stewart, Lauren +4 more
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2019
Rolf Inge Godøy focuses on how notions of shape, understood as geometric figures and images stemming from body-motion, metaphors, graphic representation, and so forth, can be associated with the production and perception of music. Central to the chapter is the understanding that shape cognition is not only deeply rooted in the human experience of music
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Rolf Inge Godøy focuses on how notions of shape, understood as geometric figures and images stemming from body-motion, metaphors, graphic representation, and so forth, can be associated with the production and perception of music. Central to the chapter is the understanding that shape cognition is not only deeply rooted in the human experience of music
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Music, Cognition, Culture, and Evolution
Annals of the New York Academy of Sciences, 2001Abstract:We seem able to define the biological foundations for our musicality within a clear and unitary framework, yet music itself does not appear so clearly definable. Music is different things and does different things in different cultures; the bundles of elements and functions that are music for any given culture may overlap minimally with those ...
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