Search Results for music-theory
1-20 of 1021 Search Results for
Music Perception. 2011; 2911–21 doi: https://doi.org/10.1525/mp.2011.29.1.1
Published: 01 September 2011
... differences within malleable top-down “theories” (approaches, themes, theses, programs, methods, etc.), the changes in the sciences during this period contrasted sharply with the changes in the humanities. Part 2 discusses in detail how these two social transformations affected the histories of music theory...
Music Perception. 1992; 94383–411 doi: https://doi.org/10.2307/40285561
Published: 01 July 1992
... and Psychophysics, 1973, 13, 308-312. Butler, D. Describing the perception of tonality in music: A critique of the tonal hierarchy theory and a proposal for a theory of intervallic rivalry. Music Perception, 1989, 6, 219-242. Butler, D. Response to Carol Krumhansl. Music Perception, 1990, 7...
Music Perception. 1990; 73285–308 doi: https://doi.org/10.2307/40285466
Published: 01 April 1990
...Eytan Agmon Arguments in favor of a cognitive-scientific approach to music theory based on the following conceptual and methodological distinctions are presented: (1) external (physical) vs. internal (perceptual and cognitive) musical realities and (2) music theories that account for what a given...
Music Perception. 1986; 34327–392 doi: https://doi.org/10.2307/40285344
Published: 01 July 1986
...David Lewin Recent years have seen an increasing influence on music theory of perceptual investigations that can be called phenomenological in the sense of Husserl, either explicitly or implicitly. The trend is problematic, particularly in what one might call its sociology, but it is also very...
Music Perception. 1994; 113307–320 doi: https://doi.org/10.2307/40285625
Published: 01 April 1994
...Joseph P. Swain Should certain negative results cause music theory to abandon its dependence on perception studies for the corroboration of its key principles? Recent experiments in music perception that have failed to confirm certain important principles of music theory are reviewed from the...
Music Perception. 2004; 22115–39 doi: https://doi.org/10.1525/mp.2004.22.1.15
Published: 01 September 2004
.... © 2004 BY THE REGENTS OF THE UNIVERSITY OF CALIFORNIA ALL RIGHTS RESERVED. 15 Address correspondence to Alexander Rozin, Dept. of Music Theory and Composition, School of Music, West Chester University, West Chester, PA 19383. (e-mail: firstname.lastname@example.org) ISSN: 0730-7829. Send requests for permission to...
Music Perception. 2017; 344438–451 doi: https://doi.org/10.1525/mp.2017.34.4.438
Published: 01 April 2017
... classes. We discuss further implications of these findings for music theory, involving beat subdivision, tempo effects, microtiming, and expressive variation, as well as methodological issues. © 2017 by The Regents of the University of California 2017 1 3 2016 26 9 2016 rhythm...
Music Perception. 2016; 333274–286 doi: https://doi.org/10.1525/mp.2016.33.3.274
Published: 01 February 2016
... dominated by intervals 1 and 3 (in semitones), musician listeners with no formal training in nontonal music theory demonstrated learning of the frequent intervals (and directed interval pairs) in both forced-choice and ratings tasks. Experiment 2 tested a new group of participants with similar backgrounds...
Music Perception. 2014; 313205–222 doi: https://doi.org/10.1525/mp.2014.31.3.205
Published: 01 February 2014
...: email@example.com meter Koch Mozart corpus style KOCH S METRICAL THEORY AND MOZART S MUSIC: A CORPUS STUDY JOHN PAUL ITO Carnegie Mellon University MIRKA (2009) HAS RECENTLY ARGUED THAT THE 18th-century metrical theories of Heinrich Christoph Koch can be revelatory for a reconstruction of contem...
Music Perception. 2018; 354475–501 doi: https://doi.org/10.1525/mp.2018.35.4.475
Published: 01 April 2018
... stretched relative to 2:1. Twelve-tone equal temperament is not intrinsically better or worse than Just or Pythagorean. Ratio theory is an important chapter in the history Western musical thought, but it is inconsistent with a modern evidence-based understanding of musical structure, perception and...
Music Perception. 2014; 315397–417 doi: https://doi.org/10.1525/mp.2014.31.5.397
Published: 01 June 2014
... experimental setting. The present findings reveal that cadential categories play a pivotal role in the perception of closure, and for musicians especially, ratings of the cadential categories provide empirical support for a model of cadential strength proposed in music theory. A number of rhetorical features...
Music Perception. 1983; 12129–199 doi: https://doi.org/10.2307/40285255
Published: 01 December 1983
...Eugene Narmour Level-analysis in the field of music theory today is rarely hierarchical, at least in the strict sense of the term. Most current musical theories view levels systemically. One problem with this approach is that it usually does not distinguish compositional structures from perceptual...
Music Perception. 2011; 284333–366 doi: https://doi.org/10.1525/mp.2011.28.4.333
Published: 01 April 2011
... salience profile of its tonic triad. Convergent evidence from psychoacoustics, music psychology, the history of composition, and the history of music theory suggests that the chroma salience profile of the tonic triad guided the historical emergence of major-minor tonality and continues to influence its...
Music Perception. 1988; 6165–93 doi: https://doi.org/10.2307/40285416
Published: 01 October 1988
...Richard Parncutt The predictions of Terhardt's octave-generalized model of the root of a musical chord occasionally disagree with music theory (notably, in the case of the minor triad). The model is improved by assigning appropriate weights to the intervals used in the model's "subharmonic matching...
Music Perception. 1989; 63219–241 doi: https://doi.org/10.2307/40285588
Published: 01 April 1989
... the diatonic set. The tonal hierarchy theory is, however, criticized because it does not describe the mental process or processes by which the tonal center of a piece of tonal music is recognized, nor does it account for the dynamic perception of tonality as it unfolds during actual musical listening...
Music Perception. 2009; 272131–138 doi: https://doi.org/10.1525/mp.2009.27.2.131
Published: 01 December 2009
...David Temperley DEBELLIS (2009) ARGUES THAT INTROSPECTIONIST music theory, as represented in my book The Cognition of Basic Musical Structures ( CBMS ; Temperley, 2001), makes an ungrounded assumption that the intuitions of the author are shared by other theorists and by experienced listeners...
Music Perception. 2001; 183245–274 doi: https://doi.org/10.1525/mp.2001.18.3.245
Published: 01 March 2001
... theory and evidence from general cognitive psychology, cognitive psychology of music, and music theory. In the empirical study, trained musicians and nonmusicians rated the similarity of pairs of extracts from piano pieces by Beethoven (Sonata op. 10, no. 1, first movement) and Schoenberg (Klavierstüück...
Music Perception. 2006; 24179–82 doi: https://doi.org/10.1525/mp.2006.24.1.79
Published: 01 September 2006
...Ian Cross It is argued that approaches to music that employ evolutionary theory must seek to define ‘music’ as explicitly as possible. Without such a definition, the relationships between music and other domains of human and animal behavior must remain underspecified, limiting the generality of any...
Music Perception. 2019; 37295–110 doi: https://doi.org/10.1525/mp.2019.37.2.95
Published: 01 December 2019
...Rosalie Ollivier; Louise Goupil; Marco Liuni; Jean-Julien Aucouturier T raditional neurobiological theories of musical emotions explain well why extreme music such as punk, hardcore, or metal—whose vocal and instrumental characteristics share much similarity with acoustic threat signals—should...
Music Perception. 2017; 3513–37 doi: https://doi.org/10.1525/mp.2017.35.1.3
Published: 01 September 2017
... normal auditory cognition and tonal inferences, by way of a theory of musical truth: a source undergoing a musical movement m is true of an object undergoing a series of events e just in case there is a certain structure-preserving map between m and e . This framework can help revisit aspects of musical...