Music Cognition

The vast majority of contemporary research on music cognition has focussed on perceptual processes in the listener 1-4 . This is unsurprising and defensible: the musical experience of the listener is at the heart of all musical activity. Without heard experience composition and performance would have no purpose. In addition, the vast majority of the population in contemporary industrialized nations are listeners rather than performers. It makes sense to focus scientific effort on processes that are shared by the majority of a population. Taking into account performers as well as listeners, the core questions for the study of music cognition are: what representational and control processes underlie people's ability to recognize, store, recall, transform and generate musical materials?

Even if sound and music are deeply intertwined phenomena, it is still fiercely debated whether all music is made up of sound, and vice versa, whether all sound can be deemed as music. Researchers from many different backgrounds have proposed numerous solutions to the conundrum; however, most of them analyse music and sound out of their natural context, ignoring not negligible variables such as listeners and cognitive constraints.

This paper fills this gap, by introducing a theoretical model, called the Circle of Sound, which aims to solve the sound/music dilemma. The Circle of Sound is based on cognition, and has
been developed according to the concepts of musical complexity, musical understanding and musical enjoyment. By combining these concepts, a new operational definition of music is proposed. The theoretical framework provided can also be used as a basis for future experimental investigations, willing to shed some light on how musical is understood by
people.

In this essay I approach the mysterious art of music from several perspectives. As a classical pianist, I think about music as an immensely powerful way of communication. As a music teacher, I am interested in explaining tangibles of music in the clearest terms possible. And as a scholar in the cognitive sciences, I believe that the psychology of music can advance our understanding of the human mind.

In this paper, I propose that embodied cognition in music has two distinct levels. The “surface” level relates to the apparent corporeal articulation such as the activated psychomotor program of a music performer, visible gestures in response to music, and rhythmic entrainment. The primary (though concealed) “deep” level of embodied cognition relates to the main coding aspects in music: the tonal relationships arranged in time. Music that we love – for example, a favorite melody – is made of combinations of a small number of basic melodic intervals that differ by their psychophysical characteristics, among which the level of tonal stability and consonant-dissonant dichotomy are the most important for the formation of tonal expectations that guide music perception. Listeners perceive music as a flow of tonal relationships arranged in time; the temporal and tonal dimensions are interwoven and constitute the tonal chronotope. The intuitive navigation in artistic tonal time-space relies on tonal expectations that are at the heart of melodic intentionality and musical motion. Melodic intentionality has its foundations in artfully sequenced tonal tension and release from tension. Significantly, perceived tonal tension is related to real physical tension. In a music listener, the patterns of perceived tonal tension most likely generate corresponding patterns of physical tension that contribute, along with other musical aspects, to forming a musical emotion, or the experience of psychological time in music. The tonal/temporal relationships encode musical content that dictates the motor behavior of music performers.  The proposed two-level model of embodied cognition connects core musicology with the data from studies in music perception and cognition as well as studies in affective neuroscience and musicianship-related brain plasticity. The paper identifies the need for collaboration among various subdisciplines in musicology and cognitive sciences in order to further the development of the nascent field of embodied cognition in music. The presented discourse relies on research in the tonal music of European tradition and it does not address either aleatoric music or the exotic musics of non-Western traditions. To make the proposed model of embodied cognition in music available for nonmusicians, the paper includes the basics of music theory.

Aesthetic perception of music has been extensively researched in the last decades. Numerous studies suggest that listeners find a piece of music more or less pleasant according to its complexity. Experimental results show that complexity and liking have different relationship according to the musical genre examined, and that these two variables are also affected by other factors such as familiarity to the music and expertise of the listener. Although previous experiments have examined several genres such as jazz, pop, rock and bluegrass,
surprisingly, no study has focused on contemporary music.

In this paper, we fill this gap by studying the relationships between complexity, liking, musical training and familiarity in the case of contemporary music. By analysing this genre – which is usually underrepresented in music cognition – it is possible to shed some light on the correlation between liking and complexity in the case of highly complex music. To obtain data, a multifactor experiment was designed in which both music experts and novices had to provide scores of subjective complexity and liking for four 30-second long excerpts of contemporary music with different degrees of complexity.

Empirical results suggest that liking and complexity are negatively correlated in the case of contemporary music and that listeners’ expertise does not influence the perceived complexity of musical pieces, but it can significantly affect liking. This possibly indicates that experts have the musical knowledge needed to appreciate extremely complex music, while novices do not.

A fundamental purpose of this study was to test whether theories and principles of music cognition and perception derived using western music can be applied to other styles of music, in this case, Carnātic music. Previous investigations showed that listeners use culture-specific and low-level sensory cues to comprehend familiar music, whereas they relied mainly on sensory cues and schematic knowledge gained from listening to music of their own culture to understand unfamiliar music. Research also shows that listeners hold mental representations of the hierarchical ordering of notes in musical scales of one’s culture which they readily access when listening to familiar and unfamiliar melodies. The existence of such representations has been demonstrated in real time using behavioral and neuroimaging techniques. The goals of the present study were to 1) behaviorally track listeners’ responses to two types of modulation as they developed over time in Carnātic music and 2) identify the various cues that listeners, familiar and unfamiliar with the music, utilized in order to perceive the modulations. The purpose of Experiment 1 was to obtain baseline profiles of four rāgams (modes) and compare these against profiles of modulating excerpts containing the same rāgams in Experiment 2. Carnātic and western music teachers heard brief Carnātic excerpts in one ear while in the other ear they heard a continuously sounded probe-tone. The probe-tone was one of the twelve chromatic notes of an octave. Participants judged continuously how well the probe-tone fitted with the melody. Results showed that western teachers’ responses matched those of the Indians on rāgams that had structures similar to the western scales but differed considerably when the rāgams were unfamiliar. Also, there were differences in the two groups’ responses to modulations. These discrepancies were primarily due to the influence of culture. The findings supported previous research and identified three types of cues: 1) culture-specific cues, which included theoretical knowledge of the rāgams and familiarity with the excerpts in the study, employed by Indian teachers, 2) basic psychophysical cues of duration and frequency of note occurrence employed by both Indian and western participants, and 3) transference of schematic knowledge of western music by western participants.

We present a first step towards anticipatory machine improvisation systems. The proposed system, based on fundamentals of music cognition, is a multi-agent memory-based collaborative and competitive reinforcement learning architecture, capable of live interaction with a musician or a music score. Results demonstrate the ability to model long-term stylistic planning and need for much less training data than reported in previous works.

Vocal training through singing and acting lessons is known to modify acoustic parameters of the voice. While the effects of singing training have been well documented, the role of acting experience on the singing voice remains unclear. In two experiments, we used linear mixed models to examine the relationships between the relative amounts of acting and singing experience on the acoustics and perception of the male singing voice. In Experiment 1, 12 male vocalists were recorded while singing with five different emotions, each with two intensities. Acoustic measures of pitch accuracy, jitter, and harmonics-to-noise ratio (HNR) were examined. Decreased pitch accuracy and increased jitter, indicative of a lower "voice quality," were associated with more years of acting experience, while increased pitch accuracy was associated with more years of singing lessons. We hypothesized that the acoustic deviations exhibited by more experienced actors was an intentional technique to increase the genuineness or truthfulness of their emotional expressions. In Experiment 2, listeners rated vocalists' emotional genuineness. Vocalists with more years of acting experience were rated as more genuine than vocalists with less acting experience. No relationship was reported for singing training. Increased genuineness was associated with decreased pitch accuracy, increased jitter, and a higher HNR. These effects may represent a shifting of priorities by male vocalists with acting experience to emphasize emotional genuineness over pitch accuracy or voice quality in their singing performances.

De zorgpaden rollen zich uit, behandeltrajecten worden vastgelegd. Gaan we mee de paden op? Dit vraagt om te beschrijven wat we doen en om in de kijker te komen! Het beschreven staan in een zorgpad is van groot belang voor de positionering van de vaktherapie. Op deze 8 e GNOON studiedag nemen we jullie mee en hopen we op een stimulerende wijze jullie te enthousiasmeren om zelf op (zorg)pad te gaan binnen je instelling en je eigen route uit te zetten. Er is ook aandacht voor de positieve psychologie, of de positieve psychiatrie. Was vaktherapie al niet altijd erg positief? Omdat we ons, net als in dit gedachtegoed, steeds richten op het aanboren van de drijfveren, de waarden en de krachtbronnen van de cliënt. En hoe doe je dat bij jezelf in de uitoefening van je vak? Op ons pad zullen we dan ook gaan kijken naar het mooie van ons vak: Wat kunnen we goed? Wat helpt cliënten? En hoe werken we zelf het prettigst? Dus vaktherapeuten: pak je vakrugzak, trek je wandelschoenen aan en ga mee naar de onbekende, positieve & spannende paden van ons vak. Exploreer nieuwe werkvormen, nieuwe krachtbronnen, nieuwe onderzoeken…..

By examining the trans-disciplinary neologisms called "terminological junctions" in writings of Arakawa and Gins, one may find adequate conditions for making visible, and perhaps resolving a central paradox in the thinking of Gilles Deleuze, who exhorts us to "forge alliances" across scientific percepts, philosophical concepts and artistic constructs, and yet denies the adequacy of metaphor specifically, and tropes generally, because of the taint of representation and transcendence. Drawing on my earlier work which emphasizes the "agency" of tropes (by reference to Peter Galison and Bruno Latour) I attempt to recuperate tropes from within a Deleuzean frame, through an analysis of of "terminological junctions" as "shocks of thought."

Cognitieve neurowetenschap maakt een enorm snelle ontwikkeling door, onder meer door een scala aan nieuwe technologieën die wetenschappers in staat stelt het brein beter waar te nemen. Artur C. Jaschke is muzikant, neuromusicoloog en als onderzoeker verbonden aan de afdeling klinische neuropsychologie, Vrije Universiteit van Amsterdam. Hij bestudeert de effecten van muziek op het brein.

La pregunta por la naturaleza de la música en tanto objeto de conocimiento subyace en la formulación de los constructos que integran los enfoques analíticos e interpretativos de la literatura musical en la academia de occidente. Pero el interés ontológico no acaba allí. Un camino en paralelo recorrido en el campo de la psicología de la música ha indagado la dimensión experiencial de la música en tanto estímulo sonoro, junto a los mecanismos y procesos de percepción y acción que intervienen en la cognición de las obras musicales. Si bien queda fuera
de toda discusión que la materialidad del sonido percibido y producido define la cualidad musical, sin embargo, una ontología del conocimiento musical basada en la construcción de perceptos no alcanza a brindar una explicación acabada del estatus de realidad en la cognición musical. En este trabajo interrogamos el concepto de realidad cognitiva en la intersección entre los campos musicológico y psicológico, y proponemos una dimensión imaginativa, corporeizada y dinámica
de la cognición musical. Explicamos el modo en que los conceptos del análisis musical se vinculan positivamente con el uso de correspondencias entre diferentes dominios de la experiencia.

Resumo: O artigo em questão aborda as possíveis relações entre linguagem e música, trazendo como objeto de análise o improviso vocal, mais especificamente o Scat singing. O projeto parte de uma análise do discurso musical e como ele se relaciona com discurso linguístico, tomando como ponto de partida a improvisação e os fonemas utilizados no Scat. Em seguida, partimos para um ponto de vista mais científico, apontando resultados de pesquisas na área da neurociência que relacionam música e linguagem em seus processos neurológicos. Palavras-chave: Linguagem. Música. Improviso vocal. Neurociência. Title of the Paper in English: The voice as a tool of the speech: parallels between spoken language and vocal improvisation Abstract: The article approaches the possible relations between language and music, bringing as object of analysis the vocal improvisation, more specifically Scat singing. The project starts from an analysis of the musical discourse and how it relates to linguistic discourse, taking as the starting point the improvisation and the phonemes used in Scat. We then proceed to a more scientific point of view, pointing to neuroscience research results that relate music and language to their neurological processes.

Recent advances in sound engineering have led to the development of so-called streamlined music designed to reduce exogenous attention and improve endogenous attention. Although anecdotal reports suggest that streamlined music does indeed improve focus on daily work tasks and may improve mood, the specific influences of streamlined music on cognition and mood have yet to be examined. In this paper, we report the results of a series of online experiments that examined the impact of one form of streamlined music on cognition and mood. The tested form of streamlined music, which was tested primarily by listeners who felt they benefited from this type of music, significantly outperformed plain music on measures of perceived focus, task persistence, precognition, and creative thinking, with borderline effects on mood. In contrast, this same form of streamlined music did not significantly influence measures assessing visual attention, verbal memory, logical thinking, self-efficacy, perceived stress, or self-transcendence. We also found that improvements in perceived focus over a 2-month period were correlated with improvements in emotional state, including mood. Overall the results suggest that at least for individuals who enjoy using streamlined music as a focus tool, streamlined music can have a beneficial impact on cognition without any obvious costs, while at the same time it may potentially boost mood.

A small but significant body of recent research has successfully crossed the boundaries between ethnomusicology and psychology ; and both disciplines are demonstrating a growing interest in charting interactions between music , context and individual consciousness. The phenomenon of trance is a clear example of the interaction of mind with specific cultural contexts , and cross-disciplinary approaches would appear highly relevant to future research. However , outside ethnomusicology and anthropology ; despite the burgeoning field of music and consciousness studies , attitudes towards the constructs of trance and altered states of consciousness as reputable areas of scholarly enquiry are somewhat ambivalent. One reason for this is a continued lack of academic consensus over definitions of the terms ' trance y and ' altered states'. This paper reassesses the different ways in which trance has been conceptualised in the literature. It argues that the continued ethnomusicological focus on high arousal models of trance has led to the neglect (or exclusion) of other types of trancing , particularly specific instances of European-American secular trancing , and associated literature. I draw on my own UKbased study of solitary musical involvement in daily life, which has been informed by both psychological and ethnomusicological perspectives.

In this response to Leman and Maes's paper in this issue, we raise a couple of concerns about the authors' particular approach to embodied music cognition, drawing selectively on their other writings to enrich our interpretation of this target article, while pointing to a few of the many other legitimate research paths that can also fall under this label. We explore two underlying dichotomies implicit in the research programme adumbrated by Leman and Maes -cognition/embodiment and perception/performance -and implications for their theory of embodied music cognition. We then examine research that has focussed on the perspective of the music performer.

A grande maioria das atuais teorias de modelização da percepção musical estão inseridas num paradigma representacionalista da cognição e trabalham predominantemente com exemplos baseados em músicas tonais. Estas teorias postulam que nossa percepção realiza uma extração de gestalten do continuum sonoro para formar um grupamento em unidades perceptivas e que, em seguida, nós organizamos estas unidades em uma hierarquização seqüencial. Nesta perspectiva, esta organização perceptiva é vista como uma segmentação da superfície musical. Evidentemente, o principal -e por vezes o único -elemento musical morfofórico (i.e. portador de forma) levado em consideração em tais modelos é a altura musical (i.e. pitch, hauteur, Tonhöhe). Este texto desenvolve uma análise baseada na percepção de músicas não-tonais e em alguns exemplos extraídos da etnomusicologia e propõe uma inversão dos modelos teóricos em questão. Em ressonância com a fenomenologia, a hermenêutica, a fisiologia da ação, a enação e as epistemologias construtivistas, eu entendo a percepção não como um tratamento passivo de informações dos estímulos de um mundo pré-estabelecido, mas como uma ação constitutiva do fenômeno percebido. Neste sentido, perceber as estruturas que compõem uma obra musical é visto não como a realização de uma análise que extrai descontinuidades de uma unidade funcional global, mais uma atividade que faz emergir um continuo articulado à partir dos elementos discretos que formam os "postulados musicais".

""A Parisian drugstore owner (André Pogoriloffsky), a man in his early fifties, who is also a skilled amateur piano player, experiences a two year long mental trip to a parallel (Temporalist) world, as an avatar. He will soon find out that he was purposely „imported” there in order to be taught the basics of that culture’s music theory. Pogoriloffsky is permanently accompanied by a local musicologist – Jean-Philippe, an expert in the European musical tradition – and, for a while, initiated by an old psychologist (Herr Sch… etc.) in the cognitive aspects of Temporalist music theory. The two men ask Pogoriloffsky to memorize as much as he is capable to from the theoretical notions that he is presented with so that, once returned to Paris, be able to transcribe all that information for the use of his own musical culture. In order to become more familiarized with Temporalist music and musical interpretation, in the following months Pogoriloffsky tours an important number of music schools, universities, musical libraries, concert halls and audition rooms or is encouraged to attend various lectures and conferences.
The music of the Temporalists describes a journey into a parallel world that is populated with humans like us who just happened to have cultivated music as „the art of time” and not as „the art of sounds”. Pogoriloffsky recounts all that experience with honesty, doing his best to meet his two guides’ expectations. For this reason, with a very few exceptions, he only describes Temporalist music theory, pedagogy and practice – ignoring most of the unusual things that the parallel world (in which he spends more than two years) surprised him with.

The book is composed of a 30 pages long fictional introduction, a 115 pages long description of the Temporalist music theory (and history), a 10 pages long fictional ending and a table of references.

Evidently, the main focus of the book resides in the music theory chapters that contain a perceptual approach towards the way humans process the many possible aspects of discrete, musical time. The theory is the result of a 20 year long effort by its author to define an alternative system for the classical bar-rhythmical theory. In order to achieve that, he had to read literally thousands of pages of scientific contributions, articles and books on time perception/cognition and rhythm production – all that being consequently filtered down to a standalone theory, presented in the main section of the book.

Thus, along the 28 theoretical chapters the book presents all the perceptual thresholds extant in the 20-3000 ms per musical pulsation range, along with the musical implications of each and every such threshold. It also introduces many other perceptual phenomena (e.g. entrainment, chunking, subjective accentuation, pulsatory inertia, temporal gap perception etc.), thus mapping all the aspects of temporal discretization that are relevant from a musical point of view.

In order to achieve cohesion and accessibility, the theoretical system is presented as if it already constituted the basis of a complex, hands-on, musical tradition.The inherent shortcomings of this kind of fictional musicology are well counterbalanced by the fact that musicians who will read the book will benefit from the fact that the theory is presented as a real, fully functional system. It could never be stressed enough the fact that, despite the unusual approach, the theory itself is all but 100% based on real perceptual phenomena substantiated by the many scientific studies mentioned above and detailed in the list of references.

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André Pogoriloffsky is the pen name used by Andrei Covaciu-Pogorilowski for his book "The music of the Temporalists".
He was born in Bucharest, Romania, in February 1968.

Starting with 1982, he studied music independently, helped by several private professors.

In 1989 A.P. started to hear in his head a strange yet beautiful music that he was unable to notate. Short excerpts were presented on the piano to his musician friends who confirmed that the temporal fabric of that music could not be rendered satisfactorily with help from the traditional, bar-rhythmical, semiography.

Between that point and 1994, A.P. tried to formulate a theory and a notation for that music, the first result being his first published book - "Energies of musical time - essential studies of pulsatory functionalism" (ARARAT Publishing House, Bucharest, bilingual edition Romanian/English, ISBN 973-96682-0-8).

In the late '90s, A.P. discovered cognitive musicology and started to merge his own discoveries with the bulk of scientific contributions from this interdisciplinary domain. After abandoning several approaches, the final result was his last book "The music of the Temporalists", available now on Amazon Kindle.

The author is currently living in his hometown, Bucharest, along with his wife Simona and his nine years old daughter Ina.

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Facebook:
https://www.facebook.com/Temporalists

Reviews:
http://www.amazon.com/The-music-Temporalists-André-Pogoriloffsky/product-reviews/1480253871
http://www.arteidolia.com/pogoriloffsky-time-outside-patrick-brennan/

Few activities fully engage the brain. Listening to music is one of them. Hearing your favorite song activates sensory, emotional, motor, and creative areas of the brain simultaneously. This book provides a broad introduction to the scientiUc and psychological study of music, exploring how music is processed by our brains, affects us emotionally, shapes our personal and cultural identities, and can be used in therapeutic and educational contexts. Why are some people tone deaf and others musical savants? What do our musical preferences say about our personality and the culture in which we were raised? Why do certain songs remind us so strongly of particular people, places, or events? How can music be therapeutically used to help those with autism, Parkinson's, and other medical conditions? The Science and Psychology of Music: From Beethoven at the O<ce to Beyoncé at the Gym answers these and other questions. This book provides a broad and accessible introduction to the fascinating Yeld of music psychology. Despite its name, music psychology includes a number of Yelds, including neuroscience, psychology, social psychology, sociology, and health. Through a collection of thematically organized chapters, readers will discover how our brains recognize elements of music, how music can affect us and shape our identities, and the many real-world applications for such information. Features Explores a topic that is of great interest to both psychology students and the general public through accessible and engaging content Provides a conceptual framework for readers and through a multi-part format allows them to focus their attention on their particular areas of interest Furthers readers' understanding of how music can affect our wellbeing as it includes both our physical and psychological health Re?ects the subject knowledge of contributing experts in a wide variety of academic disciplines Other Titles of Interest © 2020 ABC-CLIO, LLC.

Resumo: Esse texto apresenta uma pesquisa em andamento que tem como proposta investigar quais os processos cognitivos fundamentais no ambiente em que ocorre a improvisação. O objetivo é compreender como a mente desenvolve tais habilidades, para então sistematizar procedimentos de estudo mais eficientes para o aprendizado. Por fim, pretende aplicar tais procedimentos em uma classe de improvisação para posterior análise dos resultados obtidos. Palavras-chave: Improvisação, improvisação idiomática, cognição musical, educação musical.

Music can be a powerful tool in the treatment of brain disorders and acquired injuries, helping patients recover language and motor skills. New music-based therapies can trigger neuroplasticity—fostering local connections and long-range pathways that compensate for impairments in damaged regions of the brain. The greatest benefits from therapy—cognitive, emotional and social—come from effortful engagement with music.

Full reference: Thompson, W.F., & Schlaug, G. (2015). The healing power of music. Scientific American: Mind, 26(2), 33-41.

Theories of music cognition and hermeneutics are out of step with scholarship in other fields because they continue to separate the cognitive roles of mind and body. Through an examination of the spatiomotorpatterns used in performance, the prevalence of physical metaphor in written and verbal musical discourse and the connections between music and structured movement such as dance. This paper proposes an "embodied" approach to the study of musical knowing and meaning. Such an approach is not only in keeping with current research and theories in fields of philosophy, anthropology, and ethnomusicology, it provides a paradigm that is applicable cross-culturally and includes the processes of both listeners and performers.

"Cheap Thrills" é uma canção da cantora australiana Sia, o tema foi composto pela própria intérprete em parceria com Greg Kurstin. Inicialmente a música foi escrita para a cantora Rihanna mas como esta acabou por não gravar Sia decidiu colocar o tema no seu disco (This is acting, 7º álbum). O tema conta ainda com a participação do artista jamaicano Sean Paul.
Este álbum reflete uma faceta importante da carreira de Sia, que nem todos conhecem, é que na verdade, além de cantora, SIA é também uma compositora muito requisitada por grandes artistas do mundo pop. Entre muitos outros destaco nomes como os das cantoras Beyoncé, Adele e Rihanna. Na verdade todo o álbum é constituído por canções que a cantora já havia escrito para outros artistas.
Musicalmente falando, o tema original está em fá#. Como é normal mudei a tonalidade para facilitar a execução: este instrumental está em sol menor. Apesar dos dois bemóis na armação de clave (sib e mib) a melodia não utiliza NUNCA o mib.
A parte A é um pouco difícil de executar por causa das notas graves e rápidas, mas o resto do tema é fácil.
Hamonicamente a música foi composta sobre 4 acordes apenas (sol menor, mib maior, sib maior e fá maior). É um tema fantástico para utilizar com os instrumentos Orff.

Letra / Lyrics
on, come on, turn the radio on
It's Friday night and I won't be long
Gotta do my hair, I put my make up on
It's Friday night and I won't be long

'Til I hit the dance floor
Hit the dance floor
I got all I need
No I ain't got cash
I ain't got cash
But I got you baby

Baby I don't need dollar bills to have fun tonight
(I love cheap thrills!)
Baby I don't need dollar bills to have fun tonight
(I love cheap thrills!)
But I don't need no money
As long as I can feel the beat
I don't need no money
As long as I keep dancing

Come on, come on, turn the radio on
It's Saturday and I won't be long
Gotta paint my nails, put my high heels on
It's Saturday and I won't be long

'Til I hit the dance floor
Hit the dance floor
I got all I need
No I ain't got cash
I ain't got cash
But I got you baby

Baby I don't need dollar bills to have fun tonight
(I love cheap thrills!)
Baby I don't need dollar bills to have fun tonight
(I love cheap thrills!)
I don't need no money
As long as I can feel the beat
I don't need no money
As long as I keep dancing

(I love cheap thrills!)
(I love cheap thrills!)
I don't need no money
As long as I can feel the beat
I don't need no money
As long as I keep dancing
Oh, oh

Baby I don't need dollar bills to have fun tonight
(I love cheap thrills!)
Baby I don't need dollar bills to have fun tonight
(I love cheap thrills!)
I don't need no money
As long as I can feel the beat
I don't need no money
As long as I keep dancing

La, la, la, la, la, la, la
(I love cheap thrills!)
La, la, la, la, la, la, la
(I love cheap thrills!)
La, la, la, la, la, la, la
(I love cheap thrills!)
La, la, la, la, la, la
(I love cheap thrills!)

Cifra melódica
dó ré dó ré
ré dó ré sol sol sol
sol fá fá fá
fá fá sol fá fá

dó ré dó ré
ré dó ré sol sol sol
sol fá fá fá
fá fá sol fá fá

sib sib DÓ lá sib
sib sib DÓ lá sib
sib sib sib fá fá
sib sib DÓ lá
sib sib DÓ lá
sib sib sib sib fá fá

sol lá sib sol
sol sol sol sol
fá sol sol fá fá

sol lá sib sol
sol sol sol sol
fá sol sol fá fá

ré sol lá sib
lá sol ré dó
ré sol lá sib
lá sol ré...

ré sol lá sib
lá sol ré dó
ré sol lá sib
lá sol ré.

dó ré dó ré
ré dó ré sol sol sol
sol fá fá fá
fá fá sol fá fá

dó ré dó ré
ré dó ré sol sol sol
sol fá fá fá
fá fá sol fá fá

sib sib DÓ lá sib
sib sib DÓ lá sib
sib sib sib fá fá
sib sib DÓ lá
sib sib DÓ lá
sib sib sib sib fá fá

sol lá sib sol
sol sol sol sol
fá sol sol fá fá

sol lá sib sol
sol sol sol sol
fá sol sol fá fá

ré sol lá sib
lá sol ré dó
ré sol lá sib
lá sol ré...

ré sol lá sib
lá sol ré dó
ré sol lá sib
lá sol ré...

sib lá sib DÓ DÓ
sib, lá,
sib lá sib DÓ DÓ
sib...

sib lá sib DÓ DÓ
sib, lá,
sib lá sib DÓ DÓ
sib...

Educação Musical
José Galvão

Partitura e outros recursos em: http://josegalvao.wix.com/educacaomusical

Using an online survey and a week-long diary study, the relationship between music listening behaviors in everyday life and the occurrence of involuntary musical imagery (INMI) is investigated. It is expected that musical imagery may occur as a consequence of everyday conditioning through music listening, with everyday listening shaping INMI experiences. The results confirm a close relationship between listening behavior and experiences of INMI, providing tentative support for this prediction, as the study is exploratory and correlational. In particular, a differentiation is found between positive and negative experiences of INMI, which relate to frequency and type of music engagement. Additionally, support is found for the notion that INMI may function as a substitute for actual music listening and can serve similar functions in the absence of music.

Many composers seem to find inspiration in science, although this fact is not standardized. Indeed, composers’ musical practices are far from being homogeneous nowadays, and science has achieved an extreme degree of diversification, leading to a complex junction where both situations converge. This picture shows an impossible normalization spanning a wide range of factual compositional practices. Nevertheless, the common denominator to their scientific inspiration deserves musicological attention. We shall state, as a research hypothesis, that in spite of their obvious diversity a minimum of situations or stages stand out among creative processes shared by musicians who borrow scientific models when they compose. This hypothesis directly entails two research questions:

• What minimal cognitive dispositions and formal implications might take part in any transferring from a scientific model to a musical one during composers’ creative practices?

• What methodological and analytical stands should musicologists take in order to efficiently address the study of musical works originating from those practices?

This book is aimed at providing some clues as to both questions. Its first part combines arguments from logics and cognitive linguistics, leading to the definition of a ‘compositional metamodel’. It also provides a possible framework for analyzing science-inspired compositions. The second part of the book delimits Alberto Posadas’s creative practices, focusing on his fractal metamodels—based on fractional Brownian motions, the Mandelbrot set, Lindenmayer systems and histologic fractals—for composing Liturgia Fractal (2003-2007).

"Carter's music poses struggles of opposition, for instance in timbre (Double Concerto), space (String Quartet No. 3) or pulse (String Quartet No. 5). His preference for the all-interval tetrachords, 4–Z15 [0, 1, 4, 6] and 4–Z29 [0, 1, 3, 7], is also well known. From these facets of Carter's music, I develop a narrative interpretation of his Petrarch sonnet–inspired solo flute piece, Scrivo in Vento (1991). Specifically, I forge narrative pathways by imagining the two tetrachords as active agents opposed in competition. Previous Scrivo analyses (Capuzzo 2002; Childs 2006) stress continuity by revealing Q-transforms and common-note voice leading between the tetrachords. While acknowledging such features, my analysis emphasises oppositional struggle by tracing the tetrachords as separate entities which cooperate and conflict as they manoeuvre to outdo each other.

The analysis advances three theses: (1) it guides listening to and reading Scrivo in a way which resonates with Carter's concern for the aesthetics of oppositional struggle, his choice of a sonnet as inspiration and his affinity for all-interval tetrachords; (2) it shows that music-analytical detail can be organised into dramatic narratives by (a) projecting dramatic roles onto categories asserted by a formal theory and (b) treating the formal theory's relations metaphorically as actions performed by each role as the musical work unfolds; and (3) it shows how detailed pc-set analysis can support a Heraclitean view of music: a flux of opposing forces seeking and resisting unity."

This paper presents an exploration of the ontological shift from musical materials (i.e. melody, harmony, rhythm, texture, timbre, register) to activities in music performance analysis. A systematic analysis of London Symphony Orchestra masterclasses reveals the basic mechanisms of music making in four main areas: representation, audience, interaction and tacit knowledge. This exploration leads to a broader account of cognition and creativity in music performance, one that bridges inner and outer processes of awareness around domains of coordination in joint activities. In this view, the conceptualizations of musical materials are viewed as targets of focal awareness rather than the basis for cognition in music making. This account, grounded in a rich third-person phenomenological analysis of instructional materials, paves the way for a “meaningful analytics” of orchestral performance.

ALVES, Anderson César. Domains of competence of an expert pedagogue in music performance. Dissertation (Ph.D. in Music).Language and Arts Center, Graduate Program in Music, Music School, Federal University of Rio de Janeiro, Rio de Janeiro, 2021.

This qualitative exploratory research aimed to observe the pedagogical practices in musical performance to investigate the expertise in performance pedagogy, its attributes, and the process of acquisition of skills that characterize an expert pedagogue in music performance and, particularly, in clarinet. The researches of Dreyfus (1980), Berliner (1988), and the NBPTS platform (2002) provided the development of a framework of skills that would express the hypothesis  of  characterization  of  an  expert  teacher  in  musical  performance.  This  framework founded the protocols of observation of the pedagogical actions of expert teachers participating in the research. As a methodological observation strategy, simultaneous protocol analysis and semi-structured interviews with teachers and students were used. The triangulation between the protocols generated a body of data that made it possible to understand the participants' pedagogical approaches in depth. The discussion of results (1) provided a review of the initial competence framework of the musical performance pedagogy expert, validating and specializing it, and  (2) revealed  a  new  specific  field  of  expertise —not  focused  on  investigations  of  related areas —of  the  musical  performance  pedagogue  relative  to  the  consciousness  of  the  performance  corporeality.  I  believe  that the  in-depth  investigation  of  pedagogical  practices  under-taken by this study offers the academic community relevant data about the competencies that characterize an expert professor in instrumental performance and about the process of acquiring this expertise. Thus, the present study can contribute to the development of both performer and performance educator training processes, emphasizing the performance of high-level clarinetists. I also believe that this work has validated and enabled the development of a descriptive framework  of  the  domains  constituting  the  competence  of  a  music  performance  pedagogue compatible with the training reality of Brazilian performers.

Keywords: Music  Performance. Expert teacher  in  music  performance. Expert performance. Music performance. Pedagogical practices in music. Clarinet performance.

RESUMO

ALVES, Anderson César. Domínios de competência do pedagogo expert em performance musical. Tese  (Doutorado  em Música)– Escola de  Música,  Universidade  Federal  do  Rio  de Janeiro, Rio de Janeiro, 2021.

Esta pesquisa de caráter qualitativo exploratório teve por objetivo observaras práticas  pedagógicas em  performance  musical,  a  fim  de  investigar  a  expertise  em  pedagogia  da performance, seus atributos e o processo de aquisição das competências que caracterizam um pedagogo expert em  performance  musical e,  particularmente,  em  clarineta. As  pesquisas  de Dreyfus e  Dreyfus (1980),  Berliner  (1988)  e  a  plataforma  NBPTS  (2002)  proporcionaram o desenvolvimento de um quadro de competências que expressaria a hipótese de caracterização do professor expert em performance musical. Este quadro fundamentou os protocolos de observação das ações pedagógicas de professores experts participantes da pesquisa.Como estratégia metodológica de observação utilizou-se a análise simultânea de protocolo e entrevistas semiestruturadas com  professores e  alunos. A  triangulação  entre  os  protocolos  gerou  um  corpo  de dados que possibilitou compreender com profundidade as abordagens pedagógicas empregadas pelos participantes. A discussão de resultados (1) proporcionou a revisão do quadro inicial de competências do expert em pedagogia da performance musical, validando-o e especializando-o, e (2) revelou um novo campo de competências específico —não enfocado em investigações de áreas afins —do pedagogo em performance musical relativo à consciência da corporeidade da performance.Creio que a investigação em profundidade de práticas pedagógicas empreendida pelo presente estudo oferece à comunidade acadêmica da área dados relevantes acerca das competências que  caracterizam  um professor expert em  performance instrumental e  sobre  o processo de aquisição dessa expertise. Isto pode contribuir para o desenvolvimento dos processos de formação tanto do performer quanto do pedagogo em performance, com ênfase na performance de clarinetistas de alto nível. Acredito também que este trabalho validou e possibilitou o desenvolvimento de um quadro descritivo dos campos constitutivos da competência de um professor de performance musical, compatível com a realidade da formação de performers brasileiros.

Palavras-chave: Performance musical. Professor expert em performance musical.Performance expert. Práticas pedagógicas em música.Performance na clarineta.

Este trabalho desenvolve quatro critérios analíticos da música a partir de uma abordagem prática através do sentido da audição. Estes critérios partem da experiência sensorial da leitura das configurações da superfície musical com o objetivo de extrair informações sobre a construção musical. Para tal, realizou-se uma pesquisa que concerne tanto à análise musical quanto à cognição humana, objetivando estabelecer algumas bases constantes que expliquem como os estímulos sonoros são organizados pela mente e como estes se transformam em unidades de sentido para o ouvinte. Exemplos em partitura, gráficos analógicos, representações gráficas de softwares e gravações provenientes de diferentes tipos, épocas e estilos musicais ilustram os conceitos.

This paper contends there are several causes of timbral homogeneity in contemporary electric guitar performance: 1) the acoustic origin of the instrument; 2) the traditional performance practice of timbral constancy, whereby “the player will have been schooled for many years to maintain timbre constancy in many musical situations” (Erickson 1975, p. 12); and 3) the monaural nature of the instrument, in terms of the single-feed audio output found in most electric guitar pickups. The second and third causes are arguably a direct result of the first. Such timbral homogeneity is problematic because it limits the electric guitar performers’ ability to utilise “timbre as a distinct, dynamic feature of music” (Fales 2005, p. 157). Instead, timbre is placed in the traditional role of nuance. As a form of remediation, this paper argues that modern polyphonic pickup technology provides an opportunity for timbral structure to
become a more central part of contemporary electric guitar music by encouraging a practice whereby the performer consciously investigates perceived relationships between common pitch structures and timbral and spatial parametric change in a reflective manner in real-time music performance. The proposed approach maintains the potential to facilitate a new performance practice in contemporary electric guitar music whereby the performer utilises musical stimuli which exploit their similarities to environmental
“regularities” (Bregman 1993, pp. 10-36).

Research in cognitive linguistics over the past three decades has contributed much to our understanding of processes of meaning construction, and to the role mappings between different domains play in the imaginative resources manifested through metaphor and metonymy. In this chapter I explore how meaning construction is shaped when one of the domains involved in such mappings involves patterned non-linguistic sound—that is, music. Mappings of this sort challenge (in a helpful way) some of our basic presuppositions about processes of meaning construction (since they suggest that " meaning " can be built up either wholly or in part through extra-linguistic means) and point to uniquely creative resources for human expression. My exploration of cross-domain mappings that involve music will be illustrated by examples drawn from a variety of genres (including oratorio, Hindustani raga, and the symphony) and will consider how musical utterances offer unique resources for the construction of meaning and thus for creativity.

This paper explores embodied experiences of “metrical constructedness” (Bowman 2003), using a new theoretical tool called “motional conceptual models” to analyze the motion experienced in progressive rock’s riffs. Prog rock/metal is often associated with “mathematical” complexity of odd time signatures and polyrhythms. But this complexity rhetoric leaves some mysteries, including: the use of such rhythms by non-prog bands; or Meshuggah’s claim that “there is no mathematical approach” in their music; or online arguments about whether Metallica’s …And Justice For All (AJFA, 1988) is “prog-influenced,” when the album is mostly in duple meter and contains few polyrhythms.
Riffs are not just sequences of notes, but motions experienced by performers and listeners (Fast 2001). My “motional conceptual models” represent one experience of a riff’s motion, framing that shape as a prototype category to explain how it can be recognized despite variations (see “conceptual models,” Zbikowski 2002). These “motional conceptual models” show how manipulations of riffs can lead to manipulated perceived motion—providing a unified theory for “ABAC Additive Metrical Process” in Dream Theater (McCandless 2013), truncated riffs by Meshuggah (Pieslak 2007), Meshuggah riffs that begin “in media res” (Lucas 2018), and riff fragmentations I observe in Metallica’s AJFA. Changes in riff shape can thus be perceived as interrupting the normal looping of meter, and this impression of artificial intervention is one possible explanation for Bowman's “constructedness.” This embodied cognition approach to riffs also demonstrates how it is possible to write rhythmically “progressive” rock and metal rhythms by feel, with no math required.

We examined whether the link between intelligence and musical expertise is better explained by formal music lessons or music aptitude. Musically trained and untrained adults completed tests of nonverbal intelligence (Raven's Advanced Progressive Matrices) and music aptitude (Musical Ear Test). They also provided information about their history of music lessons and socioeconomic status (SES). Duration of music training was associated positively with SES (mother's education), nonverbal intelligence, melody aptitude, and rhythm aptitude. Intelligence and music aptitude were also positively associated. The association between music training and intelligence remained evident after controlling for SES, but it disappeared after controlling for music aptitude. By contrast, music aptitude had a strong correlation with intelligence even after accounting for music training and SES. Thus, the association between music training and intelligence may arise because high-functioning individuals are more likely than other individuals to have good aptitude for music and to take music lessons.

We know from animal studies that a stimulating and enriched environment can enhance recovery after stroke, but little is known about the effects of an enriched sound environment on recovery from neural damage in humans. In humans, music listening activates a wide-spread bilateral network of brain regions related to attention, semantic processing, memory, motor functions, and emotional processing. Music exposure also enhances emotional and cognitive functioning in healthy subjects and in various clinical patient groups. The potential role of music in neurological rehabilitation, however, has not been systematically investigated. This single-blind, randomized, and controlled trial was designed to determine whether everyday music listening can facilitate the recovery of cognitive functions and mood after stroke. In the acute recovery phase, 60 patients with a left or right hemisphere middle cerebral artery (MCA) stroke were randomly assigned to a music group, a language group, or a control group. During the following two months, the music and language groups listened daily to self-selected music or audio books, respectively, while the control group received no listening material. In addition, all patients received standard medical care and rehabilitation. All patients underwent an extensive neuropsychological assessment, which included a wide range of cognitive tests as well as mood and quality of life questionnaires, one week (baseline), 3 months, and 6 months after the stroke. Fifty-four patients completed the study. Results showed that recovery in the domains of verbal memory and focused attention improved significantly more in the music group than in the language and control groups.The music group also experienced less depressed and confused mood than the control group. These findings demonstrate for the first time that music listening during the early post-stroke stage can enhance cognitive recovery and prevent negative mood. The neural mechanisms potentially underlying these effects are discussed.

Debussy composed La Mer, in the summer of 1905. It was performed for the first time the same year in Paris. The reception of the public and the critics was biased. The critique, written by Amédée Boutarel, in Le Ménestrel, France’s longest running music journal (1833-1940), dismisses La Mer very openly. La Mer wasn’t reproduced in Paris till 1908 and then was a success. The most intriguing part of this success was the review of Amédée Boutarel again in Le Ménestrel, this time still with some reservation but clearly more appreciative and treating the performance as it were a premiere. This paper presents possible reasons for the shift in Amédée Boutarel’s perception and thus the standpoint of the magazine from a Bourdieuian point of view. According to Bourdieu not only the artists (writers, composers) and performers, but also the agents (publishers, critics, journals) contribute directly to the production of the field of art, which has its own dynamics. For that purpose the magazine’s marketing & sales strategy is analysed by taking its content, visual design, and writers, specifically Boutarel, into account.
Keywords: Debussy, La Mer, field of cultural production, Bourdieu, reception analysis

We examined the effect of background music on reading comprehension. Because the emotional consequences of music listening are affected by changes in tempo and intensity, we manipulated these variables to create four repeated-measures conditions: slow/low, slow/high, fast/low, fast/high. Tempo and intensity manipulations were selected to be psychologically equivalent in magnitude (pilot study 1). In each condition, 25 participants were given four minutes to read a passage followed by three minutes to answer six multiple-choice questions. Baseline performance was established by having control participants complete the reading task in silence (pilot study 2). A significant tempo by intensity interaction was observed, with comprehension in the fast/high condition falling significantly below baseline. These findings reveal that listening to background instrumental music is most likely to disrupt reading comprehension when the music is fast and loud.