Cross-cultural studies of musical pitch and time

Stevens, Catherine J.

doi:10.1250/ast.25.433

Cited by 17 publications

(9 citation statements)

References 55 publications

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“…Most research has been conducted on musical material from the Western tonal system, thus questioning its relevance for the processing of other musical systems. While some data have overcome this ethnocentric bias and have provided some data for the perception of music from other cultures (e.g., Ref ), there are still too few data on musical expectations per se and no data yet on musical expectations in contemporary musical pieces. A further issue that needs to be investigated is the formalization of how specifically each musical parameter contributes to expectations.…”

Section: Musical Expectations: Some Unanswered Questions and Perspectmentioning

confidence: 99%

The role of expectation in music: from the score to emotions and the brain

Tillmann

Poulin-Charronnat

Bigand

2013

WIRES Cognitive Science

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Like discourse, music is a dynamic process that occurs over time. Listeners usually expect some events or structures of events to occur in the prolongation of a given context. Part of the musical emotional experience would depend upon how composers (improvisers) fulfill these expectancies. Musical expectations are a core phenomenon of music cognition, and the present article provides an overview of its foundation in the score as well as in listeners' behavior and brain, and how it can be simulated by artificial neural networks. We highlight parallels to language processing and include the attentional and emotional dimensions of musical expectations. Studying musical expectations is thus valuable not only for our understanding of music perception and production but also for more general brain functioning. Some open and challenging issues are summarized in this article. WIREs Cogn Sci 2014, 5:105-113. doi: 10.1002/wcs.1262 CONFLICT OF INTEREST: The authors have no conflict of interest to declare. For further resources related to this article, please visit the WIREs website.

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Section: Musical Expectations: Some Unanswered Questions and Perspectmentioning

confidence: 99%

The role of expectation in music: from the score to emotions and the brain

Tillmann

Poulin-Charronnat

Bigand

2013

WIRES Cognitive Science

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“…One of the goals of the first theme mentioned is to develop a Test Battery suitable for different cultures and subjects of different ages and at different levels of education. According to Stevens (2004), the aim of crosscultural research in music is to investigate not only the so-called universal psychological principles of music cognition, but also individual differences in music processing. Test Battery is still in the adapting and piloting phase simultaneously in several countries.…”

Section: Airs Projectmentioning

confidence: 99%

Adaption to Estonian Children of the Protocol for Cross-Cultural Research in Singing

Raju¹,

Ross²

2012

Trames

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A Test Battery created in Canada, aimed at mapping the musical development of children of different ages and in different cultures, was piloted within a group of Estonian children (N = 26, age 4 to 12 years) with varying degrees of musical training. The verbal parts of the test were translated into Estonian and adapted, where necessary, to the temporal structure of the sub-tasks involving rhythmic and metric aspects. Participants were able to successfully comply with the majority of the test components. The most interesting discrepancy regarding the rationale of the original Battery was related to the different possible concepts of the term 'song' by the participants. As many children exhibited considerable shyness during testing, a longer warming-up period may be required for them in order to overcome the effects of an unfamiliar environment and the unexpected nature of some tasks within the Battery. Various suggestions are presented for the further development of the Test Battery.

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“…Moreover, theories of music that have addressed the issue of recursion have generally done so in respect of a limited range of possible musics, generally confining themselves to western tonal music of the common-practice period from ca 1600 to 1900 (though see Hughes, 1991). Cross-cultural studies are required in order to fill this lacuna (Stevens, 2004).…”

Section: Conclusion and Known Unknownsmentioning

confidence: 99%

Music as a communicative medium

Cross¹,

Woodruff²

2009

The Prehistory of Language

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This chapter draws on ethnomusicological, cognitive and neuroscientific evidence in proposing that music is a communicative medium with features that are optimised for the management of situations of social uncertainty, and that music and language constitute complementary components of the human communicative toolkit. It presents a theory of meaning in music, and compares its implications with those of a recent theory of prosodic features of language.

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Cross-cultural studies of musical pitch and time

Cited by 17 publications

References 55 publications

The role of expectation in music: from the score to emotions and the brain

The role of expectation in music: from the score to emotions and the brain

Adaption to Estonian Children of the Protocol for Cross-Cultural Research in Singing

Music as a communicative medium

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