New Music and Psychology

Erickson, Robert

doi:10.1016/b978-0-12-213562-0.50022-x

Cited by 20 publications

(4 citation statements)

References 17 publications

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“…Con el fin de controlar el mayor número de variables posibles en el estudio de la percepción musical, el material experimental consistía en la utilización de estímulos sonoros breves generados mediante el uso de aparatos electrónicos. El desarrollo de tecnologías de computación hizo posible la adquisición de computadoras por los laboratorios y con ello la posibilidad de controlar y manipular de manera más precisa los parámetros del sonido, facilitando el estudio de las bases psicoacústicas de la música (Deutsch, 1986;Erickson, 1982). Esto ha desembocado en la adopción de una aproximación entendida por algunos como reduccionista (Sloboda, 1986;Aiello, 1994) pero que ha permitido el establecimiento de pilares en un ámbito extenso y complejo de la percepción musical.…”

Section: Consideraciones Finales Sobre La Investigación En Percepción...unclassified

Fundamentos en percepción de la música: integración, segmentación y atención

Moreno

1999

Estudios de Psicología

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La aproximación de un lector novel al campo de la percepción musical pasa irremediablemente por el estudio de los principios de organización Gestálticos y en muchas ocasiones se queda ahí. Sin embargo, la experimentación realizada en Psicología Cognitiva desde el enfoque del Procesamiento de la Información, ha aportado un amplio conocimiento en percepción auditiva y musical. Los principios de organización en percepción recogen regularidades en configuracione s estimulares que llevan a un determinado percepto. Ahora bien, estos principios no explican cómo el oyente llega a obtener el percepto. La investigación desde el marco del Procesamiento de Información pretende dar cuenta de los procesos que intervienen en la consecución de la representación mental de un fenómeno. Con la utilización de tonos simples se ha fundamentado el conocimiento de las características de los sistemas de percepción musical. La analogía entre los sistemas visual y auditivo han dirigido la investigación en audición. Sin embargo, se han encontrado importantes diferencias entre ambos sistemas: por ejemplo, el papel que juega la localización en visión no es el mismo que el que juega en audición. Por esta razón es necesario ser cautelosos en la generalización de los principios gestálticos del campo de visión a la audición. En este trabajo se revisan estudios que aportan información referida a procesos perceptuales básicos en audición: los procesos de fusión y segregación de flujo así como el carácter selectivo de la escucha cuando atendemos voluntariamente a una línea melódica en música polifónica.

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Section: Consideraciones Finales Sobre La Investigación En Percepción...unclassified

Fundamentos en percepción de la música: integración, segmentación y atención

Moreno

1999

Estudios de Psicología

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“…Although in the performance of Western art music and that of many other cultures, temporal synchronicity is considered of utmost importance, the art of playing music “together” results in perceptual simultaneity rather than physical simultaneity (Erickson, 1982; Shaffer, 1985). Listeners perceive sounds occurring “at the same time” when the onsets and offsets of the tones are physically asynchronous.…”

Section: Purposementioning

confidence: 99%

“…Also, musicians rarely if ever truly synchronize tonal onsets in performance (Fraisse, 1982; Rasch, 1979). Moreover, the amount of onset time difference perceived as simultaneous increases with the size of the ensemble performing (Erickson, 1982).…”

Section: Purposementioning

confidence: 99%

The influence of presentation time asynchrony on music interval perception.

Wuthrich

Tunks²

1989

Psychomusicology: A Journal of Research in Music Cognition

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In music, the listener depends upon serial time to order sounds and silences so that tonal relationships can be ascertained. The purpose of this study was to investigate the effect of presentation time asynchronies on the identification of music intervals. Freshmen and graduate music majors identified music intervals on a test with the second tone of each interval delayed by 0,10,20,70,500, or 520 ms. A comparison of correct identifications for each of the six onset time delay conditions using a split-plot ANOVA resulted in a significant interaction between student class and delay condition, with significant main effects for both class and time delay conditions. Graduate students identified music intervals more accurately than freshmen students. In addition, there was a significant increase in scores across the six delay conditions for both groups. Freshmen exhibited a significant difference between the 0 ms delay condition and the 10 ms delay condition, indicating the tendency to hear physically simultaneous events as one sound. Scores for both freshmen and graduate students were significantly different between the 70 ms delay condition and the 500 ms delay condition, when the tones became successive. Successive tones were more accurately identified than tones with overlapping presentations.Measurements of perceptual onset time and resulting music label (harmonic or melodic) further showed the dissimilar experiences of the simultaneous and successive intervals. Melodic intervals were more accurately identified than harmonic presentations with most subjects separating the two tones of the interval to judge interval size. These findings suggest that training in music aural skills may influence the cognitive process used to identify the music interval.The art of music originates in the interaction of a listener with patterns of sound and silences unfolded across event time. The perception of sounds in music is based on the listener's ability to attend to selected acoustical signals and to organize the resulting sound images into perceptual units at varying levels of abstraction (Deutsch, 1982). Like all acoustic phenomena, the organization of music sounds is directly related to the physical characteristics of the signal (Balzano, 1986;Deutsch, 1982;Sloboda, 1985). These qualities of sound are frequency, time, and intensity, with which all variations in acoustical signals are possible.Discernment of multiple sound images is clearly illustrated in music perception in which a listener apprehends separate simultaneous complex tones and organizes them into meaningful relationships. Sloboda (1985) proposes, "The principal characteristic of music is that sounds stand in significant relation to one another, not in isolation" (p. 154). Groupings occur because, "elements belonging to an event are maximally similar and predictable, whereas elements belonging to different events are maximally dissimilar" (Handel, Weaver, & Lawson, 1983, p. 637).

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“…There would be no extrinsic basis for assigning a given note more centrality (see Erickson, 1982) than any other. It may be that major scale (interval) structure would serve as a privileged set of relationships (Posner, 1973;Reed, 1978) for most adult Western listeners.…”

Section: Zh Idmentioning

confidence: 99%

Preferences for scale structure in melodic sequences.

Cross¹,

Howell²,

West³

1983

Journal of Experimental Psychology: Human Perception and Perfor

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Most Western music is tonal; that is, pitch organization can largely be described in terms of scales or keys. A considerable amount of research has been conducted on the role played by scale in perceiving notes and melodies. The present article points out a potentially important distinction between scale structure (the set permitted pitch intervals between notes) and mode (the assignment of a special salience or centrality to particular notes within the scale structure). Four experiments are described that investigated the judgment of adult Western listeners for melodies that approximated to scale structure in differing degrees but that were random in other respects. We found that musicians and nonmusicians gave higher ratings of preference and adjudged musicality to melodies containing increased numbers of consecutive notes conforming to scale structure. A significant exception to this rule was the least scalar type of sequence, which received ratings as high as the fully scalar sequences. This exception occurred because subjects identified scale structure not only in groups of contiguous notes but also in groups of discontiguous notes that formed a coherent "stream" as long as the number of notes intervening corresponded to a standard temporal grouping, or meter, such as is commonly found in Western music.

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New Music and Psychology

Cited by 20 publications

References 17 publications

Fundamentos en percepción de la música: integración, segmentación y atención

Fundamentos en percepción de la música: integración, segmentación y atención

The influence of presentation time asynchrony on music interval perception.

Preferences for scale structure in melodic sequences.

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