The Place of Musical Novices in Music Science

Music science typically and naturally focuses on experts9 perceptual, cognitive, and aesthetic responses to music. Novices receive far less empirical and theoretical attention. This asymmetry could eventually constrain or limit the discipline. To illustrate this point, existing data are used to compare the performance of experts and novices in a variety of music paradigms. Experts are sensitive to music9s tonal materials (e.g., octaves, intervals) and their listening preferences and evaluative standards reflect this sensitivity. In contrast, novices are often less sensitive to music9s tonal materials, and their listening preferences and evaluative standards reflect this insensitivity. A music science that included novices more fully would be more comprehensive and better prepared to address basic questions about music9s evolution and its universal structure.

[1]  E. M. Burns Intervals, Scales, and Tuning , 1999 .

[2]  Schellenberg Eg Expectancy in melody: tests of the implication-realization model , 1996 .

[3]  J. D. Smith,et al.  What child is this? What interval was that? Familiar tunes and music perception in novice listeners , 1994, Cognition.

[4]  C. Krumhansl Cognitive Foundations of Musical Pitch , 1991 .

[5]  Eugene Narmour,et al.  The Analysis and Cognition of Basic Melodic Structures: The Implication-Realization Model , 1990 .

[6]  J. D. Smith,et al.  Aesthetic preference and syntactic prototypicality in music: 'Tis the gift to be simple , 1990, Cognition.

[7]  L. Cuddy,et al.  Recovery of the tonal hierarchy: Some comparisons across age and levels of musical experience , 1987, Perception & psychophysics.

[8]  R N Shepard,et al.  Tonal schemas: Evidence obtained by probing distorted musical scales , 1987, Perception & psychophysics.

[9]  J. Bharucha,et al.  Priming of chords: Spreading activation or overlapping frequency spectra? , 1987, Perception & psychophysics.

[10]  J. Bharucha Music Cognition and Perceptual Facilitation: A Connectionist Framework , 1987 .

[11]  J. D. Smith Conflicting Aesthetic Ideals in a Musical Culture , 1987 .

[12]  J. Bharucha,et al.  Reaction time and musical expectancy: priming of chords. , 1986, Journal of experimental psychology. Human perception and performance.

[13]  W. Jay Dowling,et al.  Musical experience and tonal scales in the recognition of octave-scrambled melodies. , 1984 .

[14]  Robert B. Cantrick,et al.  A Generative Theory of Tonal Music , 1985 .

[15]  C. Krumhansl,et al.  Dynamic processes in music perception , 1983, Memory & cognition.

[16]  Diana Deutsch,et al.  9 – The Processing of Pitch Combinations , 1982 .

[17]  Mari Riess Jones,et al.  Music as a stimulus for psychological motion: Part II. An expectancy model. , 1982 .

[18]  R. Shepard 11 – Structural Representations of Musical Pitch , 1982 .

[19]  W. Jay Dowling,et al.  13 – Melodic Information Processing and Its Development , 1982 .

[20]  R M Chapman,et al.  Memory processes and evoked potentials. , 1981, Canadian journal of psychology.

[21]  Mari Riess Jones,et al.  Music as a stimulus for psychological motion: Part I. Some determinants of expectancies. , 1981 .

[22]  J. Bartlett,et al.  PSYCHOMUSICOLOGY Spring 1981 THE IMPORTANCE OF 'INTERVAL INFORMATION IN LONG-TERM MEMORY FOR MELODIES , 1981 .

[23]  J. Bartlett,et al.  Recognition of transposed melodies: a key-distance effect in developmental perspective. , 1980, Journal of experimental psychology. Human perception and performance.

[24]  Gerald J. Balzano,et al.  The group-theoretic description of 12-fold and microtonal pitch systems , 1980 .

[25]  R. Shepard,et al.  Quantification of the Hierarchy of Tonal Functions Within a Diatonic Context , 1979 .

[26]  D. Deutsch,et al.  Octave generalization and the consolidation of melodic information. , 1979, Canadian journal of psychology.

[27]  R. Zatorre,et al.  Identification, discrimination, and selective adaptation of simultaneous musical intervals , 1979, Perception & psychophysics.

[28]  C. Krumhansl Concerning the applicability of geometric models to similarity data: The interrelationship between similarity and spatial density. , 1978 .

[29]  W. Dowling Scale and contour: Two components of a theory of memory for melodies. , 1978 .

[30]  Rudolph Reti The Thematic Process in Music , 1978 .

[31]  W. D. Ward,et al.  Categorical perception--phenomenon or epiphenomenon: evidence from experiments in the perception of melodic musical intervals. , 1978, The Journal of the Acoustical Society of America.

[32]  Julian Hochberg,et al.  Chapter 10 – ART AND PERCEPTION* , 1978 .

[33]  W. Siegel,et al.  Categorical perception of tonal intervais: Musicians can’t tellsharp fromflat , 1977 .

[34]  W. Siegel,et al.  Absolute identification of notes and intervals by musicians , 1977 .

[35]  W. Thurlow,et al.  Judged similarity in pitch of octave multiples , 1977 .

[36]  Walter J Dowling,et al.  The perception of melodies distorted by splitting into several octaves: Effects of increasing proximity and melodic contour , 1977 .

[37]  Diana Deutsch,et al.  Memory and Attention in Music , 1977 .

[38]  Annabel J. Cohen,et al.  Recognition of Transposed Melodic Sequences , 1976 .

[39]  E. Terhardt Pitch, consonance, and harmony. , 1974, The Journal of the Acoustical Society of America.

[40]  S. Kreitler,et al.  Psychology of the arts , 1974 .

[41]  S. Locke,et al.  Categorical perception in a non-linguistic mode. , 1973, Cortex; a journal devoted to the study of the nervous system and behavior.

[42]  N. Humphrey The Illusion of Beauty , 1973, Perception.

[43]  W. Dowling The perception of interleaved melodies , 1973 .

[44]  N. Guterman,et al.  Man the musician , 1973 .

[45]  A. W. Melton,et al.  Coding Processes in Human Memory. , 1973 .

[46]  Juan G. Roederer,et al.  Introduction to the physics and psychophysics of music , 1973 .

[47]  Diana Deutsch,et al.  Octave generalization and tune recognition , 1972 .

[48]  F. Attneave,et al.  Pitch as a medium: a new approach to psychophysical scaling. , 1971, The American journal of psychology.

[49]  W. Dowling,et al.  Contour, interval, and pitch recognition in memory for melodies. , 1971, The Journal of the Acoustical Society of America.

[50]  M. Studdert-Kennedy,et al.  Theoretical notes. Motor theory of speech perception: a reply to Lane's critical review. , 1970, Psychological review.

[51]  David Allen,et al.  Octave discriminability of musical and non-musical subjects , 1967 .

[52]  Leonard B. Meyer,et al.  Music, the arts, and ideas , 1967 .

[53]  Bruno Nettl Folk And Traditional Music Of The Western Continents , 1974 .

[54]  B. White Recognition of distorted melodies. , 1960, The American journal of psychology.

[55]  R. Francès La perception de la musique , 1958 .

[56]  David Kraehenbuehl,et al.  Sound and Symbol , 1957 .

[57]  Leonard B. Meyer Emotion and Meaning in Music , 1957 .

[58]  G. A. Miller THE PSYCHOLOGICAL REVIEW THE MAGICAL NUMBER SEVEN, PLUS OR MINUS TWO: SOME LIMITS ON OUR CAPACITY FOR PROCESSING INFORMATION 1 , 1956 .

[59]  Hermann von Helmholtz,et al.  On the Sensations of Tone , 1954 .

[60]  The psychometric constant delta. , 1950 .

[61]  H. Schlosberg,et al.  Octave generalization, pitch discrimination, and loudness thresholds in the white rat. , 1943 .

[62]  J. Dewey Art as Experience , 1934 .

[63]  E. E. E. Folgmann An experimental study of composer-preferences of four outstanding symphony orchestras. , 1933 .

[64]  C. O. Weber The aesthetics of rectangles and theories of affection. , 1931 .