Music Perception and Cognition: A Review of Recent Cross-Cultural Research
Abstract:Experimental investigations of cross-cultural music perception and cognition reported during the past decade are described. As globalization and Western music homogenize the world musical environment, it is imperative that diverse music and musical contexts are documented. Processes of music perception include grouping and segmentation, statistical learning and sensitivity to tonal and temporal hierarchies, and the development of tonal and temporal expectations. The interplay of auditory, visual, and motor modalities is discussed in light of synchronization and the way music moves via emotional response. Further research is needed to test deep-rooted psychological assumptions about music cognition with diverse materials and groups in dynamic contexts. Although empirical musicology provides keystones to unlock musical structures and organization, the psychological reality of those theorized structures for listeners and performers, and the broader implications for theories of music perception and cognition, awaits investigation.
暂无分享,去 创建一个
[1] L. Cuddy,et al. Expectancies generated by melodic intervals: Perceptual judgments of melodic continuity , 1995, Perception & psychophysics.
[2] Marc R. Thompson,et al. Embodied Meter: Hierarchical Eigenmodes in Music-Induced Movement , 2010 .
[3] Ralph Barnes,et al. Expectancy, Attention, and Time , 2000, Cognitive Psychology.
[4] T. Eerola,et al. Perceived complexity of western and African folk melodies by western and African listeners , 2006 .
[5] S. Levinson,et al. The myth of language universals: language diversity and its importance for cognitive science. , 2009, The Behavioral and brain sciences.
[6] R. Saxe,et al. Look at this: the neural correlates of initiating and responding to bids for joint attention , 2012, Front. Hum. Neurosci..
[7] R. Jackendoff,et al. A Generative Theory of Tonal Music , 1985 .
[8] Peter Q. Pfordresher,et al. Enhanced production and perception of musical pitch in tone language speakers , 2009, Attention, perception & psychophysics.
[9] C. Krumhansl,et al. Cross-cultural music cognition: cognitive methodology applied to North Sami yoiks , 2000, Cognition.
[10] Bruno Nettl,et al. Music, Culture, and Experience: Selected Papers of John Blacking , 1995 .
[11] C Athena Aktipis,et al. The ecology of entrainment: Foundations of coordinated rhythmic movement. , 2010, Music perception.
[12] D J Povel,et al. Internal representation of simple temporal patterns. , 1981, Journal of experimental psychology. Human perception and performance.
[13] J. Russell. Is there universal recognition of emotion from facial expression? A review of the cross-cultural studies. , 1994, Psychological bulletin.
[14] B. Moore. An introduction to the psychology of hearing, 3rd ed. , 1989 .
[15] Jeff Pressing,et al. Black Atlantic Rhythm: Its Computational and Transcultural Foundations , 2002 .
[16] Patrick C M Wong,et al. Bimusicalism: The Implicit Dual Enculturation of Cognitive and Affective Systems. , 2009, Music perception.
[17] A. Damasio. The Feeling of What Happens: Body and Emotion in the Making of Consciousness , 1999 .
[18] Jeff Pressing,et al. Asymmetric Cognitive Clock Structures in West African Rhythms , 1997 .
[19] C. Stevens,et al. Tonal language background and detecting pitch contour in spoken and musical items , 2013 .
[20] Marc R. Thompson,et al. Learning and Synchronising Dance Movements in South African Songs - Cross-cultural Motion-capture Study , 2011 .
[21] Natalie M. Myres,et al. Distinctive Paleo-Indian Migration Routes from Beringia Marked by Two Rare mtDNA Haplogroups , 2009, Current Biology.
[22] A. Bregman. Auditory Scene Analysis , 2008 .
[23] V. Iyer,et al. Microstructures of Feel, Macrostructures of Sound : Embodied Cognition in West African and African-American Music , 1998 .
[24] E. Schellenberg,et al. Is There an Asian Advantage for Pitch Memory , 2008 .
[25] E. Large,et al. The dynamics of attending: How people track time-varying events. , 1999 .
[26] J. Bharucha,et al. Memory and Musical Expectation for Tones in Cultural Context , 2009 .
[27] D. Deutsch,et al. Absolute Pitch, Speech, and Tone Language: Some Experiments and a Proposed Framework , 2004 .
[28] U. Will,et al. A Re-Analyzed Australian Western Desert Song: Frequency Performance , 1996 .
[29] A. Krishnan,et al. Relative influence of musical and linguistic experience on early cortical processing of pitch contours , 2009, Brain and Language.
[30] P. Keller,et al. Searching for Roots of Entrainment and Joint Action in Early Musical Interactions , 2012, Front. Hum. Neurosci..
[31] M. Zentner,et al. Rhythmic engagement with music in infancy , 2010, Proceedings of the National Academy of Sciences.
[32] J. Hanna,et al. To Dance is Human: A Theory of Nonverbal Communication , 1979 .
[33] Angela D. Friederici,et al. The perception of musical phrase structure: A cross-cultural ERP study , 2006, Brain Research.
[34] S. McAdams. Psychological constraints on form-bearing dimensions in music , 1989 .
[35] B. Merker. The Conformal Motive in Birdsong, Music, and Language: An Introduction , 2005, Annals of the New York Academy of Sciences.
[36] David Huron,et al. Science & Music: Lost in music , 2008, Nature.
[37] M. Clayton,et al. Music and Mediation Toward a New Sociology of Music chapter 22 part IV , in The Cultural Study of Music : A Critical Introduction , 2013 .
[38] Peter E Keller,et al. Auditory warnings, signal-referent relations, and natural indicators: re-thinking theory and application. , 2008, Journal of experimental psychology. Applied.
[39] Leonard B. Meyer. Universalism and Relativism in the Study of Ethnic Music , 1960 .
[40] Craig M. Wright. Listening to Music , 1992 .
[41] Martin Clayton. Le mètre et le tâl dans la musique de l'Inde du Nord (Metre and tal in North Indian music) , 1997 .
[42] B. Merker. Synchronous Chorusing and Human Origins , 2000 .
[43] V. Iyer. Embodied Mind, Situated Cognition, and Expressive Microtiming in African-American Music , 2002 .
[44] Udo Will,et al. The concept of entrainment and its significance for ethnomusicology , 2004 .
[45] Bruno Nettl. The study of ethnomusicology : twenty-nine issues and concepts , 1985 .
[46] John Blacking. How Musical Is Man , 1973 .
[47] E. Dissanayake,et al. Antecedents of the temporal arts in early mother–infant interaction. , 2000 .
[48] I. Cross. Musicality and the human capacity for culture , 2008 .
[49] J. Saffran,et al. Music and Language: A Developmental Comparison , 2004 .
[50] B. Merker,et al. On the role and origin of isochrony in human rhythmic entrainment , 2009, Cortex.
[51] Udo Will,et al. Evidence for linear transposition in Australian Western Desert vocal music , 1994 .
[52] M. Schmuckler. Expectation in music: Investigation of melodic and harmonic processes. , 1989 .
[53] Aniruddh D. Patel,et al. Perception of rhythmic grouping depends on auditory experience. , 2008, The Journal of the Acoustical Society of America.
[54] Ian Cross,et al. The Andean anacrusis? Rhythmic structure and perception in Easter songs of Northern Potosí, Bolivia , 2000 .
[55] Allan Marett,et al. Songs, Dreamings, and Ghosts: The Wangga of North Australia , 2005 .
[56] D. Harwood. Universals in Music: A Perspective from Cognitive Psychology , 1976 .
[57] C. Drake,et al. The development of rhythmic attending in auditory sequences: attunement, referent period, focal attending , 2000, Cognition.
[58] Aniruddh D. Patel,et al. An empirical comparison of rhythm in language and music , 2003, Cognition.
[59] Mari Riess Jones,et al. Attention and Timing , 2004 .
[60] Aniruddh D. Patel,et al. Experimental Evidence for Synchronization to a Musical Beat in a Nonhuman Animal , 2009, Current Biology.
[61] Marc Leman,et al. Sharing Musical Expression Through Embodied Listening: A Case Study Based on Chinese Guqin Music , 2009 .
[62] Myfany Turpin. The poetics of Central Australian song , 2007 .
[63] C. Krumhansl,et al. Tonal hierarchies in the music of north India. , 1984, Journal of experimental psychology. General.
[64] J. Bharucha,et al. Varieties of musical experience , 2006, Cognition.
[65] Jeff Todd Titon,et al. Worlds of Music: An Introduction to the Music of the World's Peoples , 1986 .
[66] Aniruddh D. Patel. Musical Rhythm, Linguistic Rhythm, and Human Evolution , 2006 .
[67] Artfully hidden: Text and rhythm in a central Australian aboriginal song series , 2007 .
[68] B. Wright,et al. The influence of linguistic experience on the cognitive processing of pitch in speech and nonspeech sounds. , 2006, Journal of experimental psychology. Human perception and performance.
[69] H. Honing. On the Growing Role of Observation, Formalization and Experimental Method in Musicology , 2006 .
[70] R. Shepard,et al. Tonal Schemata in the Perception of Music in Bali and in the West , 1984 .
[71] J. M. Troost,et al. Ascending and Descending Melodic Intervals: Statistical Findings and Their Perceptual Relevance , 1989 .
[72] I. Peretz,et al. Universal Recognition of Three Basic Emotions in Music , 2009, Current Biology.
[73] Leonard B. Meyer. Emotion and Meaning in Music , 1957 .
[74] Unjung Nam,et al. Pitch Distributions in Korean Court Music: Evidence Consistent with Tonal Hierarchies , 1998 .
[75] Roger A. Kendall,et al. Comparative Music Perception and Cognition , 1999 .
[76] John Bispham,et al. Rhythm in Music: What is it? Who has it? And Why? , 2006 .
[77] J. Bharucha,et al. The minor third communicates sadness in speech, mirroring its use in music. , 2010, Emotion.
[78] Justyna Humięcka-Jakubowska,et al. Sweet Anticipation : Music and , 2006 .
[79] Linda Barwick. Creative (ir)regularities: The intermeshing of text and melody in performance of central Australian song , 1989 .
[80] E. Hannon,et al. Infants prefer the musical meter of their own culture: a cross-cultural comparison. , 2010, Developmental psychology.
[81] T. Eerola,et al. Expectancy in Sami Yoiks revisited: The role of data-driven and schema-driven knowledge in the formation of melodic expectations , 2009 .
[82] Stephen McAdams,et al. Aural Analysis of Arabic Improvised Instrumental Music (Taqsīīm) , 2003 .
[83] C. Drake,et al. The Quest for Universals in Temporal Processing in Music , 2001, Annals of the New York Academy of Sciences.
[84] Scott T. Grafton,et al. Swinging in the brain: shared neural substrates for behaviors related to sequencing and music , 2003, Nature Neuroscience.
[85] L. Trainor,et al. Feeling the Beat: Movement Influences Infant Rhythm Perception , 2005, Science.
[86] S. Trehub,et al. Tuning in to musical rhythms: infants learn more readily than adults. , 2005, Proceedings of the National Academy of Sciences of the United States of America.
[87] Isabelle Peretz,et al. Tagging the Neuronal Entrainment to Beat and Meter , 2011, The Journal of Neuroscience.
[88] Sebastian Kirschner,et al. Joint Drumming in Brazilian and German Preschool Children , 2014 .
[89] D. Västfjäll,et al. Emotional responses to music: the need to consider underlying mechanisms. , 2008, The Behavioral and brain sciences.
[90] W. Thompson,et al. Recognition of emotion in Japanese, Western, and Hindustani music by Japanese listeners 1 , 2004 .