By Lawrence M. Zbikowski
This ebook indicates how fresh paintings in cognitive technology, specially that constructed by way of cognitive linguists and cognitive psychologists, can be utilized to give an explanation for how we comprehend tune. The booklet makes a speciality of 3 cognitive processes--categorization, cross-domain mapping, and using conceptual models--and explores the half those play in theories of musical organization.L the 1st a part of the e-book presents an in depth evaluate of the suitable paintings in cognitive technology, framed round particular musical examples. the second one half brings this angle to undergo on a couple of concerns with which track scholarship has frequently been occupied, together with the emergence of musical syntax and its courting to musical semiosis, the matter of musical ontology, the connection among phrases and song in songs, and conceptions of musical shape and musical hierarchy.L The e-book can be of curiosity to tune theorists, musicologists, and ethnomusicologists, in addition to people with a certified or avocational curiosity within the software of labor in cognitive technology to humanistic rules.
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Additional resources for Conceptualizing Music: Cognitive Structure, Theory, and Analysis (Ams Studies in Music Series)
Aristoxenus’s construal of musical interval involves a slightly different mapping. As we have seen, according to Aristoxenus, when the voice moves intervallically, it appears to stand still at a given place (a musical pitch) and then pass over an interval of space (a musical interval) before coming to rest at another place (another musical pitch). Underlying this account is a mapping from the familiar domain of two-dimensional space onto that of music. This mapping allows us to apply the methodology of measur ing space to music.
Pythagoreans, in contrast, classiﬁed intervals according to the numer ical ratio for med by their constituent pitches. ), consonant intervals are those whose ratios are either multiple (of the for m [mn]:n) or epimor ic (of the for m [n + 1]:n). 18 Because the octave plus a fourth had the epimer ic ratio 8:3, it was regarded as a dissonance. Another example of how categor ies shape our understanding of phenomena is provided by Greek theor ists’ treatment of thirds and sixths. Although thirds and sixths sound fairly consonant, they were nonetheless categor ized as discords.
The ﬁnal analytical chapter (chap. 7) turns to music theory itself, speciﬁcally to the theor ies of musical for m and hierarchy that go back to the eighteenth and early nineteenth centur ies. Accounts of the for m a musical work takes, or of how its elements relate to one another, are basic to theor izing about music— indeed, we can see these emerging in the course of M. Swann’s ruminations on Vinteuil’s sonata — but at times it seems that theorists are talking about quite different things. For instance, there are two common ways to talk about musical for m: the ﬁrst approaches for m as der iving from the assembly of relatively static building blocks that are combined to create the ﬁnished work; the second approaches for m as an emergent property of the work, which becomes manifest only as the music unfolds over time.
Conceptualizing Music: Cognitive Structure, Theory, and Analysis (Ams Studies in Music Series) by Lawrence M. Zbikowski