This chapter examines connections between research in music, neurology, and psychology during the late-nineteenth century. Researchers in all three disciplines investigated how musicis processed by the brain. Psychologists and comparative musicologists, such as Carl Stumpf, thought in terms of multiple levels of sensory processing and mental representation. Early thinking about music processing...

The purpose of this research is to study the sounding pendants on shamanic costume Evenks, Sakha and Nganasans in unity ritual complex musical traditions. Shamanic are interpreted as a special text culture, reflection geocultural ideas peoples Arctic. paper based materials field carried out by authors Taimyr 1989-1990, Olenek Evenk national region Yakutia 2014 scientific publications. sound wor...

The purpose of the article is to analyse activities Department Musicology University Poznań in line Jagiellonian tradition Poland original refraction foundations European academic musical education from its foundation (1922) beginning twenty-first century. research methodology consists application biographical method (studying life path famous representatives school musicology); source study sc...

Jazz has entered the academy through the efforts of its supporters to establish it as an important art form in its own right, and as a result, jazz has received academic attention as a field of study largely separate from both contemporary musicology or popular music studies. Interestingly, just as in the classical sphere, the history of jazz has been written, its ‘great’ performers and compose...

Electroacoustic music analysis is a complex and heterogeneous discipline depending on one musical genre which includes a large typology of subgenres: from tape music to computer music, from concrete music, to mixed music, live electronic music, laptop music, etc. Even though there are personal approaches, which causes musical analysis to be a delicate and subjective discipline, some main trends...

Conceptual blending is a powerful tool for computational creativity where, for example, the properties of two harmonic spaces may be combined in a consistent manner to produce a novel harmonic space. However, deciding about the importance of property features in the input spaces and evaluating the results of conceptual blending is a nontrivial task. In the specific case of musical harmony, defi...

Musicologists undertaking detailed analyses of medieval manuscripts containing Western liturgical chant would welcome computer assistance to enable them to make swift comparisons of large amounts of unfamiliar material. The early manuscripts employ several different notations, using neumes rather than our modern notes. The earliest notations do not specify the exact pitch or rhythm of the music...

Musics, like languages and genes, evolve through a process of transmission, variation, and selection. Evolution of musical tune families has been studied qualitatively for over a century, but quantitative analysis has been hampered by an inability to objectively distinguish between musical similarities that are due to chance and those that are due to descent from a common ancestor. Here we prop...

This chapter examines connections between research in music, neurology, and psychology during the late-nineteenth century. Researchers in all three disciplines investigated how music is processed by the brain. Psychologists and comparative musicologists, such as Carl Stumpf, thought in terms of multiple levels of sensory processing and mental representation. Early thinking about music processin...

Jackendoff and Lerdahl (1980) point out the resemblance between the ways both linguists and musicologists structure their research objects. This insight gave rise to the proposal of a formal generative theory of tonal music (Lerdahl and Jackendoff 1983), in which they describe musical intuition. Above all, insights from non-linear phonology (cf. Liberman 1975; Liberman and Prince 1977 among oth...