By Lawrence M. Zbikowski
This publication indicates how contemporary paintings in cognitive technological know-how, specifically that constructed via cognitive linguists and cognitive psychologists, can be utilized to give an explanation for how we comprehend tune. The publication 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 evaluation of the correct paintings in cognitive technological know-how, framed round particular musical examples. the second one half brings this attitude to endure on a few matters with which song scholarship has usually 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 track in songs, and conceptions of musical shape and musical hierarchy.L The publication could be of curiosity to track theorists, musicologists, and ethnomusicologists, in addition to people with a certified or avocational curiosity within the software of labor in cognitive technological know-how to humanistic ideas.
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Methods to which means in tune offers a survey of the issues and matters inherent in pursuing that means and signification in tune, and makes an attempt to rectify the conundrums that experience plagued philosophers, artists, and theorists on account that the time of Pythagoras.
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Additional info for Conceptualizing Music: Cognitive Structure, Theory, and Analysis (Ams Studies in Music Series)
There, as in theor ies, they provide guides for reasoning and inference about speciﬁc and circumscr ibed domains of knowledge. cognitive processes and music theory Much has been left out of this discussion of theories of music from Greek antiquity, with respect to both the theories themselves and the cognitive processes behind them. To be sure, these theories are of a different order than Swann’s musings on Vinteuil’s sonata. Nonetheless, the cognitive processes we have seen at work in Pythagorean and Aristoxenian theory are the same processes through which we organize our understanding of the world as a whole.
This close-up glimpse of the structure and role of conceptual models and theor ies leads, in the middle of the chapter, to a more generalized character ization of these knowledge structures, which I connect with work on similar structures in artiﬁcial intelligence, cognitive anthropology, ethnomusicology, and developmental psychology. In the latter part of the chapter, I return to music theory and explore the role of conceptual models and theor ies (that is, theories framed relative to a cognitive perspective) in analyses by Jean-Philippe Rameau and Heinr ich Schenker, two of the best-known music theor ists of the last three hundred years.
After the last of these, the prelude dissolves into the ﬁrst scene of the opera. 1. Although our ﬁrst inclination is to treat these various statements as somehow the same — that is, all can be regarded as “statements of the opening motive from Wagner’s Tristan und Isolde”— there are actually notable differences among them. There is, of course, the change in the instrumentation used for the statements at the end of the prelude, which contrasts with the distinctive timbral stamp put on the motive in the opening measures.