Music and the Cognitive Sciences 1990 (Contemporary Music by Ian Cross
By Ian Cross
This factor contains the 25 papers provided on the moment song and the Cognitive Sciences convention held at Cambridge college in 1990.
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Cognition, 13, 63–102. M. (1981) Circularity in relative pitch judgments for inharmonic complex tones: The Shepard demonstration revisited, again. Perception & Psychophysics, 30, 467–472. Butler, D. (1989) Describing the perception of tonality in music: A critique of the tonal hierarchy theory and a proposal for a theory of intervallic rivalry. Music Perception, 6, 219–242. L. & Badertscher, B. (1987) Recovery of the tonal hierarchy: Some comparisons across age and musical experience. Perception and Psychophysics, 41, 609–620.
1987) The tritone paradox: Effects of spectral variables. Perception & Psychophysics, 41, 563–575. A. G. (1987) Tonal fusion of consonant musical intervals: The Oomph in Stumpf. Perception & Psychophysics, 41, 73–84. Fletcher, H. H. (1950) The perception of speech and its relation to telephony. Journal of the Acoustical Society of America, 22, 89–151. Huron, D. (1989) Voice denumerability in polyphonic music of homogeneous timbres. Music Perception, 6, 361–382. L. J. (1982). Tracing the dynamic changes in perceived tonal organization in a spatial representation of musical keys.
It was not necessary to invoke cognitive-structural representations. This casts some doubt on the existence of such structures. Later in the same article (p. 350), Shepard makes the important point that: considerations of the sensory limitations of the input transducer—such as the reduced efficiency of the ear in discriminating nearby amusical pitches at the low end of the continuum of audible frequencies, which such psychophysical scales of pitch as the mel scale had been designed to represent—are essentially irrelevant to the problem of the representation of the cognitive structures that underlie the interpretation of musical sequences.