Perception and cognition of music components
DOI:
https://doi.org/10.54103/2465-0137/22569Keywords:
melodies, harmonies, perception, cognition, succession of sounds, simultaneity of sounds, music soundsAbstract
In this paper, I analyze how the auditory system works when exposed to different kinds of music components, such as melodies, harmonies, the mere successions of sounds, and the ordinary simultaneities of sounds. I will claim that, while melodies and harmonies are perceivable, the mere successions of sounds and the ordinary simultaneities of sounds are processed at the cognitive level. This conclusion is based on the analysis of how the auditory system employs primitive grouping, schema-based grouping, and cognitive schema-based grouping when ordering the auditory landscape by the identification and categorization of meaningful musical streams.
Downloads
References
BREGMAN, A. S., Auditory Scene Analysis: The Perceptual Organization
of Sound, Cambridge (MA), The MIT Press, 1990.
BREGMAN, A. S., RUDNICKY, A., “Auditory Segregation: Stream or
Streams?”, Journal of Experimental Psychology: Human Perception
and Performance, 1, 1975, pp. 263-267.
DEUTSCH, D., “Grouping Mechanisms in Music”, in DEUTSCH, D. (ed.),
The Psychology of Music, San Diego, Academic Press, 1999, pp. 299-
DI BONA, E., “A Disjointed Account of the Illusion of Auditory Continuity:
In Favor of Hearing Everyday Sounds but Against Hearing Semantic
Properties”, Inquiry, 2023.
DI BONA, E., “Hearing Chimeras”, Synthese, 200 (3), 2022a, pp. 1-20.
DI BONA, E., “A Skeptical Approach to the Audibility of Semantic
Properties”, Argumenta, 14 (7, 2), 2022b, pp. 543-554.
DI BONA, E., “On Hearing Meanings: Reflections on the Method of
Contrast, Adaptational Effects, and Semantic Satiation”, Rivista di
Filosofia, 111 (2), 2020, pp. 215-235.
DOWLING, W. J., “Rhythmic Groups and Subjective Chunks in Memory for
Melodies”, Perception & Psychophysics, 14, 1973, pp. 37-40.
MCADAMS, S., BIGAND, E. (eds.), Thinking in Sound: The Cognitive
Psychology of Human Audition, Oxford, Clarendon Press/Oxford
University Press, 1993.
ORTMANN, O., “On the Melodic Relativity of Tones”, Psychological
Monographs, 35 (162), 1926, pp. 1-47.
Downloads
Published
How to Cite
Issue
Section
License
Copyright (c) 2024 De Musica
This work is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License.
The author(s) grants De Musica the right to publish the work for the first time and the perpetual right to distribute it free of charge to the public through the Journal's Web site.
The author(s) retains the right to create derivative works and to reproduce, distribute, perform, or publicly display his or her work in lectures, conferences, or presentations, or other scholarly works and professional activities making explicit publication in De Musica.
The author(s) retain(s) the right to disseminate with open access, through their own website or through an institutional or disciplinary repository, the work from the time of its publication in De Musica.
The author(s) waive, in agreement with the Publisher, any form of remuneration, if any, granted by current national legislation to authors and publishers for nonprofit reprography and library lending rights.
