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Tatsuya Daikoku
Statistical learning (SL) is a method of learning based on the transitional probabilities embedded in sequential phenomena such as music and language. It has been considered an implicit and domain-general mechanism that is innate in the human brain and that functions independently of intention to learn and awareness of what has been learned. SL is an interdisciplinary notion that incorporates information technology, artificial intelligence, musicology, and linguistics, as well as psychology and neuroscience...
June 19, 2018: Brain Sciences
Steven Jan
While the "units, events and dynamics" of memetic evolution have been abstractly theorized (Lynch, 1998), they have not been applied systematically to real corpora in music. Some researchers, convinced of the validity of cultural evolution in more than the metaphorical sense adopted by much musicology, but perhaps skeptical of some or all of the claims of memetics, have attempted statistically based corpus-analysis techniques of music drawn from molecular biology, and these have offered strong evidence in favor of system-level change over time (Savage, 2017)...
2018: Frontiers in Psychology
Henkjan Honing
In recent years, music and musicality have been the focus of an increasing amount of research effort. This has led to a growing role and visibility of the contribution of (bio)musicology to the field of neuroscience and cognitive sciences at large. While it has been widely acknowledged that there are commonalities between speech, language, and musicality, several researchers explain this by considering musicality as an epiphenomenon of language. However, an alternative hypothesis is that musicality is an innate and widely shared capacity for music that can be seen as a natural, spontaneously developing set of traits based on and constrained by our cognitive abilities and their underlying biology...
March 15, 2018: Annals of the New York Academy of Sciences
Sofia Banzhoff, Maria Del Mar Ropero, Gabriele Menzel, Tatjana Salmen, Manfred Gross, Philipp P Caffier
Playing a musical instrument can affect physical and mental health. A literature review was conducted to determine the prevalence of health problems among oboists, which medical conditions can be caused or exacerbated by playing, whether oboe playing can be a protective factor, and whether recommendations are possible as to who should or should not play the oboe. Searches in 7 databases (Medline, Embase, Cochrane Library, Web of Science, SocIndex, PsyIndex, Psychinfo) yielded a total of 950 studies; after exclusion of duplicates and those not meeting eligibility criteria, 37 articles were selected for final analysis...
December 2017: Medical Problems of Performing Artists
Dylan van der Schyff, Andrea Schiavio
Despite evolutionary musicology's interdisciplinary nature, and the diverse methods it employs, the field has nevertheless tended to divide into two main positions. Some argue that music should be understood as a naturally selected adaptation, while others claim that music is a product of culture with little or no relevance for the survival of the species. We review these arguments, suggesting that while interesting and well-reasoned positions have been offered on both sides of the debate, the nature-or-culture (or adaptation vs...
2017: Frontiers in Neuroscience
David G Angeler
This paper builds a bridge between heavy metal music, complexity theory and sustainability science to show the potential of the (auditory) arts to inform different aspects of complex systems of people and nature. The links are described along different dimensions. This first dimension focuses on the scientific aspect of heavy metal. It uses complex adaptive systems theory to show that the rapid diversification and evolution of heavy metal into multiple subgenres leads to a self-organizing and resilient socio-musicological system...
2016: SpringerPlus
Alessia Pannese, Marc-André Rappaz, Didier Grandjean
Music is often described in terms of emotion. This notion is supported by empirical evidence showing that engaging with music is associated with subjective feelings, and with objectively measurable responses at the behavioural, physiological, and neural level. Some accounts, however, reject the idea that music may directly induce emotions. For example, the 'paradox of negative emotion', whereby music described in negative terms is experienced as enjoyable, suggests that music might move the listener through indirect mechanisms in which the emotional experience elicited by music does not always coincide with the emotional label attributed to it...
August 2016: Consciousness and Cognition
Verena Eveline Rozanski, Eva Rehfuess, Kai Bötzel, Dennis Nowak
BACKGROUND: Focal dystonia in professional musicians is a movement disorder that manifests itself during playing. It is a multifactorial condition in which a genetic predisposition and exogenous factors both play a role. Evidence suggests that intensive playing is a risk factor for the development of task-specific dystonia in professional musicians. METHODS: This review is based on pertinent publications (1950-2013) retrieved by a systematic search in medical and musicological databases...
December 21, 2015: Deutsches Ärzteblatt International
Stefan Janicke, Josef Focht, Gerik Scheuermann
Determining similar objects based upon the features of an object of interest is a common task for visual analytics systems. This process is called profiling, if the object of interest is a person with individual attributes. The profiling of musicians similar to a musician of interest with the aid of visual means became an interesting research question for musicologists working with the Bavarian Musicians Encyclopedia Online. This paper illustrates the development of a visual analytics profiling system that is used to address such research questions...
January 2016: IEEE Transactions on Visualization and Computer Graphics
Dorian Cazau, Guillaume Revillon, Julien Krywyk, Olivier Adam
Automatic transcription of music is a long-studied research field with many operational systems available commercially. In this paper, a generic transcription system able to host various prior knowledge parameters has been developed, followed by an in-depth investigation of their impact on music transcription. Explicit links between musical knowledge and algorithmic formalism have been made. Musical knowledge covers classes of timbre, musicology, and playing style of an instrument repertoire. An evaluation sound corpus gathering musical pieces played by human performers from three different instrument repertoires, namely, classical piano, steel-string acoustic guitar, and the marovany zither from Madagascar, has been developed...
October 2015: Journal of the Acoustical Society of America
Julia Kursell
This contribution focuses on Hermann von Helmholtz's work on Renaissance composer Giovanni Pierluigi da Palestrina. Helmholtz used his scientific concept of distortion to analyze this music and, reversely, to find corroboration for the concept in his musical analyses. In this, his work interlocked with nineteenth-century aesthetic and scholarly ideals. His eagerness to use the latest products of historical scholarship in early music reveals a specific view of music history. Historical documents of music provide the opportunity for the discovery of new experimental research topics and thereby also reveal insights into hearing under different conditions...
June 2015: Isis; An International Review Devoted to the History of Science and its Cultural Influences
Paul Elvers, Diana Omigie, Wolfgang Fuhrmann, Timo Fischinger
Musicology students are engaged with music on an academic level and usually have an extensive musical background. They have a considerable knowledge of music history and theory and listening to music may be regarded as one of their primary occupations. Taken together, these factors qualify them as ≫expert listeners≪, who may be expected to exhibit a specific profile of musical taste: interest in a broad range of musical styles combined with a greater appreciation of ≫sophisticated≪ styles. The current study examined the musical taste of musicology students as compared to a control student group...
2015: Frontiers in Psychology
Tim Boon
For sound studies, the publication of a 593-page handbook, not to mention the establishment of at least one society - the European Sound Studies Association - might seem to signify the emergence of a new academic discipline. Certainly, the books under consideration here, alongside many others, testify to an intensification of concern with the aural dimensions of culture. Some of this work comes from HPS and STS, some from musicology and cultural studies. But all of it should concern members of our disciplines, as it represents a long-overdue foregrounding of the aural in how we think about the intersections of science, technology and culture...
September 2015: British Journal for the History of Science
Amy B Graziano, Julene K Johnson
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 processing can be linked to the start of Gestalt psychology. Neurologists such as August Knoblauch also discussed multiple levels of music processing, basing speculation on ideas about language processing...
2015: Progress in Brain Research
W Tecumseh Fitch
As a species-typical trait of Homo sapiens, musicality represents a cognitively complex and biologically grounded capacity worthy of intensive empirical investigation. Four principles are suggested here as prerequisites for a successful future discipline of bio-musicology. These involve adopting: (i) a multicomponent approach which recognizes that musicality is built upon a suite of interconnected capacities, of which none is primary; (ii) a pluralistic Tinbergian perspective that addresses and places equal weight on questions of mechanism, ontogeny, phylogeny and function; (iii) a comparative approach, which seeks and investigates animal homologues or analogues of specific components of musicality, wherever they can be found; and (iv) an ecologically motivated perspective, which recognizes the need to study widespread musical behaviours across a range of human cultures (and not focus solely on Western art music or skilled musicians)...
March 19, 2015: Philosophical Transactions of the Royal Society of London. Series B, Biological Sciences
E R Gasenzer, E A M Neugebauer
Purpose of this essay is to provide a historical overview how music has dealt with the emotion and sensation of pain, as well as an overview over the more recent medical research into the relationship of music and pain. Since the beginnings of western music humans have put their emotions into musical sounds. During the baroque era, composers developed musical styles that expressed human emotions and our experiences of nature. In some compositions, like in operas, we find musical representations of pain. During Romanticism artists began to intrude into the soul of their audience...
December 2014: Deutsche Medizinische Wochenschrift
Rohan Krishnamurthy
I will discuss how my passion for the arts and sciences originated in and developed since elementary school, and led me to my present work as a professional percussionist, educator, researcher, and entrepreneur. Throughout high school, I pursued music and science projects in parallel. My dual interests encouraged me to pursue a double major in music and chemistry at Kalamazoo College. My senior thesis introduced me to acoustical research when I worked with Dr. James Cottingham at Coe College to study the acoustics of a new drum tuning system that I invented and patented...
April 2014: Journal of the Acoustical Society of America
Bennett Zon
No abstract text is available yet for this article.
July 2014: Journal of the History of Ideas
Nikki Moran
The agenda in music research that is broadly recognized as embodied music cognition has arrived hand-in-hand with a social interpretation of music, focusing on the real-world basis of its performance, and fostering an empirical approach to musician movement regarding the communicative function and potential of those movements. However, embodied cognition emerged from traditional cognitivism, which produced a body of scientific explanation of music-theoretic concepts. The analytical object of this corpus is based on the particular imagined encounter of a listener responding to an idealized "work...
2014: Frontiers in Psychology
Iain Morley
Archaeological evidence for musical activities pre-dates even the earliest-known cave art and it remains the case that no human culture has yet been encountered that does not practise some recognisably musical activity. Yet the human abilities to make and appreciate music have been described as "amongst the most mysterious with which [we are] endowed" (Charles Darwin, 1872) and music itself as "the supreme mystery of the science of man" (Claude Levi-Strauss, 1970). Like language, music has been the subject of keen investigation across a great diversity of fields, from neuroscience and psychology, to ethnography, to studies of its structures in its own dedicated field, musicology; unlike the evolution of human language abilities, it is only recently that the origins of musical capacities have begun to receive dedicated attention...
2014: Journal of Anthropological Sciences, Rivista di Antropologia: JASS
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