Cognitive Bases of Musical Communication

Pages: 284
Item #: 4318140
ISBN: 978-1-55798-127-1
List Price: $39.95
Member/Affiliate Price: $34.95
Publication Date: 1991
Format: Hardcover
Note: This book is out of print and no longer available for purchase.

This volume is the result of the "Cognitive Bases of Musical Communication" conference held in April 1990 and cosponsored by APA and The Ohio State University. The conference brought together some of the major names among the multidisciplinary scholars and theorists active in the field of music psychology to discuss how music communicates. This relatively new area of study of the cognitive bases of musical communication (most of the research has occurred within the past decade) invites the comparison of music with other forms of communication, particularly natural languages. Conference presentations provided perspectives on the role of affect and meaning in musical communication, listeners' interpretive responses to musical structure, approaches to pitch perception, the representation and acquisition of musical knowledge, and the issues of performance.

Table of Contents

List of Contributors




  1. Cognitive Bases of Musical Communication: An Overview
    —Mari Riess Jones and Susan Holleran

I. Communication, Meaning, and Affect in Music

  1. On the Possibility of a Determinate Semantics for Music
    —Robert Kraut
  2. Proposal for a Musical Semantics
    —Diana Raffman
  3. Empirical Studies of Emotional Response to Music
    —John A. Sloboda

II. The Influence of Structure on Musical Understanding

  1. Musical Processing and Musical Affect
    —Ray Jackendoff
  2. The Influence of Embodied Registral Motion on the Perception of Higher-Level Melodic Implication
    —Eugene Narmour
  3. Attending to Musical Events
    —Mari Riess Jones

III. Pitch and the Function of Tonality

  1. The Tritone Paradox: Implications for the Representation and Communication of Pitch Structures
    —Diana Deutsch
  2. Cognitive Interpretations of Functional Chromaticism in Tonal Music
    —Helen Brown
  3. On Pitch-Set Properties and Perceptual Attributes of the Minor Mode
    —David Butler
  4. Pitch-Space Journeys in Two Chopin Preludes
    —Fred Lerdahl

IV. Acquisition and Representation of Musical Knowledge

  1. Internal Representations for Music Perception and Performance
    —Carol L. Krumhansl
  2. Tonality and Learnability
    —Jamshed J. Bharucha
  3. Revisiting Meyer's "Grammatical Simplicity and Relational Richness"
    —Robert O. Gjerdingen

V. Communicating Interpretations Through Performance

  1. The Role of Interpretive Preferences in Music Performance
    —Caroline Palmer
  2. How to Interpret Music
    —L. Henry Shaffer