Download Conceptualizing Music: Cognitive Structure, Theory, and by Lawrence M. Zbikowski PDF

By Lawrence M. Zbikowski

This e-book indicates how contemporary paintings in cognitive technological know-how, specifically that constructed by means of cognitive linguists and cognitive psychologists, can be utilized to give an explanation for how we comprehend song. The ebook specializes in 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 booklet offers a close assessment of the suitable paintings in cognitive technological know-how, framed round particular musical examples. the second one half brings this attitude to undergo on a couple of concerns with which track scholarship has frequently been occupied, together with the emergence of musical syntax and its dating to musical semiosis, the matter of musical ontology, the connection among phrases and tune in songs, and conceptions of musical shape and musical hierarchy.L The booklet might be of curiosity to track theorists, musicologists, and ethnomusicologists, in addition to people with a certified or avocational curiosity within the program of labor in cognitive technological know-how to humanistic rules.

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Additional resources for Conceptualizing Music: Cognitive Structure, Theory, and Analysis (Ams Studies in Music Series)

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Consonant intervals are those whose ratios are either multiple (of the for m [mn]:n) or epimor ic (of the for m [n + 1]:n). 18 Because the octave plus a fourth had the epimer ic ratio 8:3, it was regarded as a dissonance. Another example of how categor ies shape our understanding of phenomena is provided by Greek theor ists’ treatment of thirds and sixths. Although thirds and sixths sound fairly consonant, they were nonetheless categor ized as discords. Two factors bear on this classification.

Situation. The work is based on an ar ietta from Schubert’s 1816 cantata “Der Wanderer,” Op. 4/1, D. 4a. If we have the ar ietta in mind, we can hear the motivic mater ial of the first movement as der ived from the ar ietta and then presented instrumentally in the subsequent Adagio (the motive from the first movement is labeled c in ex. 4b; its use in the Adagio is demonstrated in ex. 13 The temporal order of the process of derivation is thus reversed: c is heard as der ived from c1. If we are coming to the work fresh, we will most likely hear the Adagio as der ived from the first movement: c1 is thus der ived from c.

For centur ies, writers in the West regarded categor ies as fixed and immutable, and any variation in categor ization was taken as evidence of the failure of the human intellect to deal with the structure of the real world. It took the pioneer ing work of Eleanor Rosch and others in the 1970s to show that category structure was not as simple as first believed. In particular, some levels of categorization are preferred over others, and some members of a category are regarded as better representing the categor y than others (a phenomenon known as graded membership).

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