Fwd: The cognitive nature of music; Presentation (McGill)


Subject: Fwd: The cognitive nature of music; Presentation (McGill)
From: Kevin Austin (kevin.austin@videotron.ca)
Date: Tue Mar 22 2005 - 10:05:56 EST


Montreal

>Date: Tue, 22 Mar 2005 09:33:36 -0500
>Subject: [Fwd: The cognitive nature of music]
>
>-------- Original Message --------
>From: Caroline Palmer <<caroline.palmer@mcgill.ca>
>Date: March 21, 2005 9:58:37 AM EST
>Subject: Bharucha talk
>
>Greetings,
>
>Our next Hebb speaker on April 8 is Professor Jamshed Bharucha,
>Tufts, an expert cognitive neuroscientist who studies auditory
>sequence perception and representation in music, speech, and other
>complex behaviors. Dr. Bharucha's recent research is available for
>reading in a folder in the mailroom.
>
>Caroline
>
>
>
>Dr. Jamshed Bharucha
>Professor, Psychology
>Provost and Senior Vice President
>Tufts University
>
>"The cognitive nature of music"
>Friday April 8, 3:30
>S1/3 Stewart Biology
>1205 Dr Penfield Ave
>Montreal
>
>Music is not a unitary phenomenon. It involves a variety of domains
>of formal structure as well as a variety of domains of conscious
>experience.
>
>Domains of formal structure include pitch, timbre, rhythm, meter,
>gesture, phrasing, and movement. Domains of conscious experience
>include the experience of affect, motion, and aspects of formal
>structure. As we listen to or perform music, the computational
>processing of formal structures occurs automatically or implicitly.
>Our conscious awareness or attention offers only glimpses of the
>representational outcomes of these implicit processes. Attention can
>be directed to any of the domains of formal structure or conscious
>experience, can switch between domains, and can be distributed
>between domains in a variety of ways.

>In this talk I will focus on pitch and abstract patterns of pitch,
>from the level of individual frequencies to the level of keys.
>Priming studies show that much of the processing is automatic and
>the expectations elicited by these processes are inexorable. Yet we
>can attend to different structural features. For example, we can
>attend to individual harmonics or to a fused pitch, to melodic
>movement or harmony, and to absolute pitch or tonal function. I will
>propose a system in which the processing of pitch patterns leads to
>a variety of representations at various levels of abstraction,
>including absolute and relative representations, and suggest how
>they interact and how some may be learned.



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