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PSYC56 Music Cognition

Dive into the perceptual and cognitive processes underlying the psychology of music in this course. Understand sound properties, pitch perception, rhythm, emotion in music, and more. Course readings and assignments offer in-depth exploration.

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PSYC56 Music Cognition

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  1. PSYC56Music Cognition • Instructor: Mark A. Schmuckler • Office: S-515 • Phone: 287-7417 • Email: marksch@utsc.utoronto.ca • Office Hours: Thur, 1 – 2 PM, or by appointment • Teaching Assistant: Dominique Vuvan • Office: H-302 • Phone: 287-7182 • Email: dominique.vuvan@utoronto.ca • Office Hours: Tues, 1 – 2 PM, or by appointment • Class Time/Location: Mon, 11 – 1, SY115 • Web:www.utsc.utoronto.ca/~marksch/psyc56/c56-index.htm

  2. PSYC56Music Cognition • Course Description: • This course studies the perceptual and cognitive processing involved in the psychology of music. The general idea is to acquaint students with the basic concepts and issues involved in the understanding of musical passages. The focus of this course is on the perception and cognition of musical materials, taking as its starting point the music listener as a gatherer and interpreter of information from the environment. Topics will include aspects such as the basic physical and psychological properties of sound, pitch perception and melodic organization, the perception of rhythm and time, musical correlates of psychological structure, musical performance, emotion and meaning in music, musical development, and so on. • Course Readings: • Thompson, W. F. (2009). Music, Thought, and Feeling: Understanding the Psychology of Music. Oxford, UK: Oxford University press • Additional readings as needed, available as PDFs on the course website • Course Requirements and Grading: • Midterm (35%) and Final (35%) • Four take-home assignments (7.5% each)

  3. Introduction to Music Cognition A topical outline of music psychology (Butler, 1992)

  4. What is studied in music cognition? Topic domains for empirical articles in the journal Music Perception, between 1984 - 2010 Tirovolas & Levitin (2011)

  5. What is studied in music cognition? Percentage of articles published on various music psychology topics in the journal Music Perception, between 1984 – 2010 Tirovolas & Levitin (2011)

  6. What is studied in music cognition? Change over time of the percentage of articles on the top five topics in the journal Music Perception, between 1984 – 2010 Tirovolas & Levitin (2011)

  7. Who studies music cognition? Departmental affiliations of authors Tirovolas & Levitin (2011) Empirical Articles (424 total): • Psychology Departments: 217 • Music Departments: 108 • Neurosciences: 33 • Haskins Laboratories: 19 • Technology/Computer Science: 17 TheoreticalArticles (154 total): • Psychology Departments: 30 • Music Departments: 71 • Neurosciences: 10 • Technology/Computer Science: 8 • Cognitive Science: 5

  8. Who studies music cognition? Different forms of musical structure ObjectiveSubjective External musical Internal experience stimulus of the listener

  9. Who studies music cognition? Different forms of musical structure ObjectiveSubjective Musical attributes Psychological that are perceived experiences corresponding to attributes Musical attributes Psychological that are not perceived experiences not corresponding to attributes Experience of the listener Not PerceivedPerceived

  10. Who studies music cognition? Drawbacks of the interdisciplinary nature of music cognition • How is it best to study music cognition? • Inherent problems with integrating two different fields • Problems with borrowing of ideas • Making naive assumptions or mistakes • Potential antipathy to study of field by other discipline

  11. How do you do this type of work? • Empirical approach • Based on methods of cognitive psychology • Diverse collection of activities • Encoding and interpreting perceptual information • Organizing motor responses • Limitations and dangers to approach • How to formulate questions, compile observations, systems to explain results • Choice of stimulus material • Problems with use of impoverished materials • Problems with use of complex musical materials • Types of behaviors of responses to measure • Description of internal psychological system; need to employ responses that do not require training • Observations need to be musically relevant, though • Choice of listeners in study • Use of participants with or without musical training

  12. The field of music cognition • History of field • Roots in 1950s, cognitive revolution and information processing • Began to see studies of music-related topics • Work still kept under cover, though • 1970 – 1980s field began to acquire real legitimacy • See edited books, 1st specialized journals appear • Psychomusicology in 1981, Music Perception in 1986 • More frequent music-related articles in general psychology journals • Advent of specialized conferences, graduate programs • Society for Music Perception and Cognition (SMPC) • International Conference on Music Perception and Cognition (ICMPC)

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