Psychology of Music, Muzyka - Teoria

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CONTRIBUTORS
Numbers in parentheses indicate the pages on which the authors' contributions begin.
Jamshed J. Bharucha (413) Department of Psychology, Dartmouth College,
Hanover, New Hampshire 03755
Edward M. Burns (215) Department of Speech and Hearing Sciences,
University of Washington, Seattle, Washington 98105
Edward C. Carterette (725) Department of Psychology and Department of
Ethnomusicology & Program in Systematic Musicology, University of
California, Los Angeles, Los Angeles, California 90095
Eric F. Clarke (473) Department of Music, University of Sheffield, Sheffield
S 10 5BR, United Kingdom
Diana Deutsch (299, 349) Department of Psychology, University of
California, San Diego, La Jolla, California 92093
W. Jay Dowling (603) Program in Cognitive Science, University of Texas at
Dallas, Richardson, Texas 75083
Alf Gabrielsson (501) Department of Psychology, Uppsala University, S-
75142 Uppsala, Sweden
Roger A. Kendall (725) Department of Psychology and Department of
Ethnomusicology & Program in Systematic Musicology, University of
California, Los Angeles, Los Angeles, California 90095
Oscar S. M. Matin ~ (653) Department of Neurology, Good Samaritan
Hospital, Portland, Oregon 97210
Eugene Narmour (442) Department of Music, University of Pennsylvania,
Philadelphia, Pennsylvania 19104
?resent address: 222 Hudson Place, Cliffside Park, NJ 07010.
Xill
XIV
CONTRIBUTORS
David W. Perry (653) Department of Neurology and Neurosurgery, Montreal
Neurological Institute, McGill University, Montreal, Quebec, Canada H3A
2B4
John R. Pierce (1) Department of Music, Stanford University, Stanford,
California 94305
Reinier Plomp (89) Faculty of Medicine, Free University, Amsterdam, The
Netherlands
Rudolf Rasch (89) University of Utrecht, Utrecht, The Netherlands
Jean-Claude Risset (113) Laboratoire de M6canique et d'Acoustique,
Marseille, France
Manfred R. Sehroeder (25) Drittes Physikalisches Institut, Universit~it
G6ttingen, D-37073 G6ttingen, Germany and AT&T Bell Laboratories,
Murray Hill, New Jersey 07974
Rosamund
Shuter-Dyson (627) 8 St. Swithuns Close, East Grinstead, RH 19
3BB, England
Johan
Sundberg (171) Department of Speech, Music, and Heating, Royal
Institute of Technology, SE-100 44 Stockholm, Sweden
W. Dixon Ward* (265) Hearing Research Laboratory, University of
Minnesota, Minneapolis, Minnesota 55455
Norman
M. Weinberger (47) Department of Psychobiology and Center for
the Neurobiology of Learning and Memory, University of California, Irvine,
Irvine, California 92625
David L. Wessel (113) Center for New Music and Audio Technologies,
Department of Music, University of California, Berkeley, Berkeley, California
94709
*Deceased.
PREFACE
The aim of this book is to interpret musical phenomena in terms of mental
function--to characterize the ways in which we perceive, remember, create, and
perform music. At the time the first edition was written, the field as we know it was
just emerging. In particular, increasing numbers of psychologists were recogniz-
ing the value of musical materials in exploring mechanisms of attention, memory,
shape recognition, and so on. In parallel, musicians were becoming increasingly
interested in the experimental testing of theoretical ideas, as well as the practical
application of experimental findings to musical composition and performance.
The field has progressed considerably in the 16 years since the first edition was
published. Several factors in particular have contributed to this development. The
opportunity to generate, analyze, and transform sounds by computer is no longer
limited to a few researchers with access to large multiuser facilities, but rather is
available to individual investigators on a widespread basis. In addition, advances
in the field of neuroscience have profoundly influenced our thinking about the
way that music is processed in the brain. Third, collaborations between psycholo-
gists and musicians, which were evolving at the time the first edition was written,
are now quite common; to a large extent we speak a common language and agree
on basic philosophical issues.
The present volume is intended as a comprehensive reference source for musi-
cians, in particular for those who are interested in the way that music is perceived,
apprehended, and performed. It is also intended as a reference source for percep-
tual and cognitive psychologists. In addition, this volume is designed for use as a
textbook for advanced courses in the psychology of music.
An interdisciplinary book such as this one requires much interaction between
researchers in different fields, and can only be considered a group endeavor. My
XV
XVl
PREFACE
thanks go to all the authors, who have given so generously of their time in bringing
the work to fruition. It is with great sadness that I note the recent death of W.
Dixon Ward, whose important contributions are so evident in this book. Dix was
loved and admired by numerous friends and colleagues all over the globe, and he
will be sorely missed. Finally, I am much indebted to Katie Spiller, whose skill
and professionalism in producing the book have contributed substantially to its
Success.
Diana Deutsch
1
THE NATURE OF
MUSICAL
SOUND
JOHN R. PIERCE
Department ofMusic
Stanford University
Stanford, California
i. MUSICAL SOUND
A. WHAT IS MUSICAL SOUND?
Imagine that you are standing with your eyes closed. Off to the left is the faint
sound of water rushing along a stony streambed. Near your feet you hear a tiny
creature rustling among dry leaves. A cawing bird flies into the tree above you;
you hear it lighting on a branch, followed by the faint sounds of restless move-
ment. There are other sounds. Among these is a man singing as he walks slowly
toward you.
Is the man's voice the only musical sound you hear? It may be that if you open
your eyes you will find yourself indoors, listening to a soundscape in stereo, of
which the singing is one part. Perhaps
all
of the sounds were intended as music.
But if, with your eyes still closed, you were able to wander about, you could tell
music concrete from a real auditory scene. In a real scene, compact sound sources
remain compact and fixed in position. Today, for a listener who doesn't move
about, we can concoct sounds that seem near or far and sounds that move around
(Chowning, 1971; Kendall, Martens, & Decker, 1989; Moore, 1989). We can char-
acterize such sounds as musical. But it is either impractical or impossible to repro-
duce within a room the exact auditory effect of a number of discrete sources that
are firmly fixed in space, be they sounds of nature or sounds of musicians playing
or singing.
We have gone willingly beyond the world of unnatural sounds as we hear them
out there. We have also gone beyond the sounds of instrumentalists and singers in
a salon or concert hall. We can accept natural sounds, processed natural sounds,
and electronically concocted sounds as music. In listening to traditional music, we
The Psychology ofMusic, Second Edition
Copyright 9 1999 by Academic Press.
All rights of reproduction in any form reserved.
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