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2 paź 2014 · It reviews other ways of conceiving music as having meaning—largely derived from music’s embedding in social and cultural context—before summarizing issues and problems in the empirical exploration of meaning in music.
This article presents an overview of theories of meaning that have been, and that may be, applicable to investigating music, particularly its cognitive dimensions. Some theories have had more impact on the scientific exploration of music's significance than others, which have been unduly neglected.
24 lip 2013 · The psychology of music seeks to interpret musical phenomena in terms of mental function; that is, it seeks to characterize the ways in which people perceive, remember, perform, create, and respond to music.
28 mar 2008 · The psychology of music is a subfield of psychology that addresses questions of how the mind responds to, imagines, controls the performance of, and evaluates music. The history of this subfield has been greatly influenced by the major trends and developments in the parent discipline, and the organization of this chapter follows the traditional ...
Music is one of those things that we do spontaneously, reflecting brain machinery linked to communicative functions, enlarged and diversified across a broad array of human activities. Music cuts across diverse cognitive capabilities and resources, including numeracy, language, and space perception.
17 kwi 1986 · The concern of this chapter is not only to describe linguistic and musical rules or categories, but also to examine the degree to which psychological evidence confirms their reality. A linguist searches for the neatest and most economical way of describing a language's structure.
5 wrz 2013 · Throughout history, music has been regarded as expressive of motion, tension, human characters, identity, beauty, religious faith, and social conditions. However, the most common hypothesis is arguably that listeners perceive music as expressive of emotions (for a review, see Gabrielsson and Juslin, 2003).
