Conceptualizing Music: Cognitive Structure, Theory, and AnalysisThis book shows how recent work in cognitive science, especially that developed by cognitive linguists and cognitive psychologists, can be used to explain how we understand music. The book focuses on three cognitive processes--categorization, cross-domain mapping, and the use of conceptual models--and explores the part these play in theories of musical organization. The first part of the book provides a detailed overview of the relevant work in cognitive science, framed around specific musical examples. The second part brings this perspective to bear on a number of issues with which music scholarship has often been occupied, including the emergence of musical syntax and its relationship to musical semiosis, the problem of musical ontology, the relationship between words and music in songs, and conceptions of musical form and musical hierarchy. The book will be of interest to music theorists, musicologists, and ethnomusicologists, as well as those with a professional or avocational interest in the application of work in cognitive science to humanistic principles. |
Other editions - View all
Conceptualizing Music: Cognitive Structure, Theory, and Analysis Lawrence M. Zbikowski Limited preview - 2002 |
Common terms and phrases
analysis appears approach associated attributes basic becomes Beethoven beginning bells blend called Cambridge century changes chapter chord cognitive complete compositional conceptual models construction continued correlated course create cresc cultural describe developed discourse discussion distinction domain elements evidence example figure follows function further give given harmonic hierarchy human idea important instance intervals involves knowledge language less major mapping materials means measures melody mind minor motive movement music theory nature notion objects offers opening organization original pattern performance perspective phrase pitches play poem possible present Press principal recorded reflects relations relationships relatively represent result rhetoric Rhythm rhythmic Schenker shown similar song sort sound space specific statements strategies structure suggests syntax takes things third thought tion tune turn typical understanding University University Press variant voice
Popular passages
Page 3 - ... by fashioning for us facsimiles of those fugitive phrases, enable us to compare and to contrast them with those that follow. And so, scarcely had the exquisite sensation which Swann had experienced died away, before his memory had furnished him with an immediate transcript, sketchy, it is true, and provisional, which he had been able to glance at while the piece continued, so that, when the same impression suddenly returned, it was no longer impossible to grasp.