Activities per year
Abstract
Untrained listeners demonstrate implicit knowledge of syntactic patterns
and principles. Untrained generative music ability, for example singing,
humming, and whistling, is a largely unconscious or intuitive application
of these patterns and principles. From the viewpoint of embodied cognition,
listening to music should evoke an internal representation or motor
image which, together with the perception of organized music, should
form the basis of musical cognition. Indeed, that is what listeners demonstrate
when they sing, hum, or whistle familiar and unfamiliar tunes or
when they vocally or orally improvise continuations to interrupted
phrases. Research on vocal improvisation using continuations sung to an
interrupted musical phrase, has shown that one’s cultural background
influences the music generated. That should be the case for instrumentalists
as well: when they play familiar or unfamiliar tunes by ear in different
keys (transposition) or when they improvise variations,
accompaniments, or continuations to interrupted phrases, the music they
generate should reflect the same cognitive structures as their oral improvisations.
This study is attempting to validate a test of (non) scoredependency
that will enable assessment of the music student’s implicit
knowledge of these structures during performance on the principal instrument.
and principles. Untrained generative music ability, for example singing,
humming, and whistling, is a largely unconscious or intuitive application
of these patterns and principles. From the viewpoint of embodied cognition,
listening to music should evoke an internal representation or motor
image which, together with the perception of organized music, should
form the basis of musical cognition. Indeed, that is what listeners demonstrate
when they sing, hum, or whistle familiar and unfamiliar tunes or
when they vocally or orally improvise continuations to interrupted
phrases. Research on vocal improvisation using continuations sung to an
interrupted musical phrase, has shown that one’s cultural background
influences the music generated. That should be the case for instrumentalists
as well: when they play familiar or unfamiliar tunes by ear in different
keys (transposition) or when they improvise variations,
accompaniments, or continuations to interrupted phrases, the music they
generate should reflect the same cognitive structures as their oral improvisations.
This study is attempting to validate a test of (non) scoredependency
that will enable assessment of the music student’s implicit
knowledge of these structures during performance on the principal instrument.
Original language | English |
---|---|
Publication status | Published - 24 Aug 2011 |
Event | 3rd International Symposium on Performance Science (ISPS) 2011: Models of Performance - Faculty of Music, University of Toronto, Toronto, Canada Duration: 24 Aug 2011 → 27 Aug 2011 Conference number: 3rd http://www.performancescience.org/ISPS2011/ |
Conference
Conference | 3rd International Symposium on Performance Science (ISPS) 2011 |
---|---|
Abbreviated title | ISPS 2011 |
Country | Canada |
City | Toronto |
Period | 24/08/11 → 27/08/11 |
Internet address |
Keywords
- non score-dependency
- playing by ear
- music syntax
Fingerprint Dive into the research topics of 'Non score-dependency: theory and assessment'. Together they form a unique fingerprint.
Activities
-
-
NLBE
Robert Harris (Participant)
7 Jun 2019Activity: Participating in or organising an event › Participation in conference
-
Muziek en brein
Robert Harris (Participant)
26 Apr 2019Activity: Participating in or organising an event › Participation in conference