Abstract
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
Cite this
}
Non score-dependency : theory and assessment . / Harris, Robert; de Jong, Bauke; van Kranenburg, Peter.
2011. Poster session presented at 3rd International Symposium on Performance Science (ISPS) 2011, Toronto, Canada.Research output: Contribution to conference › Poster › Other research output
TY - CONF
T1 - Non score-dependency
T2 - theory and assessment
AU - Harris, Robert
AU - de Jong, Bauke
AU - van Kranenburg, Peter
PY - 2011/8/24
Y1 - 2011/8/24
N2 - Untrained listeners demonstrate implicit knowledge of syntactic patternsand principles. Untrained generative music ability, for example singing,humming, and whistling, is a largely unconscious or intuitive applicationof these patterns and principles. From the viewpoint of embodied cognition,listening to music should evoke an internal representation or motorimage which, together with the perception of organized music, shouldform the basis of musical cognition. Indeed, that is what listeners demonstratewhen they sing, hum, or whistle familiar and unfamiliar tunes orwhen they vocally or orally improvise continuations to interruptedphrases. Research on vocal improvisation using continuations sung to aninterrupted musical phrase, has shown that one’s cultural backgroundinfluences the music generated. That should be the case for instrumentalistsas well: when they play familiar or unfamiliar tunes by ear in differentkeys (transposition) or when they improvise variations,accompaniments, or continuations to interrupted phrases, the music theygenerate should reflect the same cognitive structures as their oral improvisations.This study is attempting to validate a test of (non) scoredependencythat will enable assessment of the music student’s implicitknowledge of these structures during performance on the principal instrument.
AB - Untrained listeners demonstrate implicit knowledge of syntactic patternsand principles. Untrained generative music ability, for example singing,humming, and whistling, is a largely unconscious or intuitive applicationof these patterns and principles. From the viewpoint of embodied cognition,listening to music should evoke an internal representation or motorimage which, together with the perception of organized music, shouldform the basis of musical cognition. Indeed, that is what listeners demonstratewhen they sing, hum, or whistle familiar and unfamiliar tunes orwhen they vocally or orally improvise continuations to interruptedphrases. Research on vocal improvisation using continuations sung to aninterrupted musical phrase, has shown that one’s cultural backgroundinfluences the music generated. That should be the case for instrumentalistsas well: when they play familiar or unfamiliar tunes by ear in differentkeys (transposition) or when they improvise variations,accompaniments, or continuations to interrupted phrases, the music theygenerate should reflect the same cognitive structures as their oral improvisations.This study is attempting to validate a test of (non) scoredependencythat will enable assessment of the music student’s implicitknowledge of these structures during performance on the principal instrument.
KW - non score-dependency
KW - playing by ear
KW - music syntax
KW - muziek
KW - luisteren
KW - opvoeding
M3 - Poster
ER -