We explore the capacity for music in terms of five questions: (1)
What cognitive structures are invoked by music? (2) What are the
principles that create these structures? (3) How do listeners acquire
these principles? (4) What pre-existing resources make such acquisition
possible? (5) Which aspects of these resources are specific to music,
and which are more general? We examine these issues by looking at
the major components of musical organization: rhythm (an interaction
of grouping and meter), tonal organization (the structure of melody
and harmony), and affect (the interaction of music with emotion).
Each domain reveals a combination of cognitively general phenomena,
such as gestalt grouping principles, harmonic roughness, and stream
segregation, with phenomena that appear special to music and language,
such as metrical organization. These are subtly interwoven with a
residue of components that are devoted specifically to music, such
as the structure of tonal systems and the contours of melodic tension
and relaxation that depend on tonality. In the domain of affect,
these components are especially tangled, involving the interaction
of such varied factors as general-purpose aesthetic framing, communication
of affect by tone of voice, and the musically specific way that tonal
pitch contours evoke patterns of posture and gesture.
%0 Journal Article
%1 Jackendoff2006
%A Jackendoff, Ray
%A Lerdahl, Fred
%D 2006
%J Cognition
%K Affect,Auditory Perception,Auditory Perception,Psychoacoustics,Psycholinguistics,Psychological Perception: Theory,acquisition,modularity,music physiology,Cognition,Humans,Music,Music: psychology,Pitch
%N 1
%P 33--72
%R 10.1016/j.cognition.2005.11.005
%T The capacity for music: what is it, and what's special about it?
%U http://www.ncbi.nlm.nih.gov/pubmed/16384553
%V 100
%X We explore the capacity for music in terms of five questions: (1)
What cognitive structures are invoked by music? (2) What are the
principles that create these structures? (3) How do listeners acquire
these principles? (4) What pre-existing resources make such acquisition
possible? (5) Which aspects of these resources are specific to music,
and which are more general? We examine these issues by looking at
the major components of musical organization: rhythm (an interaction
of grouping and meter), tonal organization (the structure of melody
and harmony), and affect (the interaction of music with emotion).
Each domain reveals a combination of cognitively general phenomena,
such as gestalt grouping principles, harmonic roughness, and stream
segregation, with phenomena that appear special to music and language,
such as metrical organization. These are subtly interwoven with a
residue of components that are devoted specifically to music, such
as the structure of tonal systems and the contours of melodic tension
and relaxation that depend on tonality. In the domain of affect,
these components are especially tangled, involving the interaction
of such varied factors as general-purpose aesthetic framing, communication
of affect by tone of voice, and the musically specific way that tonal
pitch contours evoke patterns of posture and gesture.
@article{Jackendoff2006,
abstract = {We explore the capacity for music in terms of five questions: (1)
What cognitive structures are invoked by music? (2) What are the
principles that create these structures? (3) How do listeners acquire
these principles? (4) What pre-existing resources make such acquisition
possible? (5) Which aspects of these resources are specific to music,
and which are more general? We examine these issues by looking at
the major components of musical organization: rhythm (an interaction
of grouping and meter), tonal organization (the structure of melody
and harmony), and affect (the interaction of music with emotion).
Each domain reveals a combination of cognitively general phenomena,
such as gestalt grouping principles, harmonic roughness, and stream
segregation, with phenomena that appear special to music and language,
such as metrical organization. These are subtly interwoven with a
residue of components that are devoted specifically to music, such
as the structure of tonal systems and the contours of melodic tension
and relaxation that depend on tonality. In the domain of affect,
these components are especially tangled, involving the interaction
of such varied factors as general-purpose aesthetic framing, communication
of affect by tone of voice, and the musically specific way that tonal
pitch contours evoke patterns of posture and gesture.},
added-at = {2011-03-27T17:20:41.000+0200},
author = {Jackendoff, Ray and Lerdahl, Fred},
biburl = {https://www.bibsonomy.org/bibtex/2852ae9f3218c3da3130f258c0c13257d/yevb0},
doi = {10.1016/j.cognition.2005.11.005},
file = {:Jackendoff, Lerdahl_2006_The capacity for music what is it, and what's special about it.pdf:PDF},
interhash = {54f948a8b21f4ebef22d4f4b5a5098d9},
intrahash = {852ae9f3218c3da3130f258c0c13257d},
issn = {0010-0277},
journal = {Cognition},
keywords = {Affect,Auditory Perception,Auditory Perception,Psychoacoustics,Psycholinguistics,Psychological Perception: Theory,acquisition,modularity,music physiology,Cognition,Humans,Music,Music: psychology,Pitch},
mendeley-tags = {acquisition,modularity,music},
month = may,
number = 1,
pages = {33--72},
pmid = {16384553},
timestamp = {2011-03-27T17:20:54.000+0200},
title = {The capacity for music: what is it, and what's special about it?},
url = {http://www.ncbi.nlm.nih.gov/pubmed/16384553},
volume = 100,
year = 2006
}