Music Theory as Cognitive Science: Some Conceptual and Methodological Issues
Music Perception An Interdisciplinary JournalPublished 1 January 1990
Eytan Agmon
Citations19
SJR quartileQ1
SJR score0.73
SNIP1.18
Generate an AI Snapshot to get a quick, structured summary of this paper.
Study Snapshot
ObjectiveStudy objective
MethodsResearch methodology
PopulationPopulation studied
Sample sizeSample sizes
OutcomesStudy outcomes here
ResultsStudy results comes here
LimitationsResearch study limitations comes here
A concise AI-generated summary of the paper will appear here once you click Generate AI Snapshot.
Abstract
Arguments in favor of a cognitive-scientific approach to music theory based on the following conceptual and methodological distinctions are presented: (1) external (physical) vs. internal (perceptual and cognitive) musical realities and (2) music theories that account for what a given (internal) musical reality is ("what-theories") vs. music theories that account for how this musical reality is constructed by the listener on the basis of some external (physical) stimulus ("how-theories").
Keywords
PsychologySocial Sciences
ASPECTS OF THE THEORY OF SYNTAX
10,941 Citations1964Noam Chomsky
The Philosophical ReviewKnowledge of Language: Its Nature, Origin, and Use.
4,685 Citations1988Norbert Hornstein, Noam Chomsky
Computer Music JournalA Generative Theory of Tonal Music
3,788 Citations1984Peter Child, Fred Lerdahl +1 more
Elsevier eBooksSome Philosophical Problems from the Standpoint of Artificial Intelligence
3,289 Citations1981John McCarthy, Patrick J. Hayes
The formalism of this paper represents an advance over McCarthy (1963) and Green (1969) in that it permits proof of the correctness of strategies that contain loops and strategies that involve the acquisition of knowledge; and it is also somewhat more concise.
Cognitive PsychologyUnderstanding natural language
2,802 Citations1972Terry Winograd
A computer system for understanding English that contains a parser, a recognition grammar of English, programs for semantic analysis, and a general problem solving system based on the belief that in modeling language understanding, it must deal in an integrated way with all of the aspects of language—syntax, semantics, and inference.
musical structure and cognition
351 Citations2000
The American Journal of PsychologyPitch as a Medium: A New Approach to Psychophysical Scaling
343 Citations1971Fred Attneave, Richard K. Olson
The results of two experiments designed to scale pitch by transposition methods lead to the conclusion that the musical scale, not the mel scale, describes the morphophoric function of pitch.
The Mathematical GazetteMachine Intelligence 4. Edited by B. Meltzer and D. Michie. Pp. viii, 508. 100s. 1969. (Edinburgh University Press.)
339 Citations1970F. R. A. Hopgood
Cognitive PsychologyConceptual competence and children's counting
270 Citations1984James G. Greeno, Mary S. Riley +1 more
Medical Entomology and ZoologyThe Grammatical Basis of Linguistic Performance: Language Use and Acquisition
253 Citations1984Robert C. Berwick, Amy Weinberg
Grammatical Basis of Linguistic Performance presents a synthesis of some major recent developments in grammatical theory and its application to models of language performance and its main thesis is that Chomsky's government-binding theory is a good foundation for models of both machine parsing and language learnability.
Journal of Aesthetics and Art CriticismThe Stratification of Musical Rhythm
235 Citations1976Roger Solie, Maury Yeston
Music Perception An Interdisciplinary JournalA Theory of Musical Meter
91 Citations1984William E. Benjamin
This article is in five sections, each of which deals with a problem basic to the theory of musical meter, and sets up a conceptual framework in which meter, group structure, and accent are related to one another.
Journal of Psycholinguistic ResearchThe role of competence theories in cognitive psychology
80 Citations1973Zenon W. Pylyshyn
This paper discusses several common misunderstandings regarding theories of competence and argues that the claim of the psychological reality of amechanism is only appropriate when the mechanism accounts parsimoniously for the widest possible range of empirical phenomena.
CognitionCognition in music
46 Citations1983Mary Louise Serafine
The present view attempts to be compatible with the evidence of historic style changes that have occurred in the notated repertory of Western music and investigates problems in the research stemming from earlier definitions of music.
Music Theory SpectrumA Binomial Representation of Pitch for Computer Processing of Musical Data
41 Citations1986Alexander R. Brinkman
Music Perception An Interdisciplinary JournalOn Some Properties of Schenker's Pitch Derivations
27 Citations1983Allan Keiler
Perspectives of New MusicMusical Syntax (II)
17 Citations1971Benjamin Boretz
Here the authors enter the domain of "musical systems," the normal subject matter of what is traditionally thought of as "music theory," though it is still "metatheory" relative to the "foreground" layers of theoretical discourse.
Impact of Computers on Music
2 Citations1982Ernst Terhardt
There are several indications that the forthcoming decade will bring an enhanced and almost explosive infiltration by computers of all life domains, and the musical domain will no longer be an exception.
Perspectives of New MusicAaron Copland: A Discography of the Composer's Performances
2 Citations1970David Hamilton
