CONTENTS
CONTRIBUTORS = XIII
PREFACE = XV
1 THE NATURE OF MUSICAL SOUND / JOHN R. PIERCE
Ⅰ. Musical Sound = 1
Ⅱ. From Classical Times = 2
Ⅲ. Vibration and Tone : Mersenne and Galileo = 3
Ⅳ. Time Resolution of the Ear = 3
Ⅴ. Time Resolution and Musical Sounds = 5
Ⅵ. Externalization = 6
Ⅶ. Spectra = 7
Ⅷ. Linearity = 7
Ⅸ. Spectra and Sound = 8
Ⅹ. Resonance and Musical Instruments = 10
XI. Complexity of Periodic Sounds = 11
XII. Helmholtz, Plomp, and Dissonance = 12
XIII. Pitch = 13
XIV. Quasi-Musical and Unmusical Sounds = 16
XV. Descriptions of Musical Sounds = 17
Acknowledgments = 20
References = 20
2 CONCERT HALLS : FROM MAGIC TO NUMBER THEORY / MANFRED R. SCHROEDER
Ⅰ. The Three Problems of Concert Hall Acoustics = 25
Ⅱ. The Physical Problem = 26
Ⅲ. The Subjective Problem = 33
Ⅳ. Multipurpose Halls = 44
Ⅴ. Conclusion = 45
Appendix = 45
References = 46
3 MUSIC AND THE AUDITORY SYSTEM / NORMAN M. WEINBERGER
Ⅰ. Introduction = 47
Ⅱ. A Brief Overview of the Auditory Pathway = 48
Ⅲ. Experimental Approaches in the Neurobiology of Music = 60
Ⅳ. The Auditory System and Elements of Music = 61
Ⅴ. Pitch = 61
Ⅵ. Harmony, Consonance = 67
Ⅶ. Contour, Melody = 68
Ⅷ. Rhythm, Temporal Coding = 75
Ⅸ. Future Directions = 80
Acknowledgments = 82
References = 83
4 THE PERCEPTION OF MUSICAL TONES / RUDOLF RASCH ; REINIER PLOMP
Ⅰ. The Psychoacoustics of Music = 89
Ⅱ. Perceptual Attributes of Single Tones = 93
Ⅲ. Perceptual Attributes of Simultaneous Tones = 102
Ⅳ. Conclusion = 108
References = 109
5 EXPLORATION OF TIMBRE BY ANALYSIS AND SYNTHESIS / JEAN-CLAUDE RISSET ; DAVID L. WESSEL
Ⅰ. Timbre = 113
Ⅱ. Timbre and the Fourier Spectrum : The Classical View = 114
Ⅲ. The Shortcomings of the Classical Conception = 116
Ⅳ. Attack Transients = 117
Ⅴ. Complexity of Sounds : Importance of Characteristic Features = 118
Ⅵ. Instrumental and Vocal Timbres : Additive Synthesis = 118
Ⅶ. Additive Synthesis : Percussion Instruments = 124
Ⅷ. Cross-Synthesis and Voice Synthesis = 126
Ⅸ. Subtractive Synthesis = 128
Ⅹ. Global (or Nonlinear) Synthesis = 130
XI. Physical Modeling as a Synthesis Technique = 131
XII. Sampling = 134
XIII. The Importance of Context : Musical Prosody, Fusion, and Segregation = 135
XIV. Analysis-Synthesis as Fitting Physical and Perceptual Models to Data = 138
XV. The Use of Analysis-Synthesis Models of Timbre = 141
XVI. Timbral Space = 146
XVII. Conclusion = 149
Appendices = 151
References = 158
6 THE PERCEPTION OF SINGING / JOHAN SUNDBERG
Ⅰ. Introduction = 171
Ⅱ. Function of the Voice = 172
Ⅲ. Resonatory Aspects = 174
Ⅳ. Phonation = 188
Ⅴ. Aspects of Voice Timbre = 194
Ⅵ. Vibrato = 195
Ⅶ. Pitch in Practice = 203
Ⅷ. Expression = 207
Ⅸ. Concluding Remarks = 209
References = 210
7 INTERVALS, SCALES, AND TUNING / EDWARD M. BURNS
Ⅰ. Introduction = 215
Ⅱ. Why Are Scales Necessary? = 215
Ⅲ. Musical Interval Perception = 219
Ⅳ. Natural Intervals and Scales = 240
Ⅴ. Conclusions and Caveats = 257
Acknowledgments = 258
References = 258
8 ABSOLUTE PITCH / W. DIXON WARD
Ⅰ. Introduction = 265
Ⅱ. Genesis of AP = 268
Ⅲ. Measurement of AP = 270
Ⅳ. Stability of the Interval Standard = 280
Ⅴ. Neurological Correlates of AP = 282
Ⅵ. Learning AP = 283
Ⅶ. Colored Hearing = 286
Ⅷ. Absolute Tonality = 286
Ⅸ. Spontaneous and Elicited Auralization = 288
Ⅹ. The Value of AP = 289
References = 294
9 GROUPING MECHANISMS IN MUSIC / DIANA DEUTSCH
Ⅰ. Introduction = 299
Ⅱ. Fusion and Separation of Spectral Components = 301
Ⅲ. Larger Scale Groupings = 313
Ⅳ. Grouping of Rapid Sequences of Single Tones = 313
Ⅴ. Grouping of Multiple Tone Sequences in Space = 321
Ⅵ. Equal-Interval Tone Complexes = 336
Ⅶ. Conclusion : Relationships to Music Theory and Practice = 340
References = 342
10 THE PROCESSING OF PITCH COMBINATIONS / DIANA DEUTSCH
Ⅰ. Introduction = 349
Ⅱ. Feature Abstraction = 350
Ⅲ. Higher Order Abstractions = 359
Ⅳ. Paradoxes Based on Pitch Class = 376
Ⅴ. The Pitch Memory System = 390
Ⅵ. Conclusion = 403
References = 404
11 NEURAL NETS, TEMPORAL COMPOSITES, AND TONALITY / JAMSHED J. BHARUCHA
Ⅰ. Neural Representation = 413
Ⅱ. Neural Association and Learning = 424
Ⅲ. Discussion = 435
Acknowledgments = 436
Appendices = 436
References = 437
12 HIERARCHICAL EXPECTATION AND MUSICAL STYLE / EUGENE NARMOUR
Ⅰ. The Invocation of Extraopus Style = 442
Ⅱ. Empirical and Rationalistic Levels of Style = 443
Ⅲ. Learned Stylistic Levels as "Theme" and "Variation" = 444
Ⅳ. Defining Levels = 445
Ⅴ. Representing Hierarchical Levels = 446
Ⅵ. Problems with Level Displays = 448
Ⅶ. The Parametric Nature of Hierarchical Style Structures = 451
Ⅷ. Style Structures as Composite Cognitive Paths = 456
Ⅸ. Refining Further Hierarchical Displays = 457
Ⅹ. Neuronal Representation : A Speculation = 460
XI. The Musical Reality of Style-Structural Hierarchies = 464
XII. Archetypes = 466
XIII. Style Change : Toward Greater Complexity = 466
XIV. Conclusion : The Limits of Style = 468
References = 471
13 RHYTHM AND TIMING IN MUSIC / ERIC F. CLARKE
Ⅰ. Introduction = 473
Ⅱ. The Work of Paul Fraisse = 473
Ⅲ. Form Perception = 476
Ⅳ. Rhythm Perception = 478
Ⅴ. Timing in Music = 489
Ⅵ. Rhythm, Timing, and Movement = 494
Ⅶ. Summary = 496
Acknowledgments = 497
References = 497
14 THE PERFORMANCE OF MUSIC / ALF GABRIELSSON
Ⅰ. Introduction = 501
Ⅱ. Performance Planning = 502
Ⅲ. Sight-Reading = 509
Ⅳ. Improvisation = 513
Ⅴ. Feedback in Performance = 515
Ⅵ. Motor Processes in Performance = 516
Ⅶ. Measurements of Performance = 523
Ⅷ. Models of Music Performance = 550
Ⅸ. Physical Factors in Performance = 557
Ⅹ. Psychological and Social Factors = 561
XI. Performance Evaluation = 577
Acknowledgments = 579
References = 579
15 THE DEVELOPMENT OF MUSIC PERCEPTION AND COGNITION / W. JAY DOWLING
Ⅰ. Introduction = 603
Ⅱ. Development = 604
Ⅲ. Summary = 620
Acknowledgment = 621
References = 621
16 MUSICAL ABILITY / ROSAMUND SHUTER-DYSON
Ⅰ. Concepts of Musical Ability = 627
Ⅱ. Studies of Musical Abilities = 629
Ⅲ. Music Ability and Other Abilities = 643
Ⅳ. Conclusions = 645
References = 645
17 NEUROLOGICAL ASPECTS OF MUSIC PERCEPTION AND PERFORMANCE / OSCAR S. M. MARIN ; DAVID W. PERRY
Ⅰ. Introduction = 653
Ⅱ. Amusias = 655
Ⅲ. Auditory Agnosias and Verbal Deafness = 667
Ⅳ. Progress in the Classification of Auditory Disorders = 673
Ⅴ. Cerebral Hemisphere Asymmetry in Music Perception and Production = 679
Ⅵ. Progress in the Neuropsychology of Human Music Perception = 699
Ⅶ. Music Perception as a Skill = 704
Ⅷ. Perspectives for the Neuropsychological Study of Music = 708
Acknowledgments = 712
References = 712
18 COMPARATIVE MUSIC PERCEPTION AND COGNITION / EDWARD C. CARTERETTE ; ROGER A. KENDALL
Ⅰ. Introduction and Overview = 725
Ⅱ. Pitch = 730
Ⅲ. Pitch Systems = 736
Ⅳ. Tonality = 743
Ⅴ. Melody = 751
Ⅵ. Rhythm = 758
Ⅶ. Timbre and Spectra = 762
Ⅷ. Creativity, Communication, Meaning, and Affect = 765
Ⅸ. Verbal Attributes and Semantics = 766
Ⅹ. Species Differences : Animal Speech and Music = 770
XI. Perception of Tonality by the Monkey = 776
XII. Notes on the Neurophysiology of Music Perception = 776
XIII. Cognitive Musical Universals = 780
XIV. Coda = 780
References = 782
INDEX = 793
