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"Perception and Cognition of Music" available . . . [EDP] (C)


Submitted via: ed.asmus@music.utah.edu (Ed Asmus)


EUROPEAN SOCIETY FOR THE COGNITIVE SCIENCES OF MUSIC


IMPORTANT DISCOUNT


PERCEPTION AND COGNITION OF MUSIC

Irene DELIEGE, Universite de Liege      Psychology Press, UK
John SLOBODA, Keele University          1997, 480 pp.


        Pounds 54.95 = + 3.300 BEF

ESCOM has available a limited number of copies at the special price of:

 ESCOM members  1500 BEF   -   non members  1900 BEF

    Postage and handling :    within Belgium,           200 BEF
                                EC countries,           250 BEF
                        other European countries        330 BEF
                              outside Europe            400 BEF


For orders, contact ESCOM SECRETARIAT
16 place du Vingt Aout, B - 4000 Liege, Fax 32 4 222 06 68

or by e-mail to Irene.Deliege@ping.be

Contents: 

Preface.

Part I: Musicological approaches.

       S.Arom, G. LÈauthaud & F. Voisin, Experimental ethnomusicology. 
            An interactive approach to the study of musical scales. 
       D. Cohen & R. Katz, Attitudes to the time axis and cognitive contraints: 
            the case of Arabic vocal folk music. 
       E. Rigbi-Shafrir, Radical subjectivization of time in the music of the 
            fin-de-siËcle: an example by Max Reger. 
       Ph. Vendrix, Cognitive sciences and historical sciences in music. 
            Ways towards conciliation. 

Part II: Developmental approaches.

       R. Abrams & K. Gerhardt, Some aspects of the fetal sound environment. 
       S. Trehub, E. Schellenberg & D. Hill, The origins of music perception and 
            cognition: a developmental perspective. 
       T. Umemoto, Developmental approaches to music cognition and behavior. 
       K.-E. Behne, The development of "Musikerleben" in adolescence. How and why 
            young people listen to music? 
       A. Lehmann, The acquisition of expertise in music: efficiency of deliberate 
            practice as a moderating variable in accounting for sub-expert 
            performance. 

Part III: Biological approaches.

       A. Patel & I. Peretz, Is music autonomous from language? 
            A neuropsychological appraisal. 
       M. Besson, Electrophysiological studies of music processing. 

Part IV: Acoustical and computational approaches. 

       J. Hajda, R. Kendall, E. Carterette & M. Harshberger, 
            Methodological issues in timbre research. 
       B. Vercoe, Computational auditory pathways to music understanding. 

Part V: Structural approaches. 

       L. Cuddy, Tonal relations. 
       I. Cross, Pitch schemata. 
       I. DeliËge & M. MÈlen, Cue abstraction in the representation of 
            musical form. 
       J.-J. Nattiez, What is the pertinence of the Lerdahl-Jackendoff theory? 
       F. Lerdahl, Composing and listening: a reply to Nattiez. 
       M. Imberty, Epistemic subject, historical subject, psychological subject. 
            Regarding Lerdahl and Jackendoff's Generative
       Theory of Tonal Music: a reply to Nattiez. 
       Postcript: M. Imberty.
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