Advertisement

Organizational Processes in Music

  • Diana Deutsch

Abstract

In this paper we shall examine musical organization from several points of view. First we shall consider how the listener sorts the components of a musical configuration into separate groupings. Next we shall discuss some issues involving the formation of musical abstractions so as to lead to perceptual equivalences and similarities. And finally, hierarchical organization in music will be considered.

Keywords

Serial Position Curve Tonal Sequence Component Tone Temporal Segmentation Gestalt Principle 
These keywords were added by machine and not by the authors. This process is experimental and the keywords may be updated as the learning algorithm improves.

Preview

Unable to display preview. Download preview PDF.

Unable to display preview. Download preview PDF.

References

  1. Babbit, M., 1960, Twelve-tone invariants as compositional determinants, Mus. Quart., 46:246–259.CrossRefGoogle Scholar
  2. Bachem, A., 1948, Note on Neu’s review of the literature on absolute pitch, Psychol. Bull., 45:161–162.PubMedCrossRefGoogle Scholar
  3. Bower, G.H., 1972, Organizational factors in memory, in: “Organization of Memory,” E. Tulving and W. Donaldson, eds., Academic Press, New York.Google Scholar
  4. Bower, G.H., and Springston, F., 1970, Pauses as recoding points in letter series, J. Exp. Psychol., 83:421–430.CrossRefGoogle Scholar
  5. Bower, G.H., and Winzenz, D., 1969, Group structure, coding and memory for digit series, J. Exp. Psychol. Monographs, 80. 2:1–17.Google Scholar
  6. Bregman, A.S., 1979, The formation of auditory streams, in: “Attention and Performance VII,” J. Requin, ed., Erlbaum, Hillsdale.Google Scholar
  7. Bregman, A.S., and Campbell, J., 1971, Primary auditory stream segregation and perception of order in rapid sequence of tones, J. Exp. Psychol., 89:244–249.PubMedCrossRefGoogle Scholar
  8. Butler, D, 1979(a), A further study of melodic channeling, Perc. and Psychophys, 25:264–268.Google Scholar
  9. Butler, D., 1979(b), Melodic channeling in musical environment. Res. Symp. Psychol, and Acoust. Music, Kansas.Google Scholar
  10. Deutsch, D., 1972, Octave generalization and tune recognition, Perc and Psychophys., 11:411–412.CrossRefGoogle Scholar
  11. Deutsch, D., 1975(a), Two-channel listening to musical scales, J. Acoust. Soc. Am., 57:156–1160.CrossRefGoogle Scholar
  12. Deutsch, D., 1975(a), Musical illusions, Scient. Am., 233:92–104.CrossRefGoogle Scholar
  13. Deutsch, D., 1978, Octave generalization and melody identification, Perc. and Psychophys., 23:91–92.CrossRefGoogle Scholar
  14. Deutsch, D., 1979, Binaural integration of melodic patterns, Perc. and Psychophys., 25:399–405.CrossRefGoogle Scholar
  15. Deutsch, D., in press. The processing of structured and unstructured tonal sequences, Perc. and Psychophys.Google Scholar
  16. Deutsch, D., and Feroe, S., in press. The internal representation of pitch sequences in tonal music.Google Scholar
  17. Divenyi, P.L., and Hirsch, I. J., 1974, Identification of temporal order in three-tone sequences, J. Acoust. Soc. Am., 56:144–151.PubMedCrossRefGoogle Scholar
  18. Dowling, W.J., 1973, The perception of interleaved melodies. Cog. Psychol., 5:322–337.CrossRefGoogle Scholar
  19. Dowling, W.J., and Fujitani, D.S., 1971, Contour, interval and pitch recognition in memory for melodies, J. Aoust. Soc. Am., 49:524–531.CrossRefGoogle Scholar
  20. Dowling, W.J., and Hollombe, A.W., 1977, The perception of melodies distorted by splitting into several octaves. Effects of increasing proximity and melodic conotour, Perc. and Psychophy, 21 60–64.CrossRefGoogle Scholar
  21. Ehrenfels, C. von., 1890, Über Gestaltqualitaten “Vierteljahrschrift für Wissenschaftliche Philosophie.” 14:249–292.Google Scholar
  22. Erickson, R., 1975, “Sound Structure in Music,” University of California Press, Berkeley.Google Scholar
  23. Estes, W K., 1972, An associative basis for coding and organization in memory, in: “Coding Processes in Human Memory,” A.W. Melton and E. Martin, eds., Winston, Washington.Google Scholar
  24. Forte, A., 1973, “The Structure of Atonal Music,” Yale University Press, New Haven.Google Scholar
  25. Gregory, R.L., 1970, “The Intelligent Eye,” McGraw-Hill, New York.Google Scholar
  26. Handel, S., 1973, Temporal segmentation of repeating auditory patterns, J. Exp. Psychol., 101:46–54.PubMedCrossRefGoogle Scholar
  27. Hochberg, J., 1974, Organization and the Gestalt tradition, in: “Handbook of Perception,” Vol. I, E.C. Carterette and M.P. Friedman, eds., Academic Press New York.Google Scholar
  28. House, W.J., 1977, Octave generalization and the indentification distorted melodies, Perc. and Psychophys., 21:586–589.CrossRefGoogle Scholar
  29. Idson, W.L., and Massaro, D.W., 1978, A bidimensional model of pitch in the recognition of melodies, Perc. and Psychophys., 24:551–565.CrossRefGoogle Scholar
  30. Mandler, G-. 1967, Organization and memory, in, “The Psychology of Learning and Motivation,” Vol. 1, K.W. Spence and J.A. Spence, eds., Academic Press, New York.Google Scholar
  31. McNaJly, K.A., and Handel, S., 1977, Effect of element composition on streaming and the ordering of repeating sequences, J. Exp, Psychol; Human Perc. and Per f., 3:451–460.CrossRefGoogle Scholar
  32. Meyer, L.B., 1973, “Explaining Music: Essays and Explanations,” University of California Press, Berkeley.Google Scholar
  33. Meyer, M., 1904, On the attributes of the sensations. Psycho. Rev., 11:83–103.CrossRefGoogle Scholar
  34. Meyer, M, 1914, Review of G. Revesz, Zur Grundlegung der Tonpsychologie, Psychol. Bull., 11:349–352.CrossRefGoogle Scholar
  35. Noorden, L.P.A-S. van, 1973, “Temporal Coherence in the Perception of Tone Sequences,” unpubl. doctoral dissertation, Technische Hogeschool Eindhoven.Google Scholar
  36. Restle, F., 1970, Theory of serial pattern learning: Structural trees, Psychol. Rev., 77:481–495.CrossRefGoogle Scholar
  37. Restle, F., 1970, Serial patterns: The role of phrasing, J. Exp. Psychol., 92:383–390.Google Scholar
  38. Restle, F., and Brown, E., 1970, Organization of serial pattern learning, in: “The Psychology of Learning and Motivation: Advances in Research and Theory,” Vol. G. Bower, ed., Academic Press, New York.Google Scholar
  39. Revesz, G., 1913, “Zur Grundlegung der Tonpsychologie,” Feit, Leipzig.Google Scholar
  40. Ruckmick, C.A, 1929, A new classification of tonal qualities, Psychol. Rev., 36:172–180.CrossRefGoogle Scholar
  41. Salzer, F., 1962, “Structural Hearing,” Dover, New York.Google Scholar
  42. Schenker, H., 1936, “Neue Musikalische Theorien and Phantasien: Der Freie Satz,” Universal Edition, Vienna.Google Scholar
  43. Schenker, H., 1973, “Harmony,” O. Jones, ed. and annot., E.M. Borgese, transl, MIT Press, Cambridge, Ma,Google Scholar
  44. Schoenberg, A., 1931, “Style and Idea,” Williams & Norgate, London.Google Scholar
  45. Shepard, R.N., 1964, Circularity in judgements of relative pitch, J. Acoust. Soc. Am., 36:2343–2333.CrossRefGoogle Scholar
  46. Simon, H.A., 1972, Complexity and the representation of patterned sequences of symbols, Psychol Rev., 79:369–382.CrossRefGoogle Scholar
  47. Simon, H.A., and Kotovsky, K., 1963, Human acquistion of concepts for sequential patterns, Psychol. Rev., 70:334–346.CrossRefGoogle Scholar
  48. Simon, H.A., and Sumner, R.K., 1968, Pattern in music, in: “Formal Representation of Human Judgment,” B. Kleinmuntz, ed., Wiley, New York.Google Scholar
  49. Sutherland, N.S., 1973, Object recognition, in: “Handbook of Perception” Vol. III. E.C. Carterette and M.P. Friedman, eds.. Academic Press, New York.Google Scholar
  50. Vitz, P.C., and Todd, T.C., 1969, A coded element model of the perceptual processing of sequential stimuli, Psych. Rev., 76:433–449.CrossRefGoogle Scholar
  51. Warren, R.M., and Byrnes, D.L., 1973, Temporal discrimination of recycled tonal sequences: Pattern matching and naming of order by untrained listeners, J. Acoust. Soc. Am., 18:273–280.Google Scholar
  52. Warren, R.M., Obusek, C.J., Farmer, R.M., and Warren, R.P., 1969, Auditory sequence: Confusions of patterns other than speech or music. Science, 164:386–387.CrossRefGoogle Scholar
  53. Wertheimer, M., 1923, Untersuchung zur Lehre von der Gestalt II, Psychol. Forschung, 4:301–330.CrossRefGoogle Scholar
  54. White, B., 1960, Recognition of distorted melodies, Am. J. Psychol, 73:100–107.PubMedCrossRefGoogle Scholar
  55. Wickelgren, W.A., 1967, Rehearsal grouping and the hierarchical organization of serial position cues in short-term memory, Quart. J. Exp. Psychol., 19:97–102.CrossRefGoogle Scholar

Copyright information

© Springer Science+Business Media New York 1982

Authors and Affiliations

  • Diana Deutsch
    • 1
  1. 1.Center for Human Information ProcessingUniversity of California at San DiegoLa JollaUSA

Personalised recommendations