Courses by Marina Korsakova-Kreyn
The course of lessons “Music and the Mind” explains why humans have inborn expertise in the basic... more The course of lessons “Music and the Mind” explains why humans have inborn expertise in the basic melodic elements, and how come that the main principle in music imitates the familiar gravitational force. When we listen to music, our minds use a musical scale as a decoder. The most important aspect of the scale is the tonal hierarchy generated by the hidden dimension of oveertones. The hidden dimension of overtones is the source of the tonal force field. Listening to music means navigating the tonal space ruled by the phenomenal tonal gravity. Recent studies have captured a mild synesthetic component of distances in tonal space. This discovery can lead to the creation of a new multisensory art form. 10 video lessons537 views
Papers by Marina Korsakova-Kreyn
Neuroscience for Medicine and Psychology, May 13, 2019
Вселенная Музыки, 2011
Мы все интуитивно знаем, что такое музыка, однако, все еще не ясно, каким образом звуки музыки пр... more Мы все интуитивно знаем, что такое музыка, однако, все еще не ясно, каким образом звуки музыки превращаются в язык эмоций, и почему мы реагируем на музыку мыслями и сложными чувствами.
В этом эссе читателю предлагается несколько разных точек зрения на восприятие музыки, которые интимно знакомы автору. Для музыканта-исполнителя музыка – это мощное средство общения. Для педагога важно объяснить самые существенные стороны музыки с возможной ясностью и доступностью. Для исследователя-нейропсихолога изучение восприятия музыки не только невероятно интересно, но и обещает помочь понять природу человеческого сознания.
Новые технологии в медицине, 2019
Применение музыки в реабилитационной медицине требует понимания механизмов музыкального воздейств... more Применение музыки в реабилитационной медицине требует понимания механизмов музыкального воздействия. Эта статья рассматривает природу различия в характере основных мелодических элементов музыки, обсуждает особенности тонального пространства и акцентирует важность пре-когнитивного аспекта в восприятии музыки. Музыку называют «языком эмоций». Так как работа высших уровней человеческого сознания неотделима от эмоций, изучение механизмов эмоциональной обработки является одной из важных областей когнитивных наук. Исследование восприятия музыки помогает осветить важные аспекты человеческого сознания и способствует совершенствованию методов применения музыкальной терапии.
New technologies in Medicine, 2019
Application of music in rehabilitation medicine requires an understanding of the mechanisms of mu... more Application of music in rehabilitation medicine requires an understanding of the mechanisms of music perception. This article discusses differences in character of the basic melodic elements and addresses some of the specifics of tonal space. Colloquially, music is called the language of emotion. Bearing in mind that high-level cognitive functioning in humans is inseparable from affective consciousness, investigating the mechanisms of emotional processing belongs to an important area of cognitive sciences. Studying music perception can help to advance methods of music therapy and to elucidate major aspects of human consciousness.
Psychomusicology: Music, Mind, and Brain Vol. 28, No. 4, 240–259 , 2018
In this paper, I propose that embodied cognition in music has two distinct levels. The “surface” ... more In this paper, I propose that embodied cognition in music has two distinct levels. The “surface” level relates to the apparent corporeal articulation such as the activated psychomotor program of a music performer, visible gestures in response to music, and rhythmic entrainment. The primary (though concealed) “deep” level of embodied cognition relates to the main coding aspects in music: the tonal relationships arranged in time. Music that we love – for example, a favorite melody – is made of combinations of a small number of basic melodic intervals that differ by their psychophysical characteristics, among which the level of tonal stability and consonant-dissonant dichotomy are the most important for the formation of tonal expectations that guide music perception. Listeners perceive music as a flow of tonal relationships arranged in time; the temporal and tonal dimensions are interwoven and constitute the tonal chronotope. The intuitive navigation in artistic tonal time-space relies on tonal expectations that are at the heart of melodic intentionality and musical motion. Melodic intentionality has its foundations in artfully sequenced tonal tension and release from tension. Significantly, perceived tonal tension is related to real physical tension. In a music listener, the patterns of perceived tonal tension most likely generate corresponding patterns of physical tension that contribute, along with other musical aspects, to forming a musical emotion, or the experience of psychological time in music. The tonal/temporal relationships encode musical content that dictates the motor behavior of music performers. The proposed two-level model of embodied cognition connects core musicology with the data from studies in music perception and cognition as well as studies in affective neuroscience and musicianship-related brain plasticity. The paper identifies the need for collaboration among various subdisciplines in musicology and cognitive sciences in order to further the development of the nascent field of embodied cognition in music. The presented discourse relies on research in the tonal music of European tradition and it does not address either aleatoric music or the exotic musics of non-Western traditions. To make the proposed model of embodied cognition in music available for nonmusicians, the paper includes the basics of music theory.
Psychomusicology: Music, Mind, and Brain, Vol 28(4), Dec 2018, 240-259, 2018
In this paper, I propose that embodied cognition in music has two distinct levels. The “surface” ... more In this paper, I propose that embodied cognition in music has two distinct levels. The “surface” level relates to the apparent corporeal articulation such as the activated psychomotor program of a music performer, visible gestures in response to music, and rhythmic entrainment. The primary (though concealed) “deep” level of embodied cognition relates to the main coding aspects in music: the tonal relationships arranged in time. Music is made of combinations of a small number of basic melodic intervals that differ by their psychophysical characteristics, among which the level of tonal stability and consonant-dissonant dichotomy are the most important for the formation of tonal expectations that guide music perception; tonal expectations are at the heart of melodic intentionality and musical motion. The tonal/temporal relationships encode musical content that dictates the motor behavior of music performers. The proposed two-level model of embodied cognition connects core musicology with the data from studies in music perception and cognition as well as studies in affective neuroscience and musicianship-related brain plasticity. The paper identifies the need for collaboration among various subdisciplines in musicology and cognitive sciences in order to further the development of the nascent field of embodied cognition in music. The presented discourse relies on research in the tonal music of European tradition and it does not address either aleatoric music or the exotic musics of non-Western traditions. To make the proposed model of embodied cognition in music available for nonmusicians, the paper includes the basics of music theory.
Недавние открытия в области когнитивных наук предлагают новое толкование известного выражения «ар... more Недавние открытия в области когнитивных наук предлагают новое толкование известного выражения «архитектура – это застывшая музыка». Судя по результатам исследований, чем меньше энергетических затрат на нейронном уровне совершается при обработке данной звуковой пропорции, тем приятнее эта пропорция для восприятия. Для анализа информации наш разум конструирует системы отсчета. Например, разум использует то, что известно как картезианские координаты для обеспечения ориентации в пространстве. То есть, подсознательные вычисления происходят с помощью неких систем пропорциональности. Но есть такое тонкое ощущение природных пропорций, которое как бы и не особенно нужно для непосредственного выживания, но к которому мы интуитивно тянемся. Речь идет о художественных пропорциях и об интуитивной потребности в прекрасном...
Architecture as music was taught and every place came alive. But when music went out of architect... more Architecture as music was taught and every place came alive. But when music went out of architecture, rules and systems were not enough to get it back. Jonathan Hale Recent discoveries in a field of cognitive sciences give a renewed currency for the famous expressions architecture is frozen music. The results of empirical studies suggest that the lesser the cost for processing a given auditory " proportion, " the more pleasant this proportion for the perception. We will start an explanation of these results from something unapparent. Our minds are involved in the subconscious analysis of the incoming information in order to provide recognition of things and phenomena and allow us to survive. For instance, evaluation of a height of a riverbank or a velocity of a car protects our existence. To perform the analysis of the incoming information, our minds construct specific mental systems of reference. Thus, for orientation in 3D space, our minds use three coordinates: height, width, and depth. We call this system the Cartesian coordinates. In other words, the subconscious calculations proceed with the help of a system of proportionality. There is a very special aspect of the perception of natural proportionality however, which is not important for the survival at all but which nevertheless has a strong attraction for the human minds. Here we talk about the artistic proportions and the intuitive need in manifestations of the beautiful, whether in architecture and music or utilitarian objects of everyday use.
In this paper, I propose that embodied cognition in music has two distinct levels: 1) the apparen... more In this paper, I propose that embodied cognition in music has two distinct levels: 1) the apparent corporeal articulation of music by performers and listeners, which reflects either a desire to make visible their emotional responses to the music or rhythmic entrainment, and 2) the principal (though concealed) level of transient muscular reactions to the main coding aspects in music: the tonal relationships arranged in time. This paper argues that the apparent corporeal articulation with regard to the entrainment effect and dance (Leman & Maes, 2014) is more related to the multimodal integration that is characteristic of attending to such a multidisciplinary performing art as opera and ballet than to purely musical content. I also present empirical data on the perception of tonal distances (Korsakova-Kreyn & Dowling, 2014) and suggest an explanation of why listeners' intuitive navigation in tonal and temporal space lies at the heart of emotional responses to music, including corporeal articulation. In addition, the paper touches on the research into temporality in music, such as memory constraints in the perception of tonal structures (Tillmann & Bigand, 2004). The main emphasis of this paper is on the principal two dimensions of music: tonal relationships and time. Understanding the primacy of these dimensions is important for defining music cognition and music in general. The paper also identifies the need for collaboration among various subdisciplines in musicology and the cognitive sciences so as to further the development of the nascent field of embodied cognition in music. KEYWORDS: music perception, embodied cognition, emotional processing in music Expressive distinctions are easily encoded by the listeners through the verbal labels, but they are practically untranslatable by bodily mediation, when body expression is induced by the musical stimulus. Frances and Bruchon-Schweitzer (1983) The concept of embodied cognition is based on the understanding that our emotions, memory, speech, and imagination are inseparable from the experiences of our bodies. To say it differently, a mind is shaped by the motor and somatosensory experience of the body that houses that mind. Music, a very special form of communication between humans, illustrates two levels of embodied cognition. The first, " surface " level is the influence of visible bodily movement on music perception and cognition. The second, " deep " level deals with melodic morphology. Our minds read melodic information by comparing differences in the perceived tonal stability of melodic elements. The sense of stability is directly related to a physical sensation of perceived tension, which means that melodic morphology is based on a highly primitive principle of perception that involves changes in somatic tension (Radchenko et al., 2015)—changes that most likely include transient actions of the musculature in response to tonal and temporal patterns. This is why tonal music presents what is probably the most obvious and holistic example of embodied cognition. SPEECH AND EMBODIED COGNITION The theory of embodied cognition postulates that sensory information and motor activity are essential for understanding the surrounding world and for developing the abilities that are important for abstract reasoning (Foglia & Wilson, 2013). Because both memory and speech include sensorimotor representations, our imagination relies on previously experienced gestures and movements (Wellsby &
Tonal modulation is one of the main structural and expressive aspects of music in the European mu... more Tonal modulation is one of the main structural and expressive aspects of music in the European musical
tradition. Experiment 1 investigated affective responses to modulations to all 11 major and minor keys
(relative to the starting tonality) in brief, specially constructed harmonic progressions, by using six
bipolar scales related to valence, potency, and synaesthesia. The results indicated the dependence of
affective response on degree of modulation in terms of key proximity, and of mode. Experiment 2
examined affective responses to the most common modulations in 19th-century piano music: to the
subdominant, dominant, and minor sixth in the major mode. The stimuli were a balanced set of both
harmonic progressions (as in Experiment 1) and real music excerpts. The results agreed with theoretical
models of violations of expectancy and of proximity based on the circle of fifths, and demonstrated the
influence of melodic direction and musical style on emotional response to tonal modulation.
Keywords: music perception, emotion, affective neuroscience, tonal modulation, tonal system of reference
Some of the most fascinating aspects of music are the
quasispatial properties of tonal space and ... more Some of the most fascinating aspects of music are the
quasispatial properties of tonal space and structures. Among musicians, it is a commonplace to talk about music in terms of shapes and architectonics. M. C. Escher in one of his letters wrote
about the similarities between division on a plane and the division of time in music (Escher’s tessellations are wonderfully helpful in explaining Bach’s polyphony and his transformation of melodies). Even more interesting are the various parallels between the 3-D artistic space of representational art and the tonal chronotope or time-space of music, specifically between linear perspective—the “symbolic form” (Panofsky, 1925) of visual artistic space—and equal temperament, the rationalized artistic space of tonal harmony in music. Like linear perspective, the introduction of the tempered scale unified tonal artistic space and provided music with new expressive means and new structural potentials.
Explaining musical architectonics involves the concept
Понятие овеществленного сознания (embodied cognition) основано на признании того, что наши телесн... more Понятие овеществленного сознания (embodied cognition) основано на признании того, что наши телесные реакции на окружающий мир влияют на наше сознание, что эмоции, память, речь и вооб-ражение неотделимы от непосредственных реак-ций нашего тела. Музыка, это сугубо абстрактное средство общения между людьми, представляет собой иллюстрацию телесного мышления двух уровней. Первый, тривиальный уровень, относит-ся к влиянию обозреваемых движений тела на по-нимание музыки. Второй, глубинный уровень, имеет дело с мелодической морфологией: Наше сознание считывает информацию в музыке по-средством сравнивания стабильных и нестабиль-ных тональных элементов. Ощущение уровня ста-бильности напрямую связано с физическим ощу-щением уровня воспринимаемого напряжения: то есть, музыкальная морфология основана на крайне примитивном принципе восприятия, который за-действует мышечные реакции. Мелодическое мышление являет собой, возможно, самый оче-видный и целостный пример овеществленного сознания.
Хотя музыка известна как «язык эмоций», источники воздействия музыки на психологическое состояние... more Хотя музыка известна как «язык эмоций», источники воздействия музыки на психологическое состояние слушателей все еще не ясны. Восприятие музыки – это считывание рисунка слышимой информации. Процесс считывания любой информации (и создания осмысленного образа) требует подходящей системы отсчета. В музыке системой отсчета является гамма, ноты которой отличаются по звуко-высотности и по уровню притяжения к первой ноте гаммы—тонике: Другими словами, в тональной системе отсчета тоника служит центром притяжения. Переход с одного тонального центра на другой (из одной тональности в другую) в той же самой музыкальной композиции называется тональной модуляцией. Во время этого перехода, слушатели интуитивно следуют за переориентацией тональной системы отсчета с одной тоники на другую. Для того чтобы получить свободу модуляции, музыкантам пришлось перестроить клавишные инструменты таким образом, что гамма зазвучала систематически слегка фальшиво. Эта болезненная революция восприятия, происшедшая в 16 - 17 веках, была компенсирована прекрасными дарами: Свобода переориентации в тональном пространстве дала музыкальному искусству новое мощное средство выразительности и позволила создание новых музыкальных структур. В результате равномерной темперации, каждая нота гамма приобрела потенциальную возможность стать центром системы отсчета, и именно это было необходимо для появления барóчной полифонии, сонат, симфоний и опер. Сегодня трудно представить музыку без модуляций. Если представить что музыкальное произведение являет собой комбинацию нот находящихся на разных тональных расстояниях друг от друга, то тогда любая музыкальная композиция предстанет в виде путешествия в поле тонов. В нашем поведенческом исследовании мы измерили эмоциональную реакцию слушателей на разные расстояния при помощи модулирующих музыкальных фраз. Для измерения реакции слушателей были использованы полярные шкал с контрастными парами прилагательных (семантический дифференциал). В первом эксперименте, участники прослушивали короткие аккордовые последовательности модулирующие на все возможные ступени и во всех возможных ладовых условиях (в каждом стимуле, тональная система отсчета плавно переориентировалась с одной тоники на другую). Во втором эксперименте использовались и короткие аккордовые последовательности и отрывки из музыки классиков и романтиков; все стимулы во втором эксперименте были в мажорном ладу. Полученные результаты согласуются с теоретической моделью расстояний между тональностями согласно квинтовому кругу. Кроме того, результаты показали аффективное влияние музыкального стиля и мелодического направления.
Among the most fascinating aspects of music are the quasispatial properties of tonal space and st... more Among the most fascinating aspects of music are the quasispatial properties of tonal space and structures. For instance, any conventional melody can be visualized as a contour—as a combination of ups and downs. A melodic contour can be “bent” by tonal forces, and all its melodic intervals can be “mirrored.” In addition, a contour can be augmented and diminished in duration, which is conceptually similar to a proportional enlargement and diminution of a visual object. Certain musical compositions¬¬, such as Baroque fugues, resemble divisions on a plane, such as in M. C. Escher’ tessellations and M. K. Čiurlionis’ paintings. When the tonal space of music is visualized as phenomenal gravity (Scruton, 1997), tonal melodies can be explained as melodic objects shaped by the tonal force field. We hypothesized that the cognitive processing of these transformations may draw on spatial abilities developed for visuospatial reasoning.
To test our hypothesis of modality transcendence in music perception, we conducted a behavioral study that compared the perception of congruency of 3D geometrical figures and tonal melodies. The visuospatial task used a short replica of stimuli from the Shepard and Metzler (1971) study in mental rotation, whereas a set of melodic stimuli was selected from the clavier compositions of J. S. Bach. The participants in this study were psychology students of the University of Texas at Dallas. They performed spatial tasks on mental rotation of 3D objects and melodies, and a control task on timbre judgment. Performance was positively correlated among the three tasks overall (for visual and melodic spatial tasks, r = .40), but the pattern of correlations differed between sexes. The results suggest that males are generally proficient at spatial transformation tasks and use those specific abilities in performing the melodic task. For females the results suggest the involvement of more general cognitive mechanisms and the effect of crystallized intelligence in solving the melodic transformation task. The obtained results converge with previous investigations that found gender effect in the visuospatial mental rotation task. Our study provides new information about gender effect in music perception.
The discovery of a positive correlation between the melodic and visual spatial tasks provides supporting evidence for the hypothesis of supramodal processing, which proposes the involvement of a shared mechanism in the perception of visuospatial and melodic transformation.
We can conceptualize the art of music as organization of some space governed by two unifying prin... more We can conceptualize the art of music as organization of some space governed by two unifying principles: musical “gravity” or tonal attraction and temporal (gross) structuring. The review presents the results of behavioral studies that give insight into primal auditory processing—for instance how our brains generate tonal schemata—and into processing of such complex musical constituent as a melodic contour. It also presents imaging and
behavioral studies showing what regions of the brain are vital to music perception and how the brains of musicians differ from the brains of non-musicians. We speculate that a particular region of the cortex may be generally involved in pattern recognition
notwithstanding the modality of the patterns, namely that the superior parietal lobule (BA7) is perhaps involved in both mental rotation and music perception.
Music is able to communicate emotions and general ideas in a non-symbolic way. Music can be expla... more Music is able to communicate emotions and general ideas in a non-symbolic way. Music can be explained as motion in tonal space that is defined by a tonal system of reference—musical scale. One of the main expressive aspects in European musical tradition is reorientation of a scale on different tonal centers or tonal modulation. We conducted two experiments to investigate affective response to modulation by using semantic differential related to valence, synesthesia, potency, and tension. The results revealed the affective influence of degree of modulation, of the major and minor modes, and melodic direction. We also found refined sensitivity of non-musicians to musical styles. The results offer support to Susanne Langer’s idea that music recreates the “logic of emotion.”
Keywords: tonal space; emotion; music cognition; affective neuroscience; synesthesia; aesthetic pangeometry
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Courses by Marina Korsakova-Kreyn
Papers by Marina Korsakova-Kreyn
В этом эссе читателю предлагается несколько разных точек зрения на восприятие музыки, которые интимно знакомы автору. Для музыканта-исполнителя музыка – это мощное средство общения. Для педагога важно объяснить самые существенные стороны музыки с возможной ясностью и доступностью. Для исследователя-нейропсихолога изучение восприятия музыки не только невероятно интересно, но и обещает помочь понять природу человеческого сознания.
tradition. Experiment 1 investigated affective responses to modulations to all 11 major and minor keys
(relative to the starting tonality) in brief, specially constructed harmonic progressions, by using six
bipolar scales related to valence, potency, and synaesthesia. The results indicated the dependence of
affective response on degree of modulation in terms of key proximity, and of mode. Experiment 2
examined affective responses to the most common modulations in 19th-century piano music: to the
subdominant, dominant, and minor sixth in the major mode. The stimuli were a balanced set of both
harmonic progressions (as in Experiment 1) and real music excerpts. The results agreed with theoretical
models of violations of expectancy and of proximity based on the circle of fifths, and demonstrated the
influence of melodic direction and musical style on emotional response to tonal modulation.
Keywords: music perception, emotion, affective neuroscience, tonal modulation, tonal system of reference
quasispatial properties of tonal space and structures. Among musicians, it is a commonplace to talk about music in terms of shapes and architectonics. M. C. Escher in one of his letters wrote
about the similarities between division on a plane and the division of time in music (Escher’s tessellations are wonderfully helpful in explaining Bach’s polyphony and his transformation of melodies). Even more interesting are the various parallels between the 3-D artistic space of representational art and the tonal chronotope or time-space of music, specifically between linear perspective—the “symbolic form” (Panofsky, 1925) of visual artistic space—and equal temperament, the rationalized artistic space of tonal harmony in music. Like linear perspective, the introduction of the tempered scale unified tonal artistic space and provided music with new expressive means and new structural potentials.
Explaining musical architectonics involves the concept
To test our hypothesis of modality transcendence in music perception, we conducted a behavioral study that compared the perception of congruency of 3D geometrical figures and tonal melodies. The visuospatial task used a short replica of stimuli from the Shepard and Metzler (1971) study in mental rotation, whereas a set of melodic stimuli was selected from the clavier compositions of J. S. Bach. The participants in this study were psychology students of the University of Texas at Dallas. They performed spatial tasks on mental rotation of 3D objects and melodies, and a control task on timbre judgment. Performance was positively correlated among the three tasks overall (for visual and melodic spatial tasks, r = .40), but the pattern of correlations differed between sexes. The results suggest that males are generally proficient at spatial transformation tasks and use those specific abilities in performing the melodic task. For females the results suggest the involvement of more general cognitive mechanisms and the effect of crystallized intelligence in solving the melodic transformation task. The obtained results converge with previous investigations that found gender effect in the visuospatial mental rotation task. Our study provides new information about gender effect in music perception.
The discovery of a positive correlation between the melodic and visual spatial tasks provides supporting evidence for the hypothesis of supramodal processing, which proposes the involvement of a shared mechanism in the perception of visuospatial and melodic transformation.
behavioral studies showing what regions of the brain are vital to music perception and how the brains of musicians differ from the brains of non-musicians. We speculate that a particular region of the cortex may be generally involved in pattern recognition
notwithstanding the modality of the patterns, namely that the superior parietal lobule (BA7) is perhaps involved in both mental rotation and music perception.
Keywords: tonal space; emotion; music cognition; affective neuroscience; synesthesia; aesthetic pangeometry
В этом эссе читателю предлагается несколько разных точек зрения на восприятие музыки, которые интимно знакомы автору. Для музыканта-исполнителя музыка – это мощное средство общения. Для педагога важно объяснить самые существенные стороны музыки с возможной ясностью и доступностью. Для исследователя-нейропсихолога изучение восприятия музыки не только невероятно интересно, но и обещает помочь понять природу человеческого сознания.
tradition. Experiment 1 investigated affective responses to modulations to all 11 major and minor keys
(relative to the starting tonality) in brief, specially constructed harmonic progressions, by using six
bipolar scales related to valence, potency, and synaesthesia. The results indicated the dependence of
affective response on degree of modulation in terms of key proximity, and of mode. Experiment 2
examined affective responses to the most common modulations in 19th-century piano music: to the
subdominant, dominant, and minor sixth in the major mode. The stimuli were a balanced set of both
harmonic progressions (as in Experiment 1) and real music excerpts. The results agreed with theoretical
models of violations of expectancy and of proximity based on the circle of fifths, and demonstrated the
influence of melodic direction and musical style on emotional response to tonal modulation.
Keywords: music perception, emotion, affective neuroscience, tonal modulation, tonal system of reference
quasispatial properties of tonal space and structures. Among musicians, it is a commonplace to talk about music in terms of shapes and architectonics. M. C. Escher in one of his letters wrote
about the similarities between division on a plane and the division of time in music (Escher’s tessellations are wonderfully helpful in explaining Bach’s polyphony and his transformation of melodies). Even more interesting are the various parallels between the 3-D artistic space of representational art and the tonal chronotope or time-space of music, specifically between linear perspective—the “symbolic form” (Panofsky, 1925) of visual artistic space—and equal temperament, the rationalized artistic space of tonal harmony in music. Like linear perspective, the introduction of the tempered scale unified tonal artistic space and provided music with new expressive means and new structural potentials.
Explaining musical architectonics involves the concept
To test our hypothesis of modality transcendence in music perception, we conducted a behavioral study that compared the perception of congruency of 3D geometrical figures and tonal melodies. The visuospatial task used a short replica of stimuli from the Shepard and Metzler (1971) study in mental rotation, whereas a set of melodic stimuli was selected from the clavier compositions of J. S. Bach. The participants in this study were psychology students of the University of Texas at Dallas. They performed spatial tasks on mental rotation of 3D objects and melodies, and a control task on timbre judgment. Performance was positively correlated among the three tasks overall (for visual and melodic spatial tasks, r = .40), but the pattern of correlations differed between sexes. The results suggest that males are generally proficient at spatial transformation tasks and use those specific abilities in performing the melodic task. For females the results suggest the involvement of more general cognitive mechanisms and the effect of crystallized intelligence in solving the melodic transformation task. The obtained results converge with previous investigations that found gender effect in the visuospatial mental rotation task. Our study provides new information about gender effect in music perception.
The discovery of a positive correlation between the melodic and visual spatial tasks provides supporting evidence for the hypothesis of supramodal processing, which proposes the involvement of a shared mechanism in the perception of visuospatial and melodic transformation.
behavioral studies showing what regions of the brain are vital to music perception and how the brains of musicians differ from the brains of non-musicians. We speculate that a particular region of the cortex may be generally involved in pattern recognition
notwithstanding the modality of the patterns, namely that the superior parietal lobule (BA7) is perhaps involved in both mental rotation and music perception.
Keywords: tonal space; emotion; music cognition; affective neuroscience; synesthesia; aesthetic pangeometry
Чем отличаются музыкальные способности мужчины и женщины, разница в восприятии и музыкальных предпочтениях – этими научными открытиями также поделится наша гостья.
А на десерт вы получите анализ произведений Баха – архитектуры его музыки. Он оперировал музыкальным фрагментом, как трехмерным объектом!
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