Sound and action in music performance:
Gespeichert in:
| Beteilige Person: | |
|---|---|
| Format: | Buch |
| Sprache: | Englisch |
| Veröffentlicht: |
London, United Kingdom
Academic Press
[2019]
|
| Schlagwörter: | |
| Links: | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=030908582&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA |
| Umfang: | x, 237 Seiten Illustrationen |
| ISBN: | 9780128091968 |
Internformat
MARC
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| 100 | 1 | |a Pfordresher, Peter |d 1971- |e Verfasser |0 (DE-588)141266619 |4 aut | |
| 245 | 1 | 0 | |a Sound and action in music performance |c Peter Q. Pfordresher |
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| 264 | 4 | |c © 2019 | |
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| 653 | 0 | |a Music / Performance / Psychological aspects | |
| 653 | 0 | |a Music / Performance / Philosophy and aesthetics | |
| 653 | 0 | |a Movement, Psychology of | |
| 653 | 0 | |a Music / Performance / Psychological aspects | |
| 653 | 0 | |a Sound / Psychological aspects | |
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Datensatz im Suchindex
| _version_ | 1819291802573733888 |
|---|---|
| adam_text | Contents
Preface ix
1. Setting the Stage 1
Intentions, Planning, and Execution in Music Performance 3
Timing in Music Performance 7
Perceptual and Auditory Feedback 9
The Role of Feedback in Models of Performance 11
Paradigms and Measures 20
Concluding Remarks 25
2. Do We Need Auditory Feedback? If Not, Why Not? 27
What Does it Mean to “Need” Auditory Feedback? 28
Learning Without Auditory Feedback 29
Performing Without Auditory Feedback 32
Ideomotor Theory: Why Feedback is Not Always Necessary 35
Neural Mechanisms for Ideomotor Associations 39
Individual Differences in Ideomotor Associations: The Case of
Poor-Pitch Singing 44
Concluding Remarks 46
3* Binding Perception and Action in Time 47
Auditory Feedback Must Be Synchronized With Actions: Effects of Delayed
Auditory Feedback 48
The Critical Importance of the Critical Delay 49
Hierarchical Perception/Action Coordination: Delayed Auditory Feedback
Effects as Relative Phase 60
Evaluating Hierarchical Perception/Action Coordination 66
The Neural Bases of Temporal Binding Between Perception and Action 75
Concluding Remarks 77
4* Binding Planned Actions to Their Consequences 79
The Meaning and Significance of “Content” 80
Compatibility Effects Based on Pitch—Space Associations 82
Effects of Pitch Alterations in the Performance of Melodies 86
Role of Constituent Pitches 89
Role of Melodic Contour 92
V
vi
CONTENTS
Role of Tonality 95
Role of Metrical Organization 97
Hierarchical Perception/Action Coordination: Serial Shifts as
Metrical Confusion 101
Neural Representation 104
Concluding Remarks 106
5* Timing Versus Sequencing in Music 107
Why the Separation? 108
The Roles of Sequencing and Timing in Sensorimotor Music Associations:
The Hierarchical Perception/Action Coordination Model 110
The Relationship Between Sequencing and Timing 121
The Role of Rhythmic Patterns 123
Concluding Remarks 124
6. Effects of Musical Training 125
Principles of Sensorimotor Learning 127
Are Nonmusicians “Blank Slates”? 134
Task-General Constraints in Learning 135
Task-Specific Constraints in Learning 138
Effects of Musical Training on the Role of Auditory Feedback 139
Concluding Remarks 141
7. Use of Sound in Speech Versus Music 143
Comparing Music and Speech as Forms of Input 144
Comparing Music and Speech in Production 146
Theories of How Music and Speech Relate to Each Other - 148
Timing and Sequencing in Speech and Music Performance 152
Fine-Grained Control of Content in Speech and Song 156
A Tale of Three Maladies: Sensorimotor Deficits in Music and Speech 160
Beneficial Transfer Between Music and Speech 164
Concluding Remarks 165
8* Auditory Feedback and Higher Cognitive Functions 167
The Experience of Agency and Authorship 168
Error Monitoring 173
Executive Control 176
Incorporating Metacognition in the H-PAC Model 178
Concluding Remarks 180
9* Coordinating With Others 183
Thinking About Music Together: Joint Representations 185
Maintaining Cohesion Through Sensorimotor Entrainment 189
CONTENTS
» ♦
vu
Integration: Entrainment of Joint Representations 192
Neural Mechanisms 194
Concluding Remarks 196
References 199
Epilogue: What We Have Learned and Where to Go 219
Author Index 223
Subject Index 231
|
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| id | DE-604.BV045524336 |
| illustrated | Illustrated |
| indexdate | 2024-12-20T18:29:21Z |
| institution | BVB |
| isbn | 9780128091968 |
| language | English |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-030908582 |
| oclc_num | 1096345635 |
| open_access_boolean | |
| owner | DE-12 |
| owner_facet | DE-12 |
| physical | x, 237 Seiten Illustrationen |
| publishDate | 2019 |
| publishDateSearch | 2019 |
| publishDateSort | 2019 |
| publisher | Academic Press |
| record_format | marc |
| spellingShingle | Pfordresher, Peter 1971- Sound and action in music performance Auditive Rückkopplung (DE-588)4652651-1 gnd Musik (DE-588)4040802-4 gnd Aufführung (DE-588)4143388-9 gnd Körper (DE-588)4031575-7 gnd Bewegung (DE-588)4006311-2 gnd |
| subject_GND | (DE-588)4652651-1 (DE-588)4040802-4 (DE-588)4143388-9 (DE-588)4031575-7 (DE-588)4006311-2 |
| title | Sound and action in music performance |
| title_auth | Sound and action in music performance |
| title_exact_search | Sound and action in music performance |
| title_full | Sound and action in music performance Peter Q. Pfordresher |
| title_fullStr | Sound and action in music performance Peter Q. Pfordresher |
| title_full_unstemmed | Sound and action in music performance Peter Q. Pfordresher |
| title_short | Sound and action in music performance |
| title_sort | sound and action in music performance |
| topic | Auditive Rückkopplung (DE-588)4652651-1 gnd Musik (DE-588)4040802-4 gnd Aufführung (DE-588)4143388-9 gnd Körper (DE-588)4031575-7 gnd Bewegung (DE-588)4006311-2 gnd |
| topic_facet | Auditive Rückkopplung Musik Aufführung Körper Bewegung |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=030908582&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA |
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