LassusV2, Istex, Corpus, bibRecord, 000405

Book Review: Conceptualizing Music: Cognitive Structure, Theory and Analyses

Identifieur interne : 000405 ( Istex/Corpus ); précédent : 000404; suivant : 000406

Book Review: Conceptualizing Music: Cognitive Structure, Theory and Analyses

Auteurs : W. Jay Dowling

Source :

Psychology of music [ 0305-7356 ] ; 2006-04.

RBID : ISTEX:F833D1A5243DCB776A188DFF3EAFAD9BCE8BDB9B

English descriptors

Teeft :
- Acute stress disorder, Author shares, Balance humaneness, Beethoven example, Belief systems, Bernhardt klein, Book reviews, Book reviews psychology, Broad definition, Careful student, Central quotation, Clifford account, Cognitive, Cognitive psychologist, Cognitive psychologists, Cognitive question, Cognitive structure, Cognitive structures, Conceptual features, Conceptual models, Conceptual puzzles, Considerable depth, Continual flux, Convincing argument, Correct author, Cultural anthropology, Curious tendency, Dallas sutton, Declarative knowledge, Declarative statement, Different aspects, Dowling university, Early german, Essential feature, Feature cluster, Fictional characters, Fifth symphony, First thing, Franz schubert, Front door, Fugitive phrases, Full orchestra, Global conceptions, Global terrorism, Good place, Gray donkey, Great examples, Henri bergson, Implicit knowledge, Important consideration, Interesting conceit, International perspectives, Intervallic pattern, Jeanne child subject, Jessica kingsley, Julie sutton, Kaluli people, Knowledgeable reader, Large number, Latter omissions, Little basis, Loud stereo recording, Major theme, Mark twain, Mental disorders, Metaphorical mapping, Motifs listeners, Music cognition, Music copyright society, Music psychology, Music theorists, Music theory, Music therapy, Musical concept, Musical concepts, Musical domains, Musical form, Musical patterns, Next generation, Northern ireland, Observable features, Opening motif, Other times, Oxford university press, Particular kind, Particular predilections, Polynesian navigation, Pragmatic approach, Principal thesis, Procedural approach, Procedural entity, Procedural form, Procedural knowledge, Proust, Psychology research, Real time, Rhythmic pattern, Ruth account, Salient characteristics, Same knowledge, Scientific orientation, Serious theorizing, Sexy renaissance madrigal, Significant contribution, Single attempt, Slow movement, Soft piano noodling, Someone noodling, Specific book, Stress disorder, Striking examples, Structural integrity, Successive modulations, Time course, Trace arabesques, Trauma, Trauma experience, Traumatic experiences, Trockne blume, Verbal explicitness, Verbal text, Violin sonata, Wagner opera, Worth reading, Zbikowski, Zbikowski proceeds, Zbikowski sets.

Url:

https://api.istex.fr/document/F833D1A5243DCB776A188DFF3EAFAD9BCE8BDB9B/fulltext/pdf

DOI: 10.1177/0305735606065132

Links to Exploration step

ISTEX:F833D1A5243DCB776A188DFF3EAFAD9BCE8BDB9B

Le document en format XML

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<contrib-group><contrib contrib-type="author" xlink:type="simple"><name name-style="western"><surname>Dowling</surname>
<given-names>W. Jay</given-names>
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<aff>University of Texas at Dallas</aff>
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<pub-date pub-type="ppub"><month>04</month>
<year>2006</year>
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<volume>34</volume>
<issue>2</issue>
<issue-title>Special Issue : Musical collaboration; Guest editor: Dorothy Miell</issue-title>
<fpage>283</fpage>
<lpage>286</lpage>
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<meta-value> Book Reviews 283 Psychology of Music Psychology of Music Copyright © 2006
            Society for Education, Music and Psychology Research vol 34(2): 283288 [0305-7356
            (200604) 34:2; 283288] 10.1177/0305735606065132 http://pom.sagepub.com L.M. ZBIKOWSKI,
            Conceptualizing Music: Cognitive Structure, Theory and Analyses. Oxford: Oxford
            University Press, 2002. 380 pp. ISBN: 019514023 (hbk) £32.99; ISBN: 0195187970
            (pbk) £22 It is always a pleasure to read a book whose author shares one's own
            particular predilections in literature and music  in this case ranging from Proust to
            Winnie-the-Pooh and from Mozart to Wagner. Moreover, the principal thesis of the book,
            that music is organized cognitively in terms of concepts, is one that is very congenial
            to a cognitive psychologist of music. The central quotation in the book, recounting
            Proust's character Swann's first encounter with the slow movement of a contemporary (in
            the 1890s) violin sonata, has long been a favorite of mine. In it Proust, a careful
            student of Henri Bergson (of turn-of-the-century philosophers among the most congenial
            to cognitive psychologists), describes the process of encoding  both subconscious and
            conscious  of the musical patterns. This is a good jumping-off place for the
            exploration of the cognition of music. The book is also very good in its coverage of the
            history of music theory in the 18th- and 19th-centuries, giving an impressive (and as
            far as I can tell, careful) account of the development of ideas of tonality and musical
            form we now take for granted. One place where I wish to introduce caution in acceptance
            of the author's approach is in relation to the musical concept. Concepts, like theories,
            must be context sensitive in their application (a thesis with which I am sure the
            author, in his treatment of theory, would agree). In his exposition of the function of
            the opening motif of Beethoven's Fifth Symphony as a concept, Zbikowski sets up his
            argument in terms of a context in which the question for the listener is, what are the
            salient characteristics of this four-note motif? Naturally enough, he arrives at the
            features: rhythmic pattern (pa-pa-pa- BAH), stated with full orchestra (well, at least
            with winds and strings), stated at fortissimo dynamic, and with a 0/0/-3 intervallic
            pattern (p. 47). Now suppose I come in my front door of my home and hear, faintly from
            the living room, someone noodling softly on the piano the first four notes of sempre :
            Beethoven's Fifth. Only two of the four features are represented, but I have no doubt
            that the soft piano noodling is Beethoven's Fifth. Now suppose I enter in the same way,
            and hear a loud stereo recording of the middle of Richard Strauss's Don Juan. Here again
            two features are shared with the proposed concept of Beethoven's Fifth (full orchestra,
            fortissimo), but I am not at all reminded of Beethoven. Clearly, which features are
            important depends on the question the listener is trying to answer. Musical concepts are
            important, but it is also important to consider the relationship of those conceptual
            features to the cognitive question being posed. For a researcher who has spent much of
            his time and energy trying to determine what features of motifs listeners rely on, and
            when, during the process of recognition, this is an important consideration. It is
            perhaps worth mentioning here (in line with the thinking of W.R. Garner), that what is
            important about the feature cluster connected with a concept is its informativeness. As
            in the Beethoven example, a feature that serves to distinguish the concept (in context)
            from a large number of alternatives is worth much more than one that serves to
            distinguish it from few. In thinking about musical concepts, I recommend attention to
            the distinction cognitive psychologists make between procedural and declarative
            knowledge. Procedural knowledge is largely implicit, and involves skills such as riding
            a bicycle and following the successive modulations in a Wagner opera. Declarative
            knowledge involves things that one can talk about, such as the structure of
            sonata-allegro form and the fact that Haydn was born in 1732. At times, Zbikowski seems
            to embrace the notion of concept as something embedded in the listener's implicit
            knowledge of how the music is put together  that is, the musical concept as a
            procedural entity (see p. 60). But at other times he seems to expect that musical
            concepts should be explicitly and consciously apprehended, and hence verbally
            describable. I would only remind him that for concepts to operate automatically in real
            time as the listener listens, they need to be built in to the system of appre- hension,
            and to recall them to mind explicitly is to fatally slow the system. He is better off
            with his implicit, procedural approach to concepts. There is also no guarantee when we
            achieve a declarative statement corresponding to a musical concept, that that
            characterization captures the same knowledge that was encoded in its procedural form. As
            an example, consider the time course of encoding in memory described by Proust in the
            quotation cited by Zbikowski (p. 3) at the start of his book: The notes we hear . . .
            spread out . . . over surfaces of varying dimensions, to trace arabesques, to give us
            the sensation of breadth or tenuity, stability or caprice. But the notes themselves have
            vanished before these sensations have developed sufficiently to escape submersion under
            [the succeeding notes] . . . And this impression continues to envelop in its liquidity,
            its ceaseless overlapping, the motifs which from time to time emerge, barely
            discernible, recognized only by the particular kind of pleasure they instill, impossible
            to 284 Psychology of Music 34(2) describe, to recollect, to name, ineffable  did not
            our memory . . . by fashioning for us facsimiles of those fugitive phrases, enable us to
            compare and to contrast them with those that follow. I think Proust is right, and in
            agreement with several current theories of memory, in pointing out the degree to which
            the contents of our memory are in continual flux. In his view of theory, Zbikowski
            wishes to provide for a very broad definition that calls attention to the function of
            theories as guiding under- standing and reasoning, as providing answers to conceptual
            puzzles, as simplifying reality, as involving a number of conceptual models, and as
            being dynamic in leading us forward. These are features that few would quibble with. But
            they leave out an essential feature that any reader with a scientific orientation will
            notice immediately: falsifiability. In a pragmatic approach to cultural anthropology we
            distinguish between belief systems that have little basis in reality (or, at least, a
            basis that does not correspond to objectively observable features  for example,
            witchcraft) and those that do (for example, Zbikowski's example of Polynesian
            navigation, p. 115). It is clear that theories in cultural anthropology are tested
            against evidence. Take Clifford Geertz's account of the naming of children in Bali and
            its relation to global conceptions of time in the culture. This thesis depends on the
            preponderance of the evidence. Take the celebrated case of Ruth Benedict's account of
            sexuality in Samoa, famously challenged by the next generation of researchers. Again,
            the outcome depends on the preponderance of the evidence. These theories are clearly
            susceptible of being shown to be wrong  that is, falsified. Anthropologists and
            psychologists and music theorists continually appeal to the evidence in arguing about
            their theories. Just because a theory has its own domain, its own context of
            applicability does not mean that evaluation with regard to the evidence seen from within
            that context is irrelevant. The suggestion that Jeanne Bamberger's child subject
            (Chapter 3) is developing a 'theory' is an interesting conceit, but the author would do
            well to consider serious theorizing in the area of music cognition. There are really
            great examples presented here that would never have occurred to even the knowledgeable
            reader, and are well worth reading the book for. We are all familiar with the opening of
            Wagner's Tristan und Isolde, with its enigmatic 'Tristan' chord. But why is the phrase
            in question pre- sented three times? Zbikowski presents a convincing argument, appealing
            to the structural integrity of Wagner's opera. As Mark Twain is supposed to have said,
            Wagner's music is better than it sounds. And he presents a sexy renaissance madrigal by
            Giaches de Wert that exceeds Orlando di Lasso's Matona mia cara in musical if not verbal
            explicitness. Further, Zbikowski gives us two settings of the poem 'Trockne Blume', one
            by Bernhardt Klein and the other (of course) by Franz Schubert (in his Die schöne
            Müllerin). The first thing that strikes the reader is the competence of Klein's setting
             there was considerable depth on the bench in early 19th-century German Lieder Book
            reviews 285 writing. Then Zbikowski proceeds to develop what is perhaps the most
            significant contribution of his book. He proposes a theory of the combination of words
            and music in a song that relies on the parallelism of cognitive structures in the verbal
            and musical domains. Zbikowski reinforces this approach by contrasting settings of the
            text 'In der Fremde' by Schumann and Brahms, in which their different musical structures
            bring out different aspects of the verbal text. A major theme of the book is the notion
            of cross-domain mapping, a form of metaphor. This is essential in listeners'
            understanding of music, as most cognitive psychologists of music would agree. One of the
            most striking examples of metaphorical mapping of a dimension of sound that Zbikowski
            has found for us is the connection made by the Kaluli people of Papua New Guinea between
            the pitches of the scale and waterfalls (p. 67). We should think about that. In
            conclusion, I cannot help pointing out, especially with such a politically correct
            author, the curious tendency to cite fictional characters in the index. Proust's Swann
            is cited as 'Swann, Charles'. Proust's Odette de Crécy is cited as simply 'Odette', and
            Eeyore, the rather sad gray donkey, is not cited at all. Should we read sexism, or
            anthropocentrism, into the latter omissions? W. Jay Dowling University of Texas at
            Dallas J.P. SUTTON (ed.), Music, Music Therapy and Trauma: International Perspectives.
            London: Jessica Kingsley, 2002. 272 pp. ISBN:1843100274 (pbk) The topic of music
            therapy and trauma is particularly salient following the resounding psychological
            effects of the September 11th 2001 attacks. While this specific book has already been on
            the shelf for a few years, its relevance cannot be questioned  the more recent events
            related to global terrorism clearly bring out that nearly everyone will be touched by a
            single-event trauma experience at some time in his or her life. Hence, the material
            seems to be all the more pertinent, and yet, Sutton's book stands alone as a single
            attempt to raise awareness towards the uses of music to balance humaneness. Julie
            Sutton, editor of the book, begins with a chapter on modern-day trauma and the
            pre-symbolic power of music therapy to address the resulting debilitation of traumatic
            experiences. While the clinical diagnostic descrip- tions from the Diagnostic and
            Statistical Manual of Mental Disorders (DSM) of post-traumatic stress disorder (PTSD),
            and the more recent, acute stress disorder (ASD), provide an array of symptoms of those
            traumatized, they fall short in describing the repercussions of trauma in society. As
            suggested by one author, who reflects on 'the Troubles' in Northern Ireland, the term
            286 Psychology of Music 34(2)</meta-value>
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