Similarity, Invariance, and Musical Variation
Identifieur interne : 000311 ( Istex/Corpus ); précédent : 000310; suivant : 000312Similarity, Invariance, and Musical Variation
Auteurs : Stephen Mcadams ; Daniel MatzkinSource :
- Annals of the New York Academy of Sciences [ 0077-8923 ] ; 2001-06.
English descriptors
- Teeft :
- Atonal music, Auditory, Auditory memory, Cognitive reality, Contemporary music, Different dimensions, Different points, Discrimination performance, Duration modules, Duration processing, Electroacoustic music, Exact intervals, Exact values, Experimental question, Functional logic, Future research, Granular synthesis, Hierarchical, Hierarchical reduction, Identical pitch patterns, Integral part, Invariance, Joshua fineberg, Matzkin, Mcadams, Mcadams matzkin, Melodic similarity perception, Mental processes, Mental processing, Model predictions, Modular hypothesis, Music composition, Music percept, Musical context, Musical development, Musical discourse, Musical experience, Musical form, Musical material, Musical materials, Musical memory, Musical sequence, Musical similarity, Musical system, Musical systems, Musical training, Musical variation, Nontonal, Nontonal melodies, Nontonal transformations, Opening figure, Original material, Other dimension, Other dimensions, Percept, Perceptual, Perceptual independence, Perceptual invariance, Perceptual similarity, Pitch contour, Psychological constraints, Real music, Recent work, Reductive transformations, Reference melodies, Reference melody, Retrograde inversion, Rhythm patterns, Roger reynolds, Same category, Scale steps, Serial music, Several factors, Several tens, Similarity, Similarity judgments, Similarity perception, Sound sequence, Successive notes, Surface structure, Surface values, Temporal order, Thematic materials, Timbral, Timbral analogies, Timbral intervals, Timbre, Tonal melodies, Tonal music, Tonal transformations, Transformation, Unfamiliar melodies, Various kinds, Various levels, York academy.
Abstract
Abstract: Perceptual similarity underlies a number of important psychological properties of musical materials, including perceptual invariance under transformation, categorization, recognition, and the sense of familiarity. Mental processes involved in the perception of musical similarity may be an integral part of the functional logic of music composition and thus underly important aspects of musical experience. How much and in what ways can musical materials be varied and still be considered as perceptually related or as belonging to the same category? The notions of musical material, musical variation, perceptual similarity and invariance, and form‐bearing dimensions are considered in this light. Recent work on similarity perception has demonstrated that the transformation space for a given musical material is limited by several factors ranging from degree of match of the values of auditory attributes of the events composing the sequences to their relations of various levels of abstraction and to the degree that the transformation respects the grammar of the musical system within which the material was composed. These notions and results are considered in the light of future directions of research, particularly concerning the role of similarity and invariance in the understanding of musical form during listening.
Url:
DOI: 10.1111/j.1749-6632.2001.tb05725.x
Links to Exploration step
ISTEX:B9ED58197FCEAFADC82E1C4183AAC98D3EFC64F3Le document en format XML
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Voice: +33‐4478‐4838; fax: +331‐4478‐1540. mail: smc@ircam.fr</affiliation></author><author xml:id="author-0001"><persName><forename type="first">DANIEL</forename><surname>MATZKIN</surname></persName><affiliation><address><addrLine>IRCAM‐CNRS</addrLine><addrLine>F‐75004 Paris</addrLine><country key="FR">FRANCE</country><country key="FR"></country></address></affiliation></author><idno type="istex">B9ED58197FCEAFADC82E1C4183AAC98D3EFC64F3</idno><idno type="ark">ark:/67375/WNG-LK6MRQQ7-C</idno><idno type="DOI">10.1111/j.1749-6632.2001.tb05725.x</idno><idno type="unit">NYAS62</idno><idno type="toTypesetVersion">file:NYAS.NYAS62.pdf</idno></analytic><monogr><title level="j" type="main">Annals of the New York Academy of Sciences</title><title level="j" type="alt">ANNALS OF NEW YORK ACADEMY SCIENCES</title><idno type="pISSN">0077-8923</idno><idno type="eISSN">1749-6632</idno><idno type="book-DOI">10.1111/(ISSN)1749-6632</idno><idno type="book-part-DOI">10.1111/nyas.2001.930.issue-1</idno><idno type="product">NYAS</idno><idno type="publisherDivision">ST</idno><imprint><biblScope unit="vol">930</biblScope><biblScope unit="issue">1</biblScope><biblScope unit="page" from="62">62</biblScope><biblScope unit="page" to="76">76</biblScope><biblScope unit="page-count">15</biblScope><publisher>Blackwell Publishing Ltd</publisher><pubPlace>Oxford, UK</pubPlace><date type="published" when="2001-06"></date></imprint></monogr></biblStruct></sourceDesc></fileDesc><profileDesc><abstract xml:lang="en" style="main"><p><hi rend="italic">A<hi rend="smallCaps">bstract</hi>: </hi> Perceptual similarity underlies a number of important psychological properties of musical materials, including perceptual invariance under transformation, categorization, recognition, and the sense of familiarity. Mental processes involved in the perception of musical similarity may be an integral part of the functional logic of music composition and thus underly important aspects of musical experience. How much and in what ways can musical materials be varied and still be considered as perceptually related or as belonging to the same category? The notions of musical material, musical variation, perceptual similarity and invariance, and form‐bearing dimensions are considered in this light. Recent work on similarity perception has demonstrated that the transformation space for a given musical material is limited by several factors ranging from degree of match of the values of auditory attributes of the events composing the sequences to their relations of various levels of abstraction and to the degree that the transformation respects the grammar of the musical system within which the material was composed. These notions and results are considered in the light of future directions of research, particularly concerning the role of similarity and invariance in the understanding of musical form during listening.</p></abstract><textClass><keywords xml:lang="en"><term xml:id="k1">Similarity in music</term><term xml:id="k2">Invariance in music</term><term xml:id="k3">Musical variation</term><term xml:id="k4">Perception of music</term></keywords><keywords rend="tocHeading1"><term>The Biological Foundations of Music: Part II. 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Voice: +33‐4478‐4838; fax: +331‐4478‐1540. mail: <email>smc@ircam.fr</email></correspondenceTo><linkGroup><link type="toTypesetVersion" href="file:NYAS.NYAS62.pdf"></link></linkGroup></publicationMeta><contentMeta><countGroup><count type="figureTotal" number="0"></count><count type="tableTotal" number="0"></count><count type="formulaTotal" number="0"></count><count type="referenceTotal" number="39"></count><count type="linksCrossRef" number="38"></count></countGroup><titleGroup><title type="main">Similarity, Invariance, and Musical Variation</title></titleGroup><creators><creator creatorRole="author" xml:id="cr1" affiliationRef="#a1" corresponding="yes"><personName><givenNames>STEPHEN</givenNames><familyName>MCADAMS</familyName></personName></creator><creator creatorRole="author" xml:id="cr2" affiliationRef="#a1"><personName><givenNames>DANIEL</givenNames><familyName>MATZKIN</familyName></personName></creator></creators><affiliationGroup><affiliation xml:id="a1" countryCode="FR"><unparsedAffiliation>IRCAM‐CNRS, F‐75004 Paris, France</unparsedAffiliation></affiliation></affiliationGroup><keywordGroup xml:lang="en"><keyword xml:id="k1">Similarity in music</keyword><keyword xml:id="k2">Invariance in music</keyword><keyword xml:id="k3">Musical variation</keyword><keyword xml:id="k4">Perception of music</keyword></keywordGroup><abstractGroup><abstract type="main" xml:lang="en"><p><b>A<sc>bstract</sc>: </b> Perceptual similarity underlies a number of important psychological properties of musical materials, including perceptual invariance under transformation, categorization, recognition, and the sense of familiarity. Mental processes involved in the perception of musical similarity may be an integral part of the functional logic of music composition and thus underly important aspects of musical experience. How much and in what ways can musical materials be varied and still be considered as perceptually related or as belonging to the same category? The notions of musical material, musical variation, perceptual similarity and invariance, and form‐bearing dimensions are considered in this light. Recent work on similarity perception has demonstrated that the transformation space for a given musical material is limited by several factors ranging from degree of match of the values of auditory attributes of the events composing the sequences to their relations of various levels of abstraction and to the degree that the transformation respects the grammar of the musical system within which the material was composed. These notions and results are considered in the light of future directions of research, particularly concerning the role of similarity and invariance in the understanding of musical form during listening.</p></abstract></abstractGroup></contentMeta></header></component></istex:document></istex:metadataXml><mods version="3.6"><titleInfo lang="en"><title>Similarity, Invariance, and Musical Variation</title></titleInfo><titleInfo type="alternative" contentType="CDATA" lang="en"><title>Similarity, Invariance, and Musical Variation</title></titleInfo><name type="personal"><namePart type="given">STEPHEN</namePart><namePart type="family">MCADAMS</namePart><affiliation>IRCAM‐CNRS, F‐75004 Paris, France</affiliation><affiliation>E-mail: smc@ircam.fr</affiliation><role><roleTerm type="text">author</roleTerm></role></name><name type="personal"><namePart type="given">DANIEL</namePart><namePart type="family">MATZKIN</namePart><affiliation>IRCAM‐CNRS, F‐75004 Paris, France</affiliation><role><roleTerm type="text">author</roleTerm></role></name><typeOfResource>text</typeOfResource><genre type="article" displayLabel="article" authority="ISTEX" authorityURI="https://content-type.data.istex.fr" valueURI="https://content-type.data.istex.fr/ark:/67375/XTP-6N5SZHKN-D">article</genre><originInfo><publisher>Blackwell Publishing Ltd</publisher><place><placeTerm type="text">Oxford, UK</placeTerm></place><dateIssued encoding="w3cdtf">2001-06</dateIssued><copyrightDate encoding="w3cdtf">2001</copyrightDate></originInfo><language><languageTerm type="code" authority="rfc3066">en</languageTerm><languageTerm type="code" authority="iso639-2b">eng</languageTerm></language><physicalDescription><extent unit="figures">0</extent><extent unit="tables">0</extent><extent unit="formulas">0</extent><extent unit="references">39</extent><extent unit="linksCrossRef">38</extent></physicalDescription><abstract>Abstract: Perceptual similarity underlies a number of important psychological properties of musical materials, including perceptual invariance under transformation, categorization, recognition, and the sense of familiarity. Mental processes involved in the perception of musical similarity may be an integral part of the functional logic of music composition and thus underly important aspects of musical experience. How much and in what ways can musical materials be varied and still be considered as perceptually related or as belonging to the same category? The notions of musical material, musical variation, perceptual similarity and invariance, and form‐bearing dimensions are considered in this light. Recent work on similarity perception has demonstrated that the transformation space for a given musical material is limited by several factors ranging from degree of match of the values of auditory attributes of the events composing the sequences to their relations of various levels of abstraction and to the degree that the transformation respects the grammar of the musical system within which the material was composed. These notions and results are considered in the light of future directions of research, particularly concerning the role of similarity and invariance in the understanding of musical form during listening.</abstract><subject lang="en"><genre>keywords</genre><topic>Similarity in music</topic><topic>Invariance in music</topic><topic>Musical variation</topic><topic>Perception of music</topic></subject><relatedItem type="host"><titleInfo><title>Annals of the New York Academy of Sciences</title></titleInfo><genre type="journal" authority="ISTEX" authorityURI="https://publication-type.data.istex.fr" valueURI="https://publication-type.data.istex.fr/ark:/67375/JMC-0GLKJH51-B">journal</genre><identifier type="ISSN">0077-8923</identifier><identifier type="eISSN">1749-6632</identifier><identifier type="DOI">10.1111/(ISSN)1749-6632</identifier><identifier type="PublisherID">NYAS</identifier><part><date>2001</date><detail type="title"><title>THE BIOLOGICAL FOUNDATIONS OF MUSIC</title></detail><detail type="volume"><caption>vol.</caption><number>930</number></detail><detail type="issue"><caption>no.</caption><number>1</number></detail><extent unit="pages"><start>62</start><end>76</end><total>15</total></extent></part></relatedItem><identifier type="istex">B9ED58197FCEAFADC82E1C4183AAC98D3EFC64F3</identifier><identifier type="ark">ark:/67375/WNG-LK6MRQQ7-C</identifier><identifier type="DOI">10.1111/j.1749-6632.2001.tb05725.x</identifier><identifier type="ArticleID">NYAS62</identifier><recordInfo><recordContentSource authority="ISTEX" authorityURI="https://loaded-corpus.data.istex.fr" valueURI="https://loaded-corpus.data.istex.fr/ark:/67375/XBH-L0C46X92-X">wiley</recordContentSource><recordOrigin>Blackwell Publishing Ltd</recordOrigin></recordInfo></mods><json:item><extension>json</extension><original>false</original><mimetype>application/json</mimetype><uri>https://api.istex.fr/document/B9ED58197FCEAFADC82E1C4183AAC98D3EFC64F3/metadata/json</uri></json:item></metadata><serie></serie></istex></record>Pour manipuler ce document sous Unix (Dilib)
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