Topics in Cognitive Science 4 (4):653-667 (2012)

Abstract
Experimental investigations of cross-cultural music perception and cognition reported during the past decade are described. As globalization and Western music homogenize the world musical environment, it is imperative that diverse music and musical contexts are documented. Processes of music perception include grouping and segmentation, statistical learning and sensitivity to tonal and temporal hierarchies, and the development of tonal and temporal expectations. The interplay of auditory, visual, and motor modalities is discussed in light of synchronization and the way music moves via emotional response. Further research is needed to test deep-rooted psychological assumptions about music cognition with diverse materials and groups in dynamic contexts. Although empirical musicology provides keystones to unlock musical structures and organization, the psychological reality of those theorized structures for listeners and performers, and the broader implications for theories of music perception and cognition, awaits investigation
Keywords Expectations  Pitch  Multimodal perception  Universals  Rhythm  Empirical cognitive ethnomusicology  Entrainment  Meter
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DOI 10.1111/j.1756-8765.2012.01215.x
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References found in this work BETA

Emotion and Meaning in Music.Leonard B. Meyer - 1956 - University of Chicago Press.
A Generative Theory of Tonal Music.Fred Lerdahl & Ray Jackendoff - 1987 - Journal of Aesthetics and Art Criticism 46 (1):94-98.
Sweet Anticipation: Music and the Psychology of Expectation.William Benjamin - 2007 - Journal of Aesthetics and Art Criticism 65 (3):333-335.

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Citations of this work BETA

Implicit Learning and Acquisition of Music.Martin Rohrmeier & Patrick Rebuschat - 2012 - Topics in Cognitive Science 4 (4):525-553.
Musical Pluralism and the Science of Music.Adrian Currie & Anton Killin - 2016 - European Journal for Philosophy of Science 6 (1):9-30.

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