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Dutch literature --- Music -- Perception --- Musical perception --- Musique -- Perception --- Muziek -- Perceptie --- Muzikale perceptie --- Muzikale waarneming --- Oreille absolue --- Oreille musicale --- Perception de la musique --- Perception musicale

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Two of the most important social skills in humans are the ability to determine the moods of those around us, and to use this to guide our behavior. To accomplish this, we make use of numerous cues. Among the most important are vocal cues from both speech and non-speech sounds. Music is also a reliable method for communicating emotion. It is often present in social situations and can serve to unify a group's mood for ceremonial purposes (funerals, weddings) or general social interactions. Scientists and philosophers have speculated on the origins of music and language, and the possible common bases of emotional expression through music, speech and other vocalizations. They have found increasing evidence of commonalities among them. However, the domains in which researchers investigate these topics do not always overlap or share a common language, so communication between disciplines has been limited.The aim of this Research Topic is to bring together research across multiple disciplines related to the production and perception of emotional cues in music, speech, and non-verbal vocalizations. This includes natural sounds produced by human and non-human primates as well as synthesized sounds. Research methodology can include survey, behavioral, and neuroimaging techniques investigating adults as well as developmental populations, including those with atypical development. Studies using laboratory tasks as well as studies in more naturalistic settings are encouraged.

Music Philosophy --- Music --- Music, Dance, Drama & Film --- Brain processing --- Cross-cultural --- speech prosody --- music perception --- Vocalizations --- developmental aspects --- Emotion Expression --- felt emotion --- music performance --- Acoustic features

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"This volume presents the most up-to-date collection of neural network models of music and creativity gathered together in one place. Chapters by leaders in the field cover new connectionist models of pitch perception, tonality, musical streaming, sequential and hierarchical melodic structure, composition, harmonization, rhythmic analysis, sound generation, and creative evolution."--Jacket.

Cognitive psychology --- Music --- Affective and dynamic functions --- Cognitie --- Cognition --- Connectionism --- Connectionisme --- Connectionnisme --- Connexionism --- Music -- Perception --- Musical perception --- Musique -- Perception --- Muziek -- Perceptie --- Muzikale perceptie --- Muzikale waarneming --- Oreille absolue --- Oreille musicale --- Perception de la musique --- Perception musicale --- Cognition. --- Connectionism. --- Musical perception. --- Music Philosophy --- Music, Dance, Drama & Film --- Psychology --- Auditory perception --- Psychological aspects

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Music -- Perception --- Musical perception --- Musique -- Perception --- Muziek -- Perceptie --- Muzikale perceptie --- Muzikale waarneming --- Oreille absolue --- Oreille musicale --- Perception de la musique --- Perception musicale --- Music --- Musical intervals and scales. --- Melodic analysis. --- Musique --- Analyse mélodique --- Psychological aspects. --- Aspect psychologique --- Intervalles et gammes --- Musical ability --- Musical perception in children. --- Testing. --- Analyse mélodique --- Instruction and study --- Psychology

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In recent years, many psychologists and cognitive scientists have published their views on the psychology of music. Unfortunately, this scientific literature has remained inaccessible to musicologists and musicians, and has neglected their insights on the subject. In Ways of Listening, musicologist Eric Clarke explores musical meaning, music's critical function in human lives, and the relationship between listening and musical material. Clarke outlines an "ecological approach" to understanding the perception of music. The way we hear and understand music is not simply a function of our brain structure or of the musical "codes" given to us by culture, Clarke argues. Instead, cognitive, psychoacoustical, and semiotic issues must be considered within the physical and social contexts of listening. In essence, Clarke adapts John Gibson's influential ecological theory of perception to the complex process of perceiving music. In addition to making a theoretical argument, the author offers a number of case studies to illustrate his concept. For example, he analyzes the experience of listening to Jimi Hendrix's performance of the Star Spangled Banner at Woodstock in 1969. Clarke examines how Hendrix's choice of instrument and venue, use of distortion, and the political climate in which he performed all had an impact on his audience's perception of the anthem. A complex convergence of broad cultural contexts and specific musical features - the entire "ecology" of the listening experience - is responsible for this performance's impact. Including both the best psychological research and careful musicological scholarship, Clarke's book offers the most complex and insightful perspective on musical meaning to date. It will be of interest to musicologists, musicians, psychologists, and scholars of aesthetics.

Music -- Perception --- Musical perception --- Musicologie --- Musicology --- Musique -- Perception --- Muziek -- Perceptie --- Muzikale perceptie --- Muzikale waarneming --- Oreille absolue --- Oreille musicale --- Perception de la musique --- Perception musicale --- 571 --- Muziekpsychologie --- Music --- History and criticism --- Nature (Aesthetics) --- Art and nature --- Nature and art --- Musicology. --- Perception. --- Perception --- Aesthetics --- Criticism --- Auditory perception --- Psychological aspects