Musical Communication

Description

Music is a powerful means of communication. It provides a means by which people can share emotions, intentions, and meanings even though their spoken languages may be mutually incomprehensible. It can also provide a vital lifeline to human interaction for those whose special needs make other means of communication difficult. Music can exert powerful physical effects, can produce deep and profound emotions within us, and can be used to generate infinitely subtle variations of expressiveness by skilled composers and performers. The book examines how music can be used to communicate and the biological, cognitive, social, and cultural processes which underlie such communication. This book takes a broad, interdisciplinary look at all aspects of communication, from the symbolic aspects of musical notation, to the use of music in advertising. acprof-9780198529361-miscMatter-1 Title Pages acprof-9780198529361-miscMatter-4 (p.v) Foreword Dorothy Miell, Raymond MacDonald, and David J. Hargreaves acprof-9780198529361-miscMatter-6 (p.xi) List of contributors Dorothy Miell, Raymond MacDonald, and David J. Hargreaves acprof-9780198529361-chapter-1 How do people communicate using music? Dorothy Miell, Raymond MacDonald, and David J. Hargreaves How do people communicate using music? David J. Hargreaves Raymond MacDonald Dorothy Miell Abstract and Keywords Introduction How do people communicate using music? How do people communicate using music? How do people communicate using music? Contextualizing musical communication How do people communicate using music? How do people communicate using music? How do people communicate using music? A reciprocal feedback model of musical communication Musical response How do people communicate using music? How do people communicate using music? How do people communicate using music? How do people communicate using music? How do people communicate using music? Musical performance How do people communicate using music? How do people communicate using music? How do people communicate using music? Musical communication How do people communicate using music? How do people communicate using music? Plan of the book How do people communicate using music? How do people communicate using music? How do people communicate using music? Acknowledgements How do people communicate using music? How do people communicate using music? How do people communicate using music? acprof-9780198529361-chapter-2 Music and meaning, ambiguity and evolution Dorothy Miell, Raymond MacDonald, and David J. Hargreaves Music and meaning, ambiguity and evolution Ian Cross Abstract and Keywords Humans as animals Music and meaning, ambiguity and evolution Music and meaning, ambiguity and evolution Music Music and meaning, ambiguity and evolution Music and meaning, ambiguity and evolution Music and meaning Music and meaning, ambiguity and evolution Music and meaning, ambiguity and evolution Music and meaning, ambiguity and evolution Music and meaning, ambiguity and evolution Music and meaning, ambiguity and evolution Music and meaning, ambiguity and evolution Music and meaning, ambiguity and evolution Music in evolution Music and meaning, ambiguity and evolution Music and meaning, ambiguity and evolution Music and meaning, ambiguity and evolution Music and meaning, ambiguity and evolution Music and meaning, ambiguity and evolution Music and meaning, ambiguity and evolution acprof-9780198529361-chapter-3 Music and conversation Dorothy Miell, Raymond MacDonald, and David J. Hargreaves Music and conversation R. Keith Sawyer Abstract and Keywords Music and conversation Music and conversation Improvisation and group creativity Music and conversation Music and conversation Music and conversation John Dewey: music as experience Music and conversation Interactional synchrony: the biology of music Music and conversation Music and conversation The pragmatics of musical communication Music and conversation Music and conversation Why we like music Music and conversation Music and conversation Conclusion Music and conversation Music and conversation Music and conversation Music and conversation Music and conversation Notes: Music and conversation acprof-9780198529361-chapter-4 Music cognition Dorothy Miell, Raymond MacDonald, and David J. Hargreaves Music cognition defining constraints on musical communication Annabel J. Cohen Abstract and Keywords Introduction Music cognition History of experimental approaches to music communication Early experimental psychology (1850–1920) (p.62) Gustav Theodor Fechner (1801–87) and psychophysics Hermann von Helmholtz (1821–94) Wilhelm Wundt (1832–1920) Music cognition Implications Music cognition Behaviourism (1920–60) John Watson and behaviourism The stimulus and experimental method Music cognition Gestalt psychology Cognitive Zeitgeist and communication theory (1960 – present) Music cognition Music cognition Experiments showing the limitations on music communication Absolute judgment Procedure Music cognition Improving memory for tones Summary and implications Music cognition Delayed recognition paradigm Music cognition Music cognition (p.72) Pattern goodness and information theory Simplicity Music cognition Optimum complexity Parsing Music cognition Liberties, limitations, and music literacy Music literacy and language literacy Notation Music cognition Exposure to music during early and adolescent development Music cognition Music cognition (p.78) Constraints on music communication from a cognitive perspective Music tells us about mind Toward a cognitive model of musical communication Music cognition Acknowledgement Music cognition Music cognition Music cognition Music cognition Music cognition Music cognition Music cognition acprof-9780198529361-chapter-5 From mimesis to catharsis Dorothy Miell, Raymond MacDonald, and David J. Hargreaves From mimesis to catharsis expression, perception, and induction of emotion in music Patrik N. Juslin Abstract and Keywords From mimesis to catharsis Music as communication of emotion Working definition of communication From mimesis to catharsis (p.87) Communication in music From mimesis to catharsis From mimesis to catharsis Does music communicate emotions? From mimesis to catharsis Key distinctions in musical emotion From mimesis to catharsis Mechanisms of musical communication of emotion From mimesis to catharsis Expression and perception of emotion From mimesis to catharsis From mimesis to catharsis From mimesis to catharsis From mimesis to catharsis From mimesis to catharsis From mimesis to catharsis Induction of emotion From mimesis to catharsis From mimesis to catharsis From mimesis to catharsis From mimesis to catharsis From mimesis to catharsis From mimesis to catharsis Discussion Objections to music-as-communication From mimesis to catharsis Agenda for future research From mimesis to catharsis From mimesis to catharsis Acknowledgments From mimesis to catharsis From mimesis to catharsis From mimesis to catharsis From mimesis to catharsis From mimesis to catharsis From mimesis to catharsis From mimesis to catharsis From mimesis to catharsis From mimesis to catharsis From mimesis to catharsis From mimesis to catharsis acprof-9780198529361-chapter-6 Representation, cognition, and communication Dorothy Miell, Raymond MacDonald, and David J. Hargreaves Representation, cognition, and communication invented notation in children's musical communication Margaret S. Barrett Abstract and Keywords Introduction Representation, cognition, and communication Music notation Representation, cognition, and communication Representation, cognition, and communication Representation, cognition, and communication Music notation in education Representation, cognition, and communication Children's invented notations: initiation or externalization? Initiation Representation, cognition, and communication Representation, cognition, and communication Externalization Representation, cognition, and communication Invented notation and children's musical thinking Representation, cognition, and communication Categories and typologies of invented notations Representation, cognition, and communication Representation, cognition, and communication Representation, cognition, and communication Representation, cognition, and communication Representation, cognition, and communication Some functions of Invented notation for children Representation, cognition, and communication Representation, cognition and notation: Looking beyond music Representation, cognition, and communication Representation, cognition, and communication Representation, cognition, and communication Concluding remarks Representation, cognition, and communication Representation, cognition, and communication Representation, cognition, and communication Representation, cognition, and communication Representation, cognition, and communication Representation, cognition, and communication Representation, cognition, and communication Notes: acprof-9780198529361-chapter-7 How the conventions of music notation shape musical perception and performance Dorothy Miell, Raymond MacDonald, and David J. Hargreaves How the conventions of music notation shape musical perception and performance Jeanne Bamberger Abstract and Keywords Introduction How the conventions of music notation shape musical perception and performance How the conventions of music notation shape musical perception and performance How the conventions of music notation shape musical perception and performance Brad: the materials, the task, and the working environment How the conventions of music notation shape musical perception and performance Brad's evolving instructions Undifferentiated objects Building the tune How the conventions of music notation shape musical perception and performance Notation 1: action and structural grouping How the conventions of music notation shape musical perception and performance Notation 2: just three bells How the conventions of music notation shape musical perception and performance How the conventions of music notation shape musical perception and performance How the conventions of music notation shape musical perception and performance Notation 3: a pattern How the conventions of music notation shape musical perception and performance Notation 4: pitch as an emergent phenomenon Revisiting How the conventions of music notation shape musical perception and performance The young violinists How the conventions of music notation shape musical perception and performance The task How the conventions of music notation shape musical perception and performance Getting started How the conventions of music notation shape musical perception and performance Critical moments Conan: a double-classification strategy How the conventions of music notation shape musical perception and performance Beth: Phrases a.2 and b.1 How the conventions of music notation shape musical perception and performance How the conventions of music notation shape musical perception and performance How the conventions of music notation shape musical perception and performance Making instructions Revisiting the tune-builders How the conventions of music notation shape musical perception and performance The Guarneri quartet How the conventions of music notation shape musical perception and performance How the conventions of music notation shape musical perception and performance Conclusions How the conventions of music notation shape musical perception and performance How the conventions of music notation shape musical perception and performance How the conventions of music notation shape musical perception and performance acprof-9780198529361-chapter-8 Rhythm, human temporality, and brain function Dorothy Miell, Raymond MacDonald, and David J. Hargreaves Rhythm, human temporality, and brain function Michael H. Thaut Abstract and Keywords Music and communication Rhythm, human temporality, and brain function Rhythm, human temporality, and brain function Rhythm, human temporality, and brain function Rhythm, human temporality, and brain function (p.175) Rhythmic synchronization: evidence from psychophysics and behavioural data Rhythm, human temporality, and brain function Rhythm, human temporality, and brain function Neurophyisological and neuroanatomical evidence Rhythm, human temporality, and brain function Rhythm, human temporality, and brain function Rhythm, human temporality, and brain function Rhythm, human temporality, and brain function Neurologic music therapy Rhythm, human temporality, and brain function Rhythm, human temporality, and brain function Conclusion Rhythm, human temporality, and brain function Rhythm, human temporality, and brain function Rhythm, human temporality, and brain function Rhythm, human temporality, and brain function Rhythm, human temporality, and brain function Rhythm, human temporality, and brain function Rhythm, human temporality, and brain function Rhythm, human temporality, and brain function Rhythm, human temporality, and brain function Rhythm, human temporality, and brain function acprof-9780198529361-chapter-9 Musical companionship, musical community. Music therapy and the process and value of musical communication Dorothy Miell, Raymond MacDonald, and David J. Hargreaves Musical companionship, musical community. Music therapy and the process and value of musical communication Gary Ansdell Mercédès Pavlicevic Abstract and Keywords Introduction Musical companionship, musical community. Music therapy and the process and value of musical communication Disorders of communication and their ‘musical solutions’ Musical companionship, musical community. Music therapy and the process and value of musical communication Musical companionship The case of ‘Jay’ Musical companionship, musical community. Music therapy and the process and value of musical communication Musical companionship, musical community. Music therapy and the process and value of musical communication Musical companionship, musical community. Music therapy and the process and value of musical communication Changing communicative channel Musical companionship, musical community. Music therapy and the process and value of musical communication ‘Musical companionship’ through communicative musicality Musical companionship, musical community. Music therapy and the process and value of musical communication Musical companionship, musical community. Music therapy and the process and value of musical communication Musical companionship, musical community. Music therapy and the process and value of musical communication ‘Health performances’ and cultural communications Musical companionship, musical community. Music therapy and the process and value of musical communication Musical companionship, musical community. Music therapy and the process and value of musical communication The values of musical communication: the ‘dialogical principle’ Musical companionship, musical community. Music therapy and the process and value of musical communication Musical community The case of ‘The Group’ Musical companionship, musical community. Music therapy and the process and value of musical communication Musical companionship, musical community. Music therapy and the process and value of musical communication Social dialogue and coupled neurodynamics Musical companionship, musical community. Music therapy and the process and value of musical communication Musical companionship, musical community. Music therapy and the process and value of musical communication Culture and communitas Musical companionship, musical community. Music therapy and the process and value of musical communication Conclusion Playing together in time Musical companionship, musical community. Music therapy and the process and value of musical communication Musical companionship, musical community. Music therapy and the process and value of musical communication Musical companionship, musical community. Music therapy and the process and value of musical communication Musical companionship, musical community. Music therapy and the process and value of musical communication Notes: acprof-9780198529361-chapter-10 Bodily communication in musical performance Dorothy Miell, Raymond MacDonald, and David J. Hargreaves Bodily communication in musical performance Jane W. Davidson Abstract and Keywords Outline Bodily communication in musical performance Bodily communication in musical performance Musical performance production Bodily communication in musical performance Economy of bodily movement in the production of a musical performance Bodily communication in musical performance Bodily communication in musical performance Bodily communication in musical performance Audience reactions to body movements used in music production Bodily communication in musical performance Physical gestures and function: parallels between speech and music Bodily communication in musical performance Bodily communication in musical performance Style and training Bodily communication in musical performance Bodily communication in musical performance The performer's tasks Bodily communication in musical performance Rosie Brown and Mark Slater Bodily communication in musical performance The Corrs Bodily communication in musical performance Bodily communication in musical performance Bodily communication in musical performance Bodily communication in musical performance Bodily communication in musical performance Conclusion Bodily communication in musical performance Bodily communication in musical performance Bodily communication in musical performance Bodily communication in musical performance Bodily communication in musical performance Bodily communication in musical performance acprof-9780198529361-chapter-11 Singing as communication Dorothy Miell, Raymond MacDonald, and David J. Hargreaves Singing as communication Graham F. Welch Abstract and Keywords Introduction: the significance of voice in the ontogeny of communication Singing as communication Singing as communication Singing as a physical activity: structure and communicative function Singing as communication A theory of Intra- and inter-personal communication in singing Neuropsychobiological perspectives Singing as communication Singing as communication Singing as communication The symbiotic Interweaving of singing and emotion Singing as communication Singing as emotional capital Singing as communication Singing as communication Singing as intra-personal communication Singing as communication Singing as communication Singing as interpersonal, social, and cultural communication Singing as communication Singing as communication Singing as communication Conclusions Singing as communication Singing as communication Singing as communication Singing as communication Singing as communication Singing as communication Singing as communication acprof-9780198529361-chapter-12 Musical communication and children's communities of musical practice Dorothy Miell, Raymond MacDonald, and David J. Hargreaves Musical communication and children's communities of musical practice Margaret S. Barrett Abstract and Keywords Introduction Musical communication and children's communities of musical practice Musical communication; a perspective from socio-cultural theory Musical communication and children's communities of musical practice Musical communication and children's communities of musical practice Musical communication and children's communities of musical practice Play and musical play Musical communication and children's communities of musical practice Musical communication and children's communities of musical practice (p.267) Communities of practice Musical communication and children's communities of musical practice Musical communication and children's communities of musical practice (p.270) Children's communities of musical practice Musical communication and children's communities of musical practice Musical communication and children's communities of musical practice Musical communication and children's communities of musical practice Musical communication and children's communities of musical practice Musical communication and children's communities of musical practice Implications for music education Musical communication and children's communities of musical practice Musical communication and children's communities of musical practice Concluding remarks Musical communication and children's communities of musical practice Musical communication and children's communities of musical practice Musical communication and children's communities of musical practice Musical communication and children's communities of musical practice acprof-9780198529361-chapter-13 Musical communication between adults and young children Dorothy Miell, Raymond MacDonald, and David J. Hargreaves Musical communication between adults and young children Susan Young Abstract and Keywords Introduction Musical communication between adults and young children Musical communication between adults and young children (p.283) Musical communication in early childhood Musical communication between adults and young children Musical communication between adults and young children Musical dialogues Musical communication between adults and young children Musical communication between adults and young children Chris and Jake playing together Musical communication between adults and young children Musical communication between adults and young children Processes of musical communication Imitation Musical communication between adults and young children (p.291) Elaboration Musical communication between adults and young children (p.292) Organization Musical communication between adults and young children The adult as play partner and pedagogue Musical communication between adults and young children Musical communication between adults and young children Musical communication between adults and young children (p.296) Conclusion: levels of engagement Musical communication between adults and young children Musical communication between adults and young children Musical communication between adults and young children Musical communication between adults and young children Notes: acprof-9780198529361-chapter-14 Pedagogical communication in the music classroom Dorothy Miell, Raymond MacDonald, and David J. Hargreaves Pedagogical communication in the music classroom Charles Byrne Abstract and Keywords Introduction Pedagogical communication in the music classroom Pedagogical communication in the music classroom Communication and the learning process Pedagogical communication in the music classroom Pedagogical communication in the music classroom Communication and the learning environment Modelling Modelling using musical and verbal communication: Canon and syncopation Pedagogical communication in the music classroom Modelling using verbal and non-verbal communication: Chord structure Pedagogical communication in the music classroom Modelling using musical and non-verbal communication: Chord structure Pedagogical communication in the music classroom Scaffolding Pedagogical communication in the music classroom Coaching and fading Pedagogical communication in the music classroom (p.310) Thinking about music Pedagogical communication in the music classroom (p.311) Talking about music Pedagogical communication in the music classroom Pedagogical communication in the music classroom Communication between teacher and learner – a new model Pedagogical communication in the music classroom Pedagogical communication in the music classroom Pedagogical communication in the music classroom Pedagogical communication in the music classroom Pedagogical communication in the music classroom Conclusion Pedagogical communication in the music classroom Pedagogical communication in the music classroom Pedagogical communication in the music classroom acprof-9780198529361-chapter-15 Talking about music Dorothy Miell, Raymond MacDonald, and David J. Hargreaves Talking about music a vehicle for identity development Raymond MacDonald Dorothy Miell Graeme Wilson Abstract and Keywords Introduction Talking about music Talking about music Talking about music Signalling membership of musical communities Young people's accounts Talking about music Talking about music Talking about music Talking about music Talking about music Talking about music Accounts of professional jazz musicians Talking about music Talking about music Talking about music Talking about music Talking about music Talking about music Talking about music (p.337) Conclusion Talking about music Talking about music Talking about music Notes: acprof-9780198529361-chapter-16 Hippies vs hip-hop heads Dorothy Miell, Raymond MacDonald, and David J. Hargreaves Hippies vs hip-hop heads an exploration of music's ability to communicate an alternative political agenda from the perspective of two divergent musical genres Janis McNair John Powles Abstract and Keywords Introduction Hippies vs hip-hop heads Hippies vs hip-hop heads Hippies vs hip-hop heads (p.342) Peace, love, and politics Introduction Hippies vs hip-hop heads Youth rebellion and hippie sensibilities Hippies vs hip-hop heads Hippies vs hip-hop heads Hippies break free – drugs and Dylan Hippies vs hip-hop heads Hippies vs hip-hop heads Alternatives and the underground Hippies vs hip-hop heads Hippies vs hip-hop heads Decadence and decay Hippies vs hip-hop heads Rap, rhyme, and resistance Introduction Hippies vs hip-hop heads Rap as social commentary Hippies vs hip-hop heads Hippies vs hip-hop heads From slavery to Rodney King: political rap lyrics Hippies vs hip-hop heads (p.355) The censorship of rap lyrics Hippies vs hip-hop heads Rap lyrics and violence Hippies vs hip-hop heads Hip-hop versus capitalism Hippies vs hip-hop heads Hippies vs hip-hop heads Conclusion Hippies vs hip-hop heads Hippies vs hip-hop heads acprof-9780198529361-chapter-17 Communication in Indian raga performance Dorothy Miell, Raymond MacDonald, and David J. Hargreaves Communication in Indian raga performance Martin Clayton Abstract and Keywords Introduction Communication in Indian raga performance Communication in Indian raga performance Dimensions of communication in raga performance Communication in Indian raga performance Communication in Indian raga performance Raga, meaning, and communication: an ethnographic example A raga performance Communication in Indian raga performance Communication in Indian raga performance Communication in Indian raga performance Does the music communicate the same thing to all listeners? Communication in Indian raga performance Communication in Indian raga performance Communication in Indian raga performance Communication in Indian raga performance How is the meaning communicated? Communication in Indian raga performance Who Is the subject of the performance? Communication in Indian raga performance From ethnography to gestural analysis Gestural analysis Communication in Indian raga performance Communication in Indian raga performance Gesture in khyal performance i. Markers (nondepictive gestures; analogous to speech markers) Communication in Indian raga performance II. Illustrators (depictive gestures or ideographs) III. Emblems (symbolic gestures) IV. Sound producers: movements necessary to produce the sound V. Manipulators: movements manipulating the physical environment Communication in Indian raga performance Summary: communication, gesture and cultural competence Communication in Indian raga performance Acknowledgements Communication in Indian raga performance Communication in Indian raga performance Communication in Indian raga performance acprof-9780198529361-chapter-18 The role of music communication in cinema Dorothy Miell, Raymond MacDonald, and David J. Hargreaves The role of music communication in cinema Scott D. Lipscomb David E. Tolchinsky Abstract and Keywords Prelude The role of music communication in cinema A model of music communication The role of music communication in cinema Models of film music communication: empirical evidence The role of music communication in cinema The role of music communication in cinema The role of music communication in cinema The role of music in cinema: theoretical models The role of music communication in cinema The role of music communication in cinema The role of music communication in cinema What film music conveys The role of music communication in cinema (p.393) Music can convey the general mood of a film The role of music communication in cinema Music can convey the Internal life, thoughts, and feelings of a character The role of music communication in cinema Music can convey narrative structure The role of music communication in cinema Mismatch conditions between the audio and visual components The role of music communication in cinema Analyses: film music as an integral part of cinematic sound Raging Bull (1980) The role of music communication in cinema The role of music communication in cinema Rocky (1976) Conclusions The role of music communication in cinema Postlude The role of music communication in cinema The role of music communication in cinema The role of music communication in cinema The role of music communication in cinema The role of music communication in cinema acprof-9780198529361-chapter-19 Musical communication in commercial contexts Dorothy Miell, Raymond MacDonald, and David J. Hargreaves Musical communication in commercial contexts Adrian C. North David J. Hargreaves Abstract and Keywords Musical communication in commercial contexts Musical communication in commercial contexts Musical communication in commercial contexts Customer activity Musical communication in commercial contexts ‘Musical fit’ and atmosphere Musical communication in commercial contexts Musical communication in commercial contexts Musical communication in commercial contexts Musical communication in commercial contexts Time perception and waiting time Musical communication in commercial contexts The workplace Musical communication in commercial contexts Musical communication in commercial contexts Campaigners revisited Musical communication in commercial contexts Musical communication in commercial contexts Musical communication in commercial contexts Musical communication in commercial contexts Musical communication in commercial contexts Musical communication in commercial contexts Musical communication in commercial contexts acprof-9780198529361-indexList-1 (p.423) Index Dorothy Miell, Raymond MacDonald, and David J. Hargreaves (p.423) Index (p.423) Index (p.423) Index (p.423) Index (p.423) Index (p.423) Index (p.423) Index (p.423) Index (p.423) Index (p.423) Index (p.423) Index (p.423) Index (p.423) Index (p.423) Index (p.423) Index (p.423) Index (p.423) Index (p.423) Index (p.423) Index (p.423) Index (p.423) Index (p.423) Index (p.423) Index