Music psychology, musicology, musical practice.ppt

Music psychology, musicology, musical practice Richard Parncutt University of Graz Winter semester 2006 Aims Cover and analyse interdisciplinary research between music psychology and musicology music psychology and music practice that has been done could be done Focus on the big picture Detail is important but not the main focus Consider potential areas for future research More questions than answers Tentative plan (1) Tentative plan (2) Other recent presentations Older presentations and papers Psychology, theory, analysis: Tone profiles following short chord progressions: Top-down or bottom-up? Perception of musical patterns: Ambiguity, emotion, culture Enrichment of music theory pedagogy by computer-based repertoire analysis and perceptual-cognitive theory Middle-out analysis and its psychological basis Perceptual versus historical origins of musical materials Tonality as implication-realization: Key profiles as pitch salience profiles of final triads in Renaissance music Towards a perceptual theory of bebop harmony Perceptual underpinnings of analytic techniques: From Rameau to Terhardt, Riemann to Krumhansl, Schenker to Bregman Tonal implications of atonal music Critical comparison of acoustical and perceptual theories of the origin of musical scales Why music psychology? Humans spend enormous amounts of time, energy and resources on musical activities that are not directly related to their survival. Why? Humans identify with the music they hear. How and why? Music enhances quality of life. How and why? Aims of music psychology Description/explanation of musical behaviour musical experience Applications musicology psychology musical practice Musical relevance of music psychology Music theory and aesthetics perception of musical structures empirical testing of philosophical theories Music education and performance applied developmental music psychology musical skills and techniques Music history history of musical syntax personalities of composers