Cognitive Foundations of Musical Pitch by Carol L. KrumhanslCognitive Foundations of Musical Pitch by Carol L. Krumhansl

Cognitive Foundations of Musical Pitch

byCarol L. Krumhansl

Paperback | August 15, 2001

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This book addresses the central problem of music cognition: how listeners' responses move beyond mere registration of auditory events to include the organization, interpretation, and remembrance of these events in terms of their function in a musical context of pitch and rhythm. Equallyimportant, the work offers an analysis of the relationship between the psychological organization of music and its internal structure. Combining over a decade of original research on music cognition with an overview of the available literature, the work will be of interest to cognitive andphysiological psychologists, psychobiologists, musicians, music researchers, and music educators. The author provides the necessary background in experimental methodology and music theory so that no specialized knowledge is required for following her major arguments.
Carol L. Krumhansl is at Cornell University.
Title:Cognitive Foundations of Musical PitchFormat:PaperbackDimensions:318 pages, 5.91 × 8.82 × 0.71 inPublished:August 15, 2001Publisher:Oxford University PressLanguage:English

The following ISBNs are associated with this title:

ISBN - 10:0195148363

ISBN - 13:9780195148367

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Table of Contents

1. Objectives and Methods2. Quantifying Tonal Hierarchies and Key Distances3. Musical Correlates of Perceived Tonal Hierarchies4. A Key-Finding Algorithm Based on Tonal Hierarchies5. Perceived Relations Between Musical Tones6. Perceptual Organization and Pitch Memory7. Quantifying Harmonic Hierarchies and Key Distances8. Perceived Harmonic Relations9. Perceiving Multiple Keys: Modulation and Polytonality10. Tonal Hierarchies in Atonal and Non-Western Tonal Music11. Music Cognition: Theoretical and Empirical GeneralizationsReferencesAuthor IndexSubject Index

Editorial Reviews

"In a step toward unveiling culture-free aspects of musical pitch, she includes a section on non-Western music, some of which uses microtonal tunings. Krumhansl's detailed descriptions of the theoretical foundations of the traditional music of northern India and Bali are fascinating. Irecommend them . . . to anyone who has wondered why the musician choose to play what they do. Of course music theorists who recognize the need for objective measurement will want to read this book closely. But in addition, psychoacoustics, speech scientists, and sonar specialists who study patternperception or who analyze perceived features might benefit from reviewing some of the cognitive methods thet Krumhansl applies to her work and dissects in her book." --Journal of the Acoustical Society of America