The Musical Surface: Challenging Basic Assumptions

Abstract

Music cognition and real-time listening: denotation, cue abstraction, route description and cognitive maps .. Auditive analysis of the Quartetto per Archi in due tempi (1955) La psychologie cognitive face à la musique contemporaine : une contribution essentielle de Irène Deliège .. Cue abstraction, paradigmatic analysis and informative dynamics: towards Music analysis by cognitive model .. • ABSTRACT This paper addresses problems and misconceptions pertaining to the notion of the musical surface, a notion that is commonly thought to be relatively straightforward and is often taken as a given in computational and cognitive research. It is suggested that the musical surface is comprised of (complex) musical events perceived as wholes within coherent musical streams-the musical surface is not merely an unstructured sequence of atomic note events, such as score notes or a piano-roll representation. Additionally, it is maintained that the emergence of the musical surface involves rather complex mechanisms that require, not only multi-pitch extraction from the acoustic signal, but, the employment of cognitive processes such as beat-tracking, metre induction, chord identification and stream/voice separation. Such processes do not come into play after the surface has been formed, but are, rather, an integral part of the formation of the musical surface per se.

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Cite this paper

@inproceedings{Sloboda2010TheMS, title={The Musical Surface: Challenging Basic Assumptions}, author={John A. Sloboda and Emanuel Bigand and Sandra E . Trehub and Nurit Tubul and Reinhard Kopiez and Emilios Cambouropoulos and Adam Ockelford and Mark Reybrouck and Marc Leman and Micheline Lesaffre and Luc Nijs and Alexander Deweppe and Anna Rita Addessi and Rafael Ferrer and Michel Imberty and Simha Arom and Geraint A. Wiggins and Jean-Jacques Nattiez}, year={2010} }