SGSI07 Music and Human Behavior
From CCRMA Wiki
- 1 SGSI Summer course in Musical Behavior
- 2 Course outline
- 3 Schedule
- 4 Performances
- 5 Guest Lectures
- 6 Readings
- 7 Pre-course assignment
SGSI Summer course in Musical Behavior
- Sunday 9/16 dinner and concert - 5PM. CCRMA
- Monday 9/17 The Anatomy of Musical Hearing (from human ear to auditory cortex.) fMRI visit.
- Tuesday 9/18 Learning and Memory
- Wednesday 9/19 Expectations
- Thursday 9/20 Timing and temporal structures
- Friday 9/21 Emotion in Music
Sunday, 9/16 5:30 p.m. Opening Concert
- Dinner, Concert, Lecture.
- St. Lawrence String Quartet: Haydn, String quartet Op. 54.2, Beethoven, String quartet Op. 132.
- Jonathan Berger: Questioning Musical Behavior.
Monday 9/17 The Anatomy of Hearing
- 10:00 a.m. Vinod Menon: Brain Organism for Auditory Processing I and II.
- 12:30 p.m. Lunch Break
- 2:00 p.m. Malcolm Slaney: Computational Auditory Models.
- 3:00 p.m. Menon: Functional Brain Imaging.
- 5:00 p.m. Leave Knoll to Medical Center
- 5:30 p.m. Lesley Robertson: Tour of fMRI.
Tuesday 9/18 Learning and Memory
- 10:00 a.m. Berger and Livia Sohn: How to prepare a Bach prelude - Performance aspects of attention and memory.
- 11:00 a.m. Menon: Cognitive neuroscience of larning and memory: Implications for music.
- 12:00 p.m. Lunch Break
- 1:00 p.m. Group project: experiment design.
- 2:00 p.m. John Chowning: Perceptual fusion, Gestalt law of common fate, source identification and segregation.
- 3:00 p.m. Group project: experiment design continued.
- 4:45 p.m. Leave to SF Opera (bus trip)
- 7:00 p.m. SF Opera, Wagner Tannhauser
Wednesday 9/19 Expectation in Music
Thursday 9/20 Timing and temporal structures
Friday 9/21 Emotion
Guest Performers: St. Lawrence String Quartet, Debra Fong and Livia Sohn.
- 9/16 Haydn, String Quartet op. 54, no. 2. Beethoven, string Quartet, op. 132
- 9/18 Wagner, Tannhauser
- 9/19 Schubert, String Quintet, C major (tentative)
- 9/17 2PM Malcolm Slaney: Auditory models
- 9/18 2PM John Chowning: perceptual fusion, Gestalt law of common fate, source identification and segregation.
- 9/19 2PM Gareth Loy
- 9/20 2PM Paul Kiparsky
- The Neurosciences and Music Annals of the New York Academy of Sciences, November 2003 - Vol. 999, Page xi-532. link
- Peretz I, Zatorre RJ. Brain organization for music processing. Annu Rev Psychol. 2005;56:89-114. Review. PMID: 15709930 link
- Peretz, I. & R. J. Zatorre. 2003. The Cognitive Neuroscience of Music. Oxford University Press, New York.
- The Neurosciences and Music II: From Perception to Performance. Annals of the New York Academy of Sciences, December 2005 - Vol. 1060. pp. xi-487. link
- Zatorre RJ, Chen JL, Penhune VB. When the brain plays music: auditory-motor interactions in music perception and production. Nat Rev Neurosci. 2007 Jul;8(7):547-58. PMID: 17585307. link
- Stewart L, von Kriegstein K, Warren JD, Griffiths TD. Music and the brain: disorders of musical listening. Brain. 2006 Oct;129(Pt 10):2533-53. Epub 2006 Jul 15. Review. PMID: 16845129. link
- McDonald I. Musical alexia with recovery: a personal account. Brain. 2006 Oct;129(Pt 10):2554-61. Epub 2006 Sep 7. PMID: 16959814. link
- Sridharan D, Levitin DJ, Chafe CH, Berger J, Menon V. Neural dynamics of event segmentation in music: converging evidence for dissociable ventral and dorsal networks. Neuron. 2007 Aug 2;55(3):521-32. PMID: 17678862. link
- Blood, A.J. & Zatorre, R.J. Intensely pleasurable responses to music correlate with activity in brain regions implicated with reward and emotion. Proceedings of the National Academy of Sciences, 98, pp. 11818-11823 (2001) link
- Zatorre, R.J. & Halpern, A.R. Mental Concerts: Musical Imagery and Auditory Cortex. Neuron, 47, pp. 9-12 (2005) link
- Krumhansl, C. L. Cognitive Foundations of Musical Pitch. New York: Oxford University Press, pp. 16-31 (1990)
- Krumhansl. C.L. Music: A Link Between Cognition and Emotion (2002) link
- Current Directions in Psychological Science. Vol. 11 Issue 2 Page 45 April (2002) link
- Krumhansl, C.L. A perceptual analysis of Mozart's Piano Sonata K. 282: Segmentation, tension, and musical ideas. Music Perception 13 (3):401-432. (1996)
Please answer the following and e-mail your responses to Song-Hui Chon
- Succinctly describe what you hope to get out of this course and what you feel you can contribute.
- List five questions regarding music and human musical behavior that you would like to pursue in depth during the week of the summer course.