Psychology of Music MUSED 681 MUSIC LITERACY: APPLICATIONS OF MUSIC PERCEPTION & COGNITION MUSIC LITERACY: APPLICATIONS OF MUSIC PERCEPTION & COGNITION

Psychology of Music MUSED 681Psychology of Music MUSED 681

MUSIC LITERACY:APPLICATIONS OF MUSIC PERCEPTION & COGNITION

MUSIC LITERACY:APPLICATIONS OF MUSIC PERCEPTION & COGNITION

Defining Music LiteracyDefining Music Literacy

While the ability to sight-read notation on any instrument is an important and valuable skill, the singing voice is the fundamental instrument for every musician because it is most closely linked to the musician’s ear. “If you can sing it, you can hear it; if you can hear it, you can sing it”. The same cannot be said for other instruments. Being able to press the correct keys on the piano or clarinet in response to notation, for example, does not confirm that the performer can audiate the music. It is this ability to hear the music internally that provides the foundation for comprehensive music literacy, establishing the vital basis for both reading and notating skills as well as the fundamental prerequisite for comprehensive musicianship. Music literacy, then, may be defined as the ability to translate notation into vocal sound (reading) and sound into notation (notating). This definition serves as the basis for Sound Connections.

Ester, Chapter 1, Sound Connections

While the ability to sight-read notation on any instrument is an important and valuable skill, the singing voice is the fundamental instrument for every musician because it is most closely linked to the musician’s ear. “If you can sing it, you can hear it; if you can hear it, you can sing it”. The same cannot be said for other instruments. Being able to press the correct keys on the piano or clarinet in response to notation, for example, does not confirm that the performer can audiate the music. It is this ability to hear the music internally that provides the foundation for comprehensive music literacy, establishing the vital basis for both reading and notating skills as well as the fundamental prerequisite for comprehensive musicianship. Music literacy, then, may be defined as the ability to translate notation into vocal sound (reading) and sound into notation (notating). This definition serves as the basis for Sound Connections.

Ester, Chapter 1, Sound Connections

Perception & CognitionPerception & Cognition

MemorySensory Register

Records and holds all stimuli very briefly, providing the learner with the choice of attending to it or disregarding it.

Research indicates that visual information is stored in the sensory register for less than a second, while an aural stimulus remains in storage for two to four seconds.

MemorySensory Register

Records and holds all stimuli very briefly, providing the learner with the choice of attending to it or disregarding it.

Research indicates that visual information is stored in the sensory register for less than a second, while an aural stimulus remains in storage for two to four seconds.


MemoryWorking Memory (short-term memory)

Information is stored here for only 5-20 seconds; cognitive processing takes place at this stage.

Very limited capacity, which was first defined by Miller (1956) as being seven units, plus or minus two. Research specific to music supports this, suggesting that the length of rhythm and tonal patterns be limited to no more than 5-9 notes for echo-learning and dictation activities (Karpinski, 2000).

Chunking can increase this limit by combining units into organized chunks, with each chunk then becoming a single unit.

MemoryWorking Memory (short-term memory)

Information is stored here for only 5-20 seconds; cognitive processing takes place at this stage.

Very limited capacity, which was first defined by Miller (1956) as being seven units, plus or minus two. Research specific to music supports this, suggesting that the length of rhythm and tonal patterns be limited to no more than 5-9 notes for echo-learning and dictation activities (Karpinski, 2000).

Chunking can increase this limit by combining units into organized chunks, with each chunk then becoming a single unit.


MemoryLong-term Memory

Meaningful learning results when new information is organized so that it connects to stored knowledge and is thereby anchored in long-term memory.

The capacity of long-term memory appears to be unlimited, but new information can only be permanently stored if it is properly processed. This can be accomplished solely by the learner, of course, but effective teaching should guide this procedure.

MemoryLong-term Memory

Meaningful learning results when new information is organized so that it connects to stored knowledge and is thereby anchored in long-term memory.

The capacity of long-term memory appears to be unlimited, but new information can only be permanently stored if it is properly processed. This can be accomplished solely by the learner, of course, but effective teaching should guide this procedure.


Memory

Long-term MemoryThe effective organization and presentation of information arguably constitute the essence of the teaching and learning process. For music, as for any other subject, context is paramount.

As musical understanding increases, so does musical memory. Listeners who can hear and immediately understand such features as scalar passages, triads, repetitions, sequences, modulations, and rhythmic patterns have a leg up on those listeners still listening without immediate comprehension. Such immediate comprehension affords listeners the opportunity to encode music in meaningful chunks, thereby dramatically reducing the number of memorable “bits” in a passage. (Karpinski, 2000, pp. 74-75)

Memory

Long-term MemoryThe effective organization and presentation of information arguably constitute the essence of the teaching and learning process. For music, as for any other subject, context is paramount.

As musical understanding increases, so does musical memory. Listeners who can hear and immediately understand such features as scalar passages, triads, repetitions, sequences, modulations, and rhythmic patterns have a leg up on those listeners still listening without immediate comprehension. Such immediate comprehension affords listeners the opportunity to encode music in meaningful chunks, thereby dramatically reducing the number of memorable “bits” in a passage. (Karpinski, 2000, pp. 74-75)


The process of learning involves both perception and cognition

While it is the learner who must actively engage in perception and cognition, the manner in which the teacher organizes and presents new information goes a long way toward determining whether the information makes it into long-term memory or not.

The process of learning involves both perception and cognition

While it is the learner who must actively engage in perception and cognition, the manner in which the teacher organizes and presents new information goes a long way toward determining whether the information makes it into long-term memory or not.


ModularityDifferent areas of the brain process pitch and rhythm

Connectionism Process of involving two or more brain modules (pitch operators,

rhythm operators, musical syntax operators, etc.).The coordinated activity between two or more modules is

referred to as coherence

ModularityDifferent areas of the brain process pitch and rhythm

Connectionism Process of involving two or more brain modules (pitch operators,

rhythm operators, musical syntax operators, etc.).The coordinated activity between two or more modules is

referred to as coherence


TONAL PERCEPTION AND COGNITION

As memory research predicts, context is a critical factor when moving tonal information from the sensory register to working memory and for the eventual encoding to and retrieval from long-term memory.

TONAL PERCEPTION AND COGNITION

As memory research predicts, context is a critical factor when moving tonal information from the sensory register to working memory and for the eventual encoding to and retrieval from long-term memory.


TONAL PERCEPTION AND COGNITIONCurrent research on music perception concludes that “people most easily recognize and remember melodies that conform most closely to the rules and grammar of Western tonality. Such findings are consistent with Krumhansl’s tonal hierarchy” (Radocy and Boyle, 2003, p. 242).

TONAL PERCEPTION AND COGNITIONCurrent research on music perception concludes that “people most easily recognize and remember melodies that conform most closely to the rules and grammar of Western tonality. Such findings are consistent with Krumhansl’s tonal hierarchy” (Radocy and Boyle, 2003, p. 242).


Krumhansl’s (1990) tonal hierarchy for Western tonal music Subjects consistently rated the pitches of the tonic triad

significantly higher than any other pitches, with the remaining diatonic scale tones at a secondary level, and non-diatonic tones at the lowest level. This was true for any key and for both major and minor modes.

Interestingly, while the fifth degree (dominant) of the major scale was rated higher than the third degree, this ranking was reversed for minor. Krumhansl suggests that “this may reflect that the third scale degree is the tonic of the closely related, relative major of the minor key” (p. 30).

Krumhansl’s (1990) tonal hierarchy for Western tonal music Subjects consistently rated the pitches of the tonic triad

significantly higher than any other pitches, with the remaining diatonic scale tones at a secondary level, and non-diatonic tones at the lowest level. This was true for any key and for both major and minor modes.

Interestingly, while the fifth degree (dominant) of the major scale was rated higher than the third degree, this ranking was reversed for minor. Krumhansl suggests that “this may reflect that the third scale degree is the tonic of the closely related, relative major of the minor key” (p. 30).


Tonality serves as a key perceptual organizer Diana Deutsch (1977), a recognized expert on music processing and memory, states:

The differences between attempting to recall a musical sequence in a familiar tonal system as compared with a set of notes chosen at random is equivalent to the difference between trying to recall a sentence as compared with a set of nonsense syllables. (p. 114)

Tonality clearly serves as a vital memory context for pitch sequences, and the tonic triad is the core of this context.

Tonality serves as a key perceptual organizer Diana Deutsch (1977), a recognized expert on music processing and memory, states:

The differences between attempting to recall a musical sequence in a familiar tonal system as compared with a set of notes chosen at random is equivalent to the difference between trying to recall a sentence as compared with a set of nonsense syllables. (p. 114)

Tonality clearly serves as a vital memory context for pitch sequences, and the tonic triad is the core of this context.


When does the context of tonality first develop? The Psychology of Music (Deutsch, 1999) highlights the

following conclusions: “Around the age of 5, the child can organize songs around stable

tonal centers (keys) but does not yet have a stable tonal scale system that can be used to transpose melodies accurately to new keys” (Dowling, 1999, p. 616).

“By the age of 8, children’s melodic perception operates within an increasingly stable tonal system. Now melodic information is stored and processed according to a tonal reference rather than by contour schemes” (Hargreaves & Zimmerman, as cited in Shuter-Dyson, 1999, p. 634).

“… by the age of 8 or 9 children were distinguishing between the pitches of the tonic triad and the other pitches within the key” (Dowling, 1999, p. 616).

When does the context of tonality first develop? The Psychology of Music (Deutsch, 1999) highlights the

following conclusions: “Around the age of 5, the child can organize songs around stable

tonal centers (keys) but does not yet have a stable tonal scale system that can be used to transpose melodies accurately to new keys” (Dowling, 1999, p. 616).

“By the age of 8, children’s melodic perception operates within an increasingly stable tonal system. Now melodic information is stored and processed according to a tonal reference rather than by contour schemes” (Hargreaves & Zimmerman, as cited in Shuter-Dyson, 1999, p. 634).

“… by the age of 8 or 9 children were distinguishing between the pitches of the tonic triad and the other pitches within the key” (Dowling, 1999, p. 616).


This progression corresponds with the emergence of Piaget’s conservation and reinforces Krumhansl’s tonal hierarchy. Notably, “children as young as age 5 are able to discriminate major versus minor mode changes but need cues to help them maintain attention”; associating labels facilitates this discrimination (Jordan-DeCarbo & Nelson, 2002, p. 220).

Gembris (2002) concludes that research on tonal sensitivity reveals an important trend: children are becoming “accustomed to the Western major-minor tonal system at an earlier age” (p. 492). While increased exposure to music via mass media is almost certainly a contributing factor to this development, music instruction can obviously play a primary role in encouraging the emergence of a tonal context.

This progression corresponds with the emergence of Piaget’s conservation and reinforces Krumhansl’s tonal hierarchy. Notably, “children as young as age 5 are able to discriminate major versus minor mode changes but need cues to help them maintain attention”; associating labels facilitates this discrimination (Jordan-DeCarbo & Nelson, 2002, p. 220).

Gembris (2002) concludes that research on tonal sensitivity reveals an important trend: children are becoming “accustomed to the Western major-minor tonal system at an earlier age” (p. 492). While increased exposure to music via mass media is almost certainly a contributing factor to this development, music instruction can obviously play a primary role in encouraging the emergence of a tonal context.


Comparative organizers should be used to facilitate the storage of major vs. minor tonic triad patterns, for example. The process of encoding information in a meaningful way also facilitates retrieval; the more efficiently information is stored, the more efficiently it can be recalled and applied.

Comparative organizers should be used to facilitate the storage of major vs. minor tonic triad patterns, for example. The process of encoding information in a meaningful way also facilitates retrieval; the more efficiently information is stored, the more efficiently it can be recalled and applied.


RHYTHM PERCEPTION AND COGNITION

Current beat-perception research reveals important developmental traits related to age and musical training.

RHYTHM PERCEPTION AND COGNITION

Current beat-perception research reveals important developmental traits related to age and musical training.


RHYTHM PERCEPTION AND COGNITIONDrake, Jones, and Baruch (2000) examined the relationship between subjects’ natural beat-tapping rates and the tempi at which they most consistently perceive and reproduce the beat in response to music. • Participants were asked to tap at a “comfortable” rate• Four- and six-year-olds tapped at 150 beats per minute (bpm)• Eight- and ten-year-olds tapped more slowly, at around 110-120

bpm• Adults tapped at about 100 bpm. • Musically trained subjects of all ages tapped significantly

slower than their same-age peers.

Conclusion: spontaneous tapping rates slow significantly as a result of increasing age and musical training.

RHYTHM PERCEPTION AND COGNITIONDrake, Jones, and Baruch (2000) examined the relationship between subjects’ natural beat-tapping rates and the tempi at which they most consistently perceive and reproduce the beat in response to music. • Participants were asked to tap at a “comfortable” rate• Four- and six-year-olds tapped at 150 beats per minute (bpm)• Eight- and ten-year-olds tapped more slowly, at around 110-120

bpm• Adults tapped at about 100 bpm. • Musically trained subjects of all ages tapped significantly

slower than their same-age peers.

Conclusion: spontaneous tapping rates slow significantly as a result of increasing age and musical training.


RHYTHM PERCEPTION AND COGNITIONDrake, Jones, and Baruch (2000) also concluded that listeners of all ages tend to synchronize with the beat at slower tempi

than they spontaneously tap a beat without any stimulus.

Geringer, Duke, and Madsen (1992) found that musicians tend to identify a beat in the 60-120 bpm range. When the musical stimuli led them outside this range, they tended to double or halve the tapping rate so that the beat tapping again fell within this comfortable range. Drake’s (1998) research supports this conclusion, indicating that most adult listeners focus on an intermediate beat tempo around 100 bpm.

RHYTHM PERCEPTION AND COGNITIONDrake, Jones, and Baruch (2000) also concluded that listeners of all ages tend to synchronize with the beat at slower tempi

than they spontaneously tap a beat without any stimulus.

Geringer, Duke, and Madsen (1992) found that musicians tend to identify a beat in the 60-120 bpm range. When the musical stimuli led them outside this range, they tended to double or halve the tapping rate so that the beat tapping again fell within this comfortable range. Drake’s (1998) research supports this conclusion, indicating that most adult listeners focus on an intermediate beat tempo around 100 bpm.


Perception of Metric Organization

Povel formulated a “beat-based” model that proposed that the perception of rhythmic sequences depends on two steps:

first, the segmentation of the sequence into parts of equal length (beats), based on the detection of regularly occurring accents;

second, the identification of individual events as specific subdivisions of these beats into a small number (usually two or three) of equal parts…. (Clarke, 1999, p. 483)


Povel formulated a “beat-based” model that proposed that the perception of rhythmic sequences depends on two steps:

first, the segmentation of the sequence into parts of equal length (beats), based on the detection of regularly occurring accents;

second, the identification of individual events as specific subdivisions of these beats into a small number (usually two or three) of equal parts…. (Clarke, 1999, p. 483)



Dowling (1999) highlights evidence of this hierarchical organization even in very young children:

The picture that emerges of the development of rhythmic organization is that a multilevel structure appears early and that by the age of 5, the child is quite sophisticated.… Already the spontaneous songs of a 2-year-old show two levels of rhythmic organization, the beat and rhythmic subdivisions (often speech rhythms) overlaid on that, and the 5-year-old follows the same hierarchical organization in tapped reproductions. (p. 618)


Dowling (1999) highlights evidence of this hierarchical organization even in very young children:

The picture that emerges of the development of rhythmic organization is that a multilevel structure appears early and that by the age of 5, the child is quite sophisticated.… Already the spontaneous songs of a 2-year-old show two levels of rhythmic organization, the beat and rhythmic subdivisions (often speech rhythms) overlaid on that, and the 5-year-old follows the same hierarchical organization in tapped reproductions. (p. 618)



Drake (1993) found 5-year-olds able to perceive and reproduce rhythm sequences utilizing the beat and both binary and ternary subdivisions, with binary examples being somewhat easier. By the age of 7, children are able to reproduce complex rhythm patterns nearly as well as adult non-musicians. Clearly, school-age children perceive and comprehend two levels of rhythm: the beat and the beat-subdivision.


Drake (1993) found 5-year-olds able to perceive and reproduce rhythm sequences utilizing the beat and both binary and ternary subdivisions, with binary examples being somewhat easier. By the age of 7, children are able to reproduce complex rhythm patterns nearly as well as adult non-musicians. Clearly, school-age children perceive and comprehend two levels of rhythm: the beat and the beat-subdivision.



Drake’s research demonstrates that more experienced listeners eventually focus on a third level of meter: beat groupings. Jones’ (1985) analysis of five prominent theories of meter perception supports this position. His analysis concluded that “metric groupings occur at the level of the basic beat, as well as at levels of subdivisions and multiples of that beat” (p. 54).


Drake’s research demonstrates that more experienced listeners eventually focus on a third level of meter: beat groupings. Jones’ (1985) analysis of five prominent theories of meter perception supports this position. His analysis concluded that “metric groupings occur at the level of the basic beat, as well as at levels of subdivisions and multiples of that beat” (p. 54).


These three levels – beat, subdivision of the beat, and grouping of beats – combine to establish the widely accepted definition of meter appearing in New Grove Dictionary of Music and Musicians (London, 2001, p. 531):

Metres may be categorized as duple or triple (according to whether the beat or pulse is organized in twos or threes) and as simple or compound (whether those beats are subdivided into duplets are triplets). The four basic metric categories are shown in Table 1.

Basic metric categories

Binary pattern of beats Ternary pattern of beatsSubdivision by twos simple duple: 2/4, 4/8 simple triple: 3/4, 3/2Subdivision by threes compound duple: 6/8 compound triple: 9/8

Note that the compound metres are ‘compounded’ as a result of the binary orthography of Western durational notation; in order to use a standard note form for the ternary subdivision, one must use a dotted value for the beats themselves.

These three levels – beat, subdivision of the beat, and grouping of beats – combine to establish the widely accepted definition of meter appearing in New Grove Dictionary of Music and Musicians (London, 2001, p. 531):

Metres may be categorized as duple or triple (according to whether the beat or pulse is organized in twos or threes) and as simple or compound (whether those beats are subdivided into duplets are triplets). The four basic metric categories are shown in Table 1.

Basic metric categories

Binary pattern of beats Ternary pattern of beatsSubdivision by twos simple duple: 2/4, 4/8 simple triple: 3/4, 3/2Subdivision by threes compound duple: 6/8 compound triple: 9/8

Note that the compound metres are ‘compounded’ as a result of the binary orthography of Western durational notation; in order to use a standard note form for the ternary subdivision, one must use a dotted value for the beats themselves.


Compound Meter: Perception vs. Notation

• 6-year-olds best perceive and synchronize their tapping to the beat at about 112 bpm.

• In compound meter, therefore, young children will tend to perceive the dotted-quarter note as the beat until these notes occur at a slow enough rate that the eighth-note division begins to more closely match this natural reference level. This does not happen until the tempo of the dotted-quarter note falls significantly below 60 bpm. By 50 bpm, the eighth-note pulse is at 150 bpm – closer to 112 bpm than the dotted-quarter pulse. Only then will children begin to focus on the eighth-note pulse as the beat.


• 6-year-olds best perceive and synchronize their tapping to the beat at about 112 bpm.

• In compound meter, therefore, young children will tend to perceive the dotted-quarter note as the beat until these notes occur at a slow enough rate that the eighth-note division begins to more closely match this natural reference level. This does not happen until the tempo of the dotted-quarter note falls significantly below 60 bpm. By 50 bpm, the eighth-note pulse is at 150 bpm – closer to 112 bpm than the dotted-quarter pulse. Only then will children begin to focus on the eighth-note pulse as the beat.



• For older and musically trained learners who tend to perceive beats at slower rates than these young children, this transition will typically not occur until the tempo of the dotted-quarter falls below 35 bpm. Given the fact that the overwhelming majority of compound-meter music calls for a tempo at which the dotted-quarter note exceeds 50 bpm, any practical rhythm pedagogy must prepare young students to eventually identify and label the dotted-quarter note as the beat in compound meters.


• For older and musically trained learners who tend to perceive beats at slower rates than these young children, this transition will typically not occur until the tempo of the dotted-quarter falls below 35 bpm. Given the fact that the overwhelming majority of compound-meter music calls for a tempo at which the dotted-quarter note exceeds 50 bpm, any practical rhythm pedagogy must prepare young students to eventually identify and label the dotted-quarter note as the beat in compound meters.


Constant-Beat and Variable-Beat Meters Constant-Beat and Variable-Beat Meters


Gordon’s skill learning sequence and readiness levels

Gordon, E. (2003). Learning sequences in music (2003 ed.). Chicago: GIA Publications, Inc.

Music LiteracyMusic Literacy


The Sound Connections Skill Learning Sequence

I. Developing a Sound Vocabulary 1. Neutral Echoing

Teacher presents patterns on a neutral syllable; students echo on the neutral syllable Students determine whether two patterns are the same or different Short patterns are eventually combined to form series

2. Syllable Echoing Teacher presents patterns on rhythm/tonal syllables; students echo on rhythm/tonal syllables Students label patterns with function names Students audiate and sing patterns from Curwen Hand Signs Short patterns are eventually combined to form series

3. Echo Translating Teacher presents patterns on a neutral syllable; students echo patterns using rhythm/tonal

syllables Students label patterns with function names Short patterns are eventually combined to form series

The Sound Connections Skill Learning Sequence

I. Developing a Sound Vocabulary 1. Neutral Echoing

Teacher presents patterns on a neutral syllable; students echo on the neutral syllable Students determine whether two patterns are the same or different Short patterns are eventually combined to form series

2. Syllable Echoing Teacher presents patterns on rhythm/tonal syllables; students echo on rhythm/tonal syllables Students label patterns with function names Students audiate and sing patterns from Curwen Hand Signs Short patterns are eventually combined to form series

3. Echo Translating Teacher presents patterns on a neutral syllable; students echo patterns using rhythm/tonal

syllables Students label patterns with function names Short patterns are eventually combined to form series


II. Connecting Sound to Symbol

1. Reading symbol to syllable to soundRhythm and tonal reading:

Students learn to read rhythm/tonal patterns, matching new symbols to known soundsInitially on rhythm/tonal syllables; eventually on a neutral syllableShort patterns are eventually combined to form series (developing visual

syntax)Melodic reading:

Once students can internalize the syllables and separately read rhythm and tonal patterns on a neutral syllable, the patterns are combined and students read melodic patterns

2. Notating sound to syllable to symbolRhythm and tonal notating:

Students learn to notate aural rhythm/tonal patterns via echo translation.Initially via audible syllables; eventually via audiated syllablesShort patterns are eventually combined to form series

Melodic notating:Once students can separately notate rhythm and tonal patterns, the patterns are

combined and students notate melodic patterns

II. Connecting Sound to Symbol

1. Reading symbol to syllable to soundRhythm and tonal reading:

Students learn to read rhythm/tonal patterns, matching new symbols to known soundsInitially on rhythm/tonal syllables; eventually on a neutral syllableShort patterns are eventually combined to form series (developing visual

syntax)Melodic reading:

Once students can internalize the syllables and separately read rhythm and tonal patterns on a neutral syllable, the patterns are combined and students read melodic patterns

2. Notating sound to syllable to symbolRhythm and tonal notating:

Students learn to notate aural rhythm/tonal patterns via echo translation.Initially via audible syllables; eventually via audiated syllablesShort patterns are eventually combined to form series

Melodic notating:Once students can separately notate rhythm and tonal patterns, the patterns are

combined and students notate melodic patterns


Improvising & Composing Students should engage in improvising throughout all stages of the

sequence Students can use known aural patterns to improvise, both responsively

and independently Students should engage in composition beginning in Level II. Students can use known symbol patterns to improvise to create their

own compositions These activities facilitate the internalization of the patterns

Improvising & Composing Students should engage in improvising throughout all stages of the

sequence Students can use known aural patterns to improvise, both responsively

and independently Students should engage in composition beginning in Level II. Students can use known symbol patterns to improvise to create their

own compositions These activities facilitate the internalization of the patterns


Demonstration of Visual StrategiesRhythm

CardsInitial AssociationsBuffering

TonalWandOverlays

Sequence of Exercises

Demonstration of Visual StrategiesRhythm

CardsInitial AssociationsBuffering

TonalWandOverlays

Sequence of Exercises

Next WeekNext Week

• Reading assignmentsMeyer, L. (1956). Chapter 1: Theory. In Emotion and Meaning in Music.

In Course Packet

Page 1 Header = Past Positions As To The Nature of Musical Experience

• eJournal due Wednesday 8 AM• Due: Research Project Draft #1

Cover page, including the clear designation of which style manual is being used (APA, CMS)

Minimum of five (5) double-spaced pages of text (approximately 1250 words)

Outline of the remaining aspects of the paper Current reference list

Initial Prospectus (graded copy with instructor comments) with Assessment Form

• Reading assignmentsMeyer, L. (1956). Chapter 1: Theory. In Emotion and Meaning in Music.

In Course Packet

Page 1 Header = Past Positions As To The Nature of Musical Experience

• eJournal due Wednesday 8 AM• Due: Research Project Draft #1

Cover page, including the clear designation of which style manual is being used (APA, CMS)

Minimum of five (5) double-spaced pages of text (approximately 1250 words)

Outline of the remaining aspects of the paper Current reference list

Initial Prospectus (graded copy with instructor comments) with Assessment Form

SAFE TRAVELSSAFE TRAVELS

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Psychology of Music MUSED 681 MUSIC LITERACY: APPLICATIONS OF MUSIC PERCEPTION & COGNITION MUSIC LITERACY: APPLICATIONS OF MUSIC PERCEPTION & COGNITION