By Marvin Minsky (auth.), Manfred Clynes (eds.)
There is way tune in our lives -yet we all know little approximately its functionality. tune is one in all man's such a lot awesome innovations - notwithstanding in all likelihood it could possibly now not be his invention in any respect: like his capability for language his means for song could be a clearly advanced biologic .function. All cultures and societies have track. tune differs from the sounds of speech and from different sounds, yet purely now will we locate ourselves on the threshold of having the ability to determine how our mind approaches musical sounds in a different way from different sounds. we're dealing with an exhilarating time whilst those questions and the query of the way track strikes us are being heavily investigated for the 1st time from the viewpoint of the co-ordinated functioning of the organism: the point of view of mind functionality, motor functionality in addition to belief and event. there's rather a lot we don't but be aware of. however the roads to that wisdom are being opened, and the arrival years tend to see a lot development in the direction of supplying solutions and elevating new questions. those questions are diversified from these song theorists have requested themselves: they deal now not with the constitution of a musical ranking (although that wisdom is necessary and helpful) yet with song within the flesh: tune no longer open air of guy to be checked out from written symbols, yet music-man as a dwelling entity or system.
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Additional resources for Music, Mind, and Brain: The Neuropsychology of Music
PHYSICAL AND NEUROPSYCHOLOGICAL FOUNDATIONS OF MUSIC 39 Most germane to the question of perception and processing of information is the way in which the animal brain handles the operations of environmental representation and short-term prediction of environmental events. A mental or cerebral representation of an environmental object, scene, or event is physically defined as the specific spatiotemporal distribution of electrical signals in the neural network of the cerebral cortex that appears in a causal, one-to-one correspondence with the specific features sensed during the presentation or occurrence of that environmental object, scene, or event.
CHAPTER II 30 MUSIC AND LANGUAGE The answer to this question may come from an examination of the types of grammar that have been found useful in analyzing linguistic performances. The simplest of these are the stochastic and state dependent grammars in which any particular utterance falls out, as it were, of the probabilities set up by previous utterances. Flesch counts of the incidence of usage of words in the English language are based on such a model and have been found wanting in explaining not only natural speech (Miller, Galanter, and Pribram, 1960) but also language disabilities due to brain damage (Howes, 1957a, b, 1964).
Variations on a repetitive pattern (novelties) evoke dishabituation (orienting) which is felt and the feeling is generated independently of recognition of the variation. The thesis to be pursued here is that while the aesthetics of music is a function of the recognition of variations, musical meaning results from the generation of feelings produced by these same variations on patterns of repetition. Clynes (1977; this volume) has a considerable body of research on this issue: He has demonstrated which patterns (essentic forms) evoke which feelings in a variety of different peoples and cultures.