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2 results

  • 13 - Musical Imagery

  • from Part II - Imagery-Based Forms of the Imagination
  • Edited by Anna Abraham, University of Georgia
  • Book:
    The Cambridge Handbook of the Imagination
    Published online:
    26 May 2020
    Print publication:
    18 June 2020, pp 187-206

  • Summary

    Musical imagery – the mental experience of music – is a common occurrence for both musical experts and nonexperts alike. A diverse range of experiences can be classified as musical imagery, from the replaying of a tune in a listener’s head after hearing it on the radio to a composer conjuring up the next notes of a new symphony. Overall, research in this domain has indicated that incidences of musical imagery often replicate a perceptual experience with a high degree of fidelity, and similar neural resources are recruited in both music perception and imagery. The diversity and fidelity of musical imagery experiences can be affected by expertise, suggesting imaginative processes related to music may be developed through dedicated, long-term practice. Both everyday and expert experiences of musical imagery can vary widely in terms of both intentionality and modality of recall, with some episodes comprising aspects of auditory, motor, and visual imagery. Implications for our understanding of creativity and suggestions for cross-disciplinary approaches to integrating psychological research findings with creative practice are discussed.

  • 25 - Encountering African music in history and modernity

  • from Part IX - Musical discourses of modernity
  • Edited by Philip V. Bohlman, University of Chicago
  • Book:
    The Cambridge History of World Music
    Published online:
    05 December 2013
    Print publication:
    12 December 2013, pp 637-660

  • Summary

    In Carl Stumpf's approach, tone psychology was directed toward individual and experimental research and it played an important role in comparative psychology, one of Stumpf's primary interests. With the Berlin Phonogram Archive established, Stumpf specified three goals for comparative musicology: the analysis of sound using musical criteria, examination of the psychological role of music for human beings and the study of musical instruments. Together with Stumpf and Otto Abraham, Erich M. Von Hornbostel made contributions that are recognized in the history of world music as instrumental in the establishment of comparative musicology. Hornbostel and Stumpf were interested in the comparison of acoustics and music. Hornbostel published an article on comparative acoustic and music psychological studies, in which he specifies the methods to be used in the comparative study of world music: experiments with non-European subjects, pitch-measurements on musical instruments and studies that employ phonographs.