- Title Pages
- Permissions to Reproduce Material
- Chapter 1 The Psychology of Music Reading
- Chapter 2 Experimental Studies of Music Reading: A Review
- Chapter 3 The Uses of Space in Music Notation
- Chapter 4 Immediate Recall of Melodies
- Chapter 5 Cognition and Real Music: The Psychology of Music Comes of Age
- Chapter 6 Psychological Structures in Music: Core Research 1980–1990
- Chapter 7 Review of <i>Language, Music, And Mind</i> by Diana Raffman
- Chapter 8 Does Music Mean Anything?
- Chapter 9 Music as a Language
- Chapter 10 Music Psychology and the Composer
- Chapter 11 Empirical Studies of Emotional Response to Music
- Chapter 12 Emotional Response to Music: A Review
- Chapter 13 Musical Performance and Emotion: Issues and Developments
- Chapter 14 Musical Expertise
- Chapter 15 Musical Ability
- Chapter 16 The Acquisition of Musical Performance Expertise: Deconstructing the ‘Talent’ Account of Individual Differences in Musical Expressivity
- Chapter 17 Are some Children more Gifted for Music than Others?
- Chapter 18 Everyday Uses of Music Listening: A Preliminary Study
- Chapter 19 Music: Where Cognition and Emotion Meet
- Chapter 20 Music and Worship: A Psychologists Perspective
- Chapter 21 Emotion, Functionality, and the Everyday Experience of Music: Where does Music Education Fit?
- Chapter 22 The ‘Sound of Music Versus the Essence of Music’: Dilemmas for Music-Emotion Researchers
- Chapter 23 Assessing Music Psychology Research: Values, Priorities, and Outcomes
- Bibliography of John A. Sloboda 1974–2003
Immediate Recall of Melodies
Immediate Recall of Melodies
- (p.70) (p.71) Chapter 4 Immediate Recall of Melodies
- Exploring the Musical Mind
- Oxford University Press
This chapter presents musical transcriptions of the attempts of eight adult subjects to recall part of a folk melody that was repeatedly presented to them. It also discusses the results of some analyses of these transcripts, which seem to point particularly clearly to the involvement of structural knowledge in musical memory. A different reason for the paucity of empirical work on musical recall is the lack of agreed upon and well-motivated methods of describing and analysing the content of a performance in relationship to an original model. The chapter explores methods of musical analysis that provide information at an analogous level of abstraction. It is worth pointing out that most contemporary research on musical memory has used some form of recognition procedure and has used sequences containing much fewer than thirty notes.
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