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| Group A (week 4) Music from various periods and cultures demonstrating the role of shared/unshared implicit and explicit knowledge in recognizing/constructing a musical message. |
| Example 1'Jesu, Joy of Man's Desiring', from the Cantata 'Herz und Mund und Tat und Leben.' J. S. Bach (BWV 147). W. Basch: Trumpet; W. Rubsam: Organ. CD, Pro-Arte Records ©1986. |
| Example 2Extract from 'Raga Hameer'. Traditional piece arranged by Vilayat Khan. 'The Music of India and Pakistan' CD. The Rough Guide. World Music Network ©1995. |
| Example 3 ' Green Frog'. Arnhem Land, Northern Australia, Wangga song. A. Maralung: voice and clapsticks; P. Manaberu: didjeridu. 'The Garland Encyclopedia of World Music CD, Vol. 9: Australia and the Pacific Islands.' Garland Publishing ©1986. |
| Example 4'Caymmi Mostra Ao Mundo O Que A Bahia E Mangueira Tem''. Rio De Janeiro. Samba Enredo by Thobias Da Vai-Vai. 'The Music of Brazil' CD. The Rough Guide. World Music Network ©1998. |
| Example 5 'Almamy Bocoum'. Senegal; West Africa. By Mansour Seck. 'West African Music' CD. The Rough Guide. World Music Network ©1995. |
| Example 6 'Mauritania My Beloved Country'. Mauritania; West Africal. By Khalifa Ould Eide & Dimi Mint Abba. 'West African Music' CD. The Rough Guide. World Music Network ©1995. |
| Example 7 'Essence'. Acid Jazz by Speak. Big As Records ©1998. |
| Group B (week 5) Demonstration of creating musical interest through a (sometimes periodic) back and forth move from consonance to dissonance. In the opening of the example the voice moves from a melodic interval of a tritone (dissonance) to one of a 5th (consonance.) Towards the end of the example the strings pick up the same melody with the voice improvising on top. Later on in the song (not in the example) the voice follows a similar motion but moving from a major 7th (dissonance) to an octave (consonance.) One can think of these passages as having the same 'consonance/dissonance contour.' |
| Example 8 'Maria'. From 'West Side Story' by Leonard Bernstein. Orbis Publishing ©1993. |
| Group C (week 7) Examples of musical pieces outlining the Gestalt principles of prediction. Analytic versus Synthetic listening. |
| Example 9 'Sonata for Alto Recorder' by Teleman (17th century.) UCLA ©1999. (Example of fission.) |
| Example 10 'Loops' by Robert Erickson of UCSD. (Example of competition between similarity and proximity principles.) |
(Examples of Good Continuation) Example 11a Example
11b Example
11c Example
11d |
| Example 12 'Symphonie 21: Opening' by A. Webern. Sony Music ©1991. (Example of music that violates Miller's 7+-2 rule and the majority of the Gestalt Principles.) |
| Example 13 'Crossing-Scale Paradox' by Diana Deutsch. UCSD ©1975. (Example of competition between good continuation and proximity principles.) |
| Example 14 'Analytic versus Synthetic Pitch' by Smoorenburg ©1970. |
| Group D (week 8) Focusing Attention; Meters; Layering. |
| Example 15 'Interleaved melodies' by Dowling ©1970. (Example of attention, previous knowledge, and contour recognition assisting in the parsing of 'information intensive' musical messages.) |
| Example 16 'I Want You Back' by the Jackson 5 (Duple meter.) |
| Example 17 'Four Seasons: Spring' by Vivaldi (Duple meter.) |
| Example 18 'Caissons' by the Goldstream Guards (Duple meter.) |
| Example 19 'Waltz #1, Op. 18 in Eb maj. by Chopin (Triple meter.) |
| Example 20 'Hollywood Waltz' by the Eagles (Triple meter.) |
| Example 21 'De Gadiz A Cuba' by Paco De Lucia (Compound meter: (3+3) - (2+2+2).) |
| Example 22 'Money' by the Pink Floyd (Compound meter: 3+2+2.) |
| Example 23 'Kyrie Eleison'; Gregorian Chant (Monophony.) |
| Example 24 'Cello Suite in A: Allemande' by J. S. Bach (Monophony.) |
| Example 25 'Pray the Good Lord' by the Mahatella Queens (Homophony.) |
| Example 26 'Bohemian Rhapsody: Opening' by the Queen (Homophony.) |
| Example 27 'Bohemian Rhapsody: Bridge' by the Queen (Move between Homophony & Polyphony.) |
| Example 28 'Good Vibrations' by the Beach Boys (Move between Homophony & Polyphony. Also an example of attention, previous knowledge, and contour recognition assisting in the parsing of 'information intensive' musical messages.) |