Syllabus: 172a Cognitive Psychology of Music

Spring, 2006

Instructor:    Prof. Roger A. Kendall, Ph.D. (kendall@ucla.edu)

Laboratory and Office: B544 Schoenberg Hall

Office Hours:   Tuesday, 1 pm and by appointment.   Virtual office hours using email/net will be announced before quizzes.

Course Description :

This course is an introduction to and survey of the study of music as the product of cognitive behavior. Traditional approaches will be contrasted with current work in the field. A wide range of issues will be explored, including psychoacoustics (vibrational/perceptual phenomena), semiotics (meaning), experimental aesthetics, and learning theory. The approach is that of empirical science; a discussion of the theoretical/philosophical bases for the scientific study of music and its perception will provide a unifying theme throughout the course.

The course assumes no formal background in either music or psychology, however, an interest in and prior participation in musical activities can provide a useful context.

Course Requirements :

1. Two Quizzes - Midterm Week 5, Final Week 10 - 25% each  

2. Project - 35%

3. Attendance - 15% (one unexcused absence is permitted, each additional is minus 5%) - therefore four absences results in 0% credit.

Extra Credit:   5%:   Either:   1.   Participate in an experiment in the laboratory or   2.   Find a website about a music perception topic and summarize   this in one page.   For psychoacoustical issues, see, for example, Hyperphysics.   You may only do one extra credit.   Neither is required.

About the final project:   The project can be either: 1). A typewritten paper expanding upon any topic covered in the course. The paper must be at least ten double-spaced pages in length and contain at least 10 citations and a bibliography. 2). A research proposal for an experimental project to investigate responses to music.    The project report should include rationale, definitions, including operational definitions, related literature of at least five sources, hypotheses, proposed method,   and suggestions for further research. An audio tape of the stimuli and/or musical notation of the stimuli should be included (for exceptions, consult the TA or Prof. Kendall).   The minimum length is ten double-spaced pages. (All page counts do not include references).  

Exam Format :

Exams will consist of definitions/explanations, short answer questions, and a longer answer question.

Lecture materials are summarized on the class web-   Note   that this site can be printed out to create a study guide for exams (color inkjet suggested).   

Text :   The main text is the web-based text .    Additional reading assignments will be on reserve, and suggested readings postged on the web site.

Evaluation of graded exams is via the 90, 80, 70, 60 percent scale, without exception .

Chronology

Week 1

            Introduction. The nature and philosophy of science and its relation to cognitive behavior.
            An historical perspective including the Seashore Model and an introduction to the Model
            of Musical Communication.

Week 2

Psychophysics of pitch, loudness, timbre, duration. Traditional Cartesian approaches, including a continuation of the Seashore model.

Week 3

Continuation of Week 2 materials, including presentation of auditory examples.   

Week 4

Organized variables: Scales and tuning

Week 5

Review - Midterm

Week 6

Behavioral, neo-behavioral, and cognitive theories. Gestalt processes.

Week 7:

Melody

Week 8:

Information theory; melody as the interaction of pitch and time

Week 9:

Psychology of Film Music connected to theories of meaning and emotion

Week 10:

Musical Communication, Expression, Performance

Conclusion

Final:   Last Class Period.

Final Project due:   During Finals Week, exact date and time TBA.