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For example, the pitch content within spoken syllables generally changes dynamically, while the pitches of musical notes tend to be stable and the notes tend to be of longer duration. For this reason, theories of the brain substrates of speech and song perception have invoked explanations in terms of the acoustic features involved. [7]
Composers have long been using the spatial components of music to alter the overall sound experienced by the listener. [14] One of the more common methods of sound synthesis is the use of combination tones. Combination tones are illusions that are not physically present as sound waves, but rather, they are created by one's own neuromechanics. [15]
The cognitive neuroscience of music represents a significant branch of music psychology, and is distinguished from related fields such as cognitive musicology in its reliance on direct observations of the brain and use of brain imaging techniques like functional magnetic resonance imaging (fMRI) and positron emission tomography (PET).
Pedro Patricio observed in 2012 that, by using a Shepard tone as a sound source and applying it to a melody, he could reproduce the illusion of a continuously ascending or descending movement characteristic of the Shepard Scale. Regardless of the tempo and the envelope of the notes, the auditory illusion is effectively maintained. The ...
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It is a common understanding in psychoacoustics that the ear cannot respond to sounds at such high frequency via an air-conduction pathway, so one question that this research raised was: does the hypersonic effect occur via the "ordinary" route of sound travelling through the air passage in the ear, or in some other way?
The psychology of music, or music psychology, may be regarded as a branch of psychology, cognitive science, neuroscience, and/or musicology.It aims to explain and understand musical behaviour and experience, including the processes through which music is perceived, created, responded to, and incorporated into everyday life.
Musical memory refers to the ability to remember music-related information, such as melodic content and other progressions of tones or pitches. The differences found between linguistic memory and musical memory have led researchers to theorize that musical memory is encoded differently from language and may constitute an independent part of the phonological loop.