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Biomusicology is the study of music from a biological point of view. The term was coined by Nils L. Wallin in 1991 to encompass several branches of music psychology and musicology, including evolutionary musicology, neuromusicology, and comparative musicology.
The Oxford English Dictionary traces early use of the word (in psychological usage) to 1968. [2] Eustress is the positive cognitive response to stress that is healthy, or gives one a feeling of fulfilment or other positive feelings.
For example, an individual would prefer to know when they have a deadline ahead of time in order to prepare for it in advance, rather than find out about the deadline the day of. In knowing that there is a deadline ahead of time, the intensity of the stressor is smaller for the individual, as opposed to the magnitude of intensity for the other ...
Neuroscientist Ani Patel proposes beat induction—referring to it as "beat-based rhythm processing"—as a key area in music-language research, suggesting beat induction "a fundamental aspect of music cognition that is not a byproduct of cognitive mechanisms that also serve other, more clearly adaptive, domains (e.g., auditory scene analysis ...
Bioacoustics is a cross-disciplinary science that combines biology and acoustics. Usually it refers to the investigation of sound production, dispersion and reception in animals (including humans). [1] This involves neurophysiological and anatomical basis of sound production and detection, and relation of acoustic signals to the medium they ...
In music cognition and musical analysis, the study of melodic expectation considers the engagement of the brain's predictive mechanisms in response to music. [1] For example, if the ascending musical partial octave "do-re-mi-fa-sol-la-ti-..." is heard, listeners familiar with Western music will have a strong expectation to hear or provide one ...
Note grouping. A=Arsis, T=Thesis. [1] Play ⓘ Binary and ternary rhythms and meter are said to originate in human movement. [1] Inh.=Inhalation, Exh.=Exhalation. In music and prosody, arsis (/ ˈ ɑːr s ɪ s /; plural arses, / ˈ ɑːr s iː z /) and thesis (/ ˈ θ iː s ɪ s /; plural theses, / ˈ θ iː s iː z /) [2] are respectively the stronger and weaker parts of a musical measure or ...
List of pieces using polytonality and/or bitonality.. Samuel Barber. Symphony No. 2 (1944) [citation needed]; Béla Bartók. Mikrokosmos Volume 5 number 125: The opening (mm. 1-76) of "Boating", (actually bimodality) in which the right hand uses pitches of E ♭ dorian and the left hand uses those of either G mixolydian or dorian [1]