| Résumé |
[Extrait de l'introduction]
The earlier chapters in this volume have discussed several levels of both the nervous system and
psychological phenomena. A lot of these have dealt with relatively simple perceptual structures whose
extension in time is quite limited, with the exception of some of the demonstrations by Al Bregman which
often last several seconds. Of course, once one starts to talk about the perception of much larger-scale
structures like music, the time domain quickly telescopes beyond durations that can be dealt with in short
periods of processing and we need to call into play all kinds of relationships over very large time scales on
the order of tens of minutes or even hours. It is thus of great interest to both psychology and neuroscience to
try to understand how larger scale temporal structures, such as music, are represented and processed by
human listeners. These psychological mechanisms are necessary for the sense of global form that gives rise
to expectancies that in turn may be the basis for affective and emotional responses to musical works (Meyer,
1956; Sloboda, 1992).
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