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%0 Book Section %A McAdams, Stephen %T Audition : cognitive Psychology of Music %D 1996 %B The Mind-Brain Continuum %C Cambridge %I eds: R. Llinas & P. Churchland %P 251-279 %F McAdams96a %K psychologie de la musique %K perception %K connaissances musicales %X [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). %1 4 %2 3 %U http://articles.ircam.fr/textes/McAdams96a |