The Social and Applied Psychology of Music - Case Study Example

Introduction The way in which listeners hear music holds several significant differences. The way that one is able to perceive music is based specifically on the trained ear as well as the understanding of music. The result of how one is able to hear the music makes a difference in the interpretation and understanding of what is heard, as well as the effect that it has while one is listening to the music. The alteration between the musical mind and those with an untrained ear are able to have different approaches to music, as well as perceptions that alter after hearing a piece of music. The different musical techniques that are used in traditional music further the experience and the gap between those that hear music through training, as well as those that only listen to the music for leisure. Defining these differences is able to provide one with a deeper understanding of music and the differences that are created through perception, training and musical techniques. Perceptions of Music One of the differences that have been found between trained and untrained ears is based on the cognition and psychology of music. The psychological implications of music begin with a sound that an individual sounds. As soon as the individual hears this sound, they are able to interpret it in a specific way. Often, this occurs as a noise that is in another room. However, many will also interpret the sound as one that is a part of music or an orchestration. This is dependent on the psychological understanding and the cognitive recognition of music and how it is perceived in the ear. The traditional sounds that are typically defined within this include rhythm, pitch and timbre. The human hearing is immediately able to identify these three characteristics as sound as well as music. The physical properties that are a part of this as well as the recognition of the musical techniques that are used instantly allow one to have a cognitive response to what is occurring by recognizing it as music (Deutsch, 1999). Even though the general elements of music provide recognition, there are other levels of cognition and perception that begin to identify sound and music. These are perceived specifically by the musical techniques that are a part of the cognitive process of recognition and understanding. For instance, if the pitch that is used is defined as a Western scale, then the ear will easily be able to recognize it as belonging to this category, whether it is trained or untrained. However, if the scale is ethnic and from a different region of the world, then the pitch and timbre also alters with the understanding of what is being played. For the untrained ear, there may be a misperception of the music with the belief that the music doesn’t sound good or is off pitch. The same components can be seen with rhythm, which is defined first by musical techniques in each region. If the ear is not trained, then the acceptance of 4 / 4, 8 beats and other patterns may be more recognized. However, five second holds and other alterations will not sound the same. The difference in perception is based on the cognitive process that is a part of music recognition. The less that one understands and is unable to perceive, the more likely there will be fewer understanding of other types of music that are outside of this cognitive process (Dowling, Harwood, 1986). The concept of music for the trained and untrained ear through cognitive processes not only relates to what is recognized or not. More importantly, is the concept of perception and the way in which one hears the music. One may hear a sound and recognize it as aesthetically pleasing to the ear and as a sound that should be used through different pieces of music. However, one who has a trained or untrained ear may recognize it with a process that is identified as not aesthetically pleasing. The difference is based on perception of cognitive processes, emotions and the way that the mind relates to the music. The patterns that one recognizes as good or complete is based specifically on the senses that one has as well as the training that they have toward their ear and the music in which they are listening to. The particular perception is combined with levels of information that an individual can hold while listening to music, specifically in terms of the musical techniques that are being evaluated. If these are misunderstood, then the meaning of music from a psychological perspective may lose its affect. The meaning of the music may lose emotional feel, psychological understanding or a misinterpretation of the music that is being played (Aiello, Sloboda, 1994). Psychoacoustics and Perceptions of Music When moving into a deeper understanding of the cognitive processes of music, one can also identify how the untrained ear will respond with a specific perspective because of the acoustics that are used. Time sequences, wave frequencies and the ability to hear specific sounds all make a difference in the way that one perceives music. As a sound wave is able to hit the ear drum, it moves into the brain and is processed as a part of hearing. For the untrained ear, there is a specific association with the music and the techniques that are used. As the music is processed, it moves from an acoustical sound and into a cognitive process for understanding. It is only through the understanding of specific musical techniques and the way that one is able to rely on acoustical sounds that they are able to respond in a specific manner. The auditory system is then able to respond to the wave frequencies with an understanding of changes in the music, specific perceptions and definitions of the sounds and a personal reaction that comes from the emotions or the mind. The psychoacoustics then becomes essential for the complete understanding of music and the perceptions that are carried forward with the sounds that are heard in traditional forms of music (Roederer, 2008). The cognitive, emotional and acoustic perceptions then lead into divisions of understanding within music. When looking at the acoustics used in different forms is the ability to see a difference in how one can process and perceive the waveforms. In the temporal theory of pitch, there is the understanding that the pitch is perceived as it moves through a specific period of time. After this time frame, the waveform is able to excite the neurons in the mind then moves into a fade before the next note is played. According to the place theory, different types of acoustical pitches will move through this cycle in different areas of the brain. As these frequencies rise and fall, they will be able to effect the perception that one has of the music while altering the understanding of the wave forms. For an untrained ear, the wave frequencies will be less recognized, especially when moving into the lower and higher pitches. At the same time, the stimulations that are either recognized or not through the brain creates a difference in the response and perception of the mind. The cognitive process that is used in the wave cycle will then make a difference in how the untrained ear is able to hear acoustic sounds through each of the cycles of pitches that occur and move into the ear (Howard, Angus, 1996). Cognition and Musical Understanding The acoustical effects that are used with music then lead into a cognitive process of how one understands music. The musical techniques that were used in the past were able to create a specific understanding and perception of music. The acoustical effects are able to combine with this perception in the understanding of pitch, timbre and rhythm, as well as the way that one responds to the different effects that the acoustics have. However, for the process of understanding music to be complete, a cognitive process has to be applied to the ear and the perceptions that one has over music. Musical structure, for instance, is able to create a cognitive response that is only understood with the processing of information with a musical piece. For instance, when listening to hierarchies and key distances, there is a difference in the understanding of the intervals. An untrained ear may have a perception of what the distances are and will relate this to the acoustics that are being heard. However, a trained ear will understand and process the intervals through a cognitive process that provides an understanding to keys and distance within music. Perceived cognition, as opposed to trained cognitive processes, make a difference in the understanding of music and the way that one is able to hear different musical techniques. The relationship between the two is associated with the general acoustics, which the trained and untrained ear can hear, as opposed to systems that move into the understanding of abstract properties and the way they function with different cognitive understanding and forces (Krumhansl, 1990). The use of cognitive processes through the difference of the trained and untrained ear then moves into the understanding of accuracy as a part of musical effects. To the trained ear, the musical techniques, such as temporal relations, are able to be understood. As one practices timber, rhythmic patterns and timing, the more likely they are able to create an understanding of the patterns, elements and streams that are a part of music. Recognition of order with sounds, patterns and rhythms, for instance, comes through a continuous cognitive recognition of what is occurring within a piece of music. The more that one is able to listen to a specific type of music and the techniques that are used within it, the easier it is for the mind to understand and create an association with the music that is being played. The cognitive relationship that moves from the acoustical effects and to the sounds and tones is able to increase as one is able to understand more of the techniques and associations that are a part of the music. While the untrained ear may have some familiarity from the past musical techniques that are used, a hindrance is often combined with the music that is listened to because of limits in the cognitive process that is developing (Bregman, 1990). Musical Development The difference in understanding musical techniques and the cognitive process is based on the development that one has toward music. The more that one is able to recognize the acoustics, forms and techniques used within different theories, the more likely there will be a stronger connection with the music. More than an emotional and basic response to the understanding of music, there will be a deeper psychological relationship to the information that can be processed from the music and the way that one associates with the music that is being played. Developing the psychological components, as well as the cognitive recognition with musical techniques will then provide listeners with a deeper understanding of the music being played. However, the capacity to develop this is as important in the cognitive process and understanding of music (Hargreaves, 1986). There are several methods and theories that are used as a basis for training and cognitive development with music. Each of these makes a difference in how a student responds as well as the level of musical understanding that they are able to achieve. Many have found that prenatal auditory experiences, sound isolation and fetal sounds all make a difference in one’s ability to understand and process sounds later on. From the baby to infant stages, this alters with the baby’s ability to recognize music not only as sound, but also as one that is related to behaviors and cultural patterns in the surrounding environment. The human mind is able to being communicating with the sounds and what they mean in terms of music and sound, specifically by recognizing the acoustical patterns and the waves that are a part of the hearing process. As one begins to develop into childhood, the patterns and acoustical sounds can be developed with specific training to recognize the pitch, timbre and rhythms that are associated with the music (Deliege, Sloboda, 1996). For the development of music to continue taking place, it is not only important to recognize the cognitive process from the time that a baby can begin listening to sound and music. As a child grows older, creative strategies have to be used to provide more cognitive understanding. Performance, teaching and listening can all be developed to stimulate the development of the mind and the relationship that it has to music. To implement this correctly, psychologies of music have to be applied, specifically by creating an understanding of sub-disciplines and how they intertwine with music. Allowing the music to intertwine with speaking to the mind and creating a sense of teaching a language with the recognition of musical techniques can help to develop the way that one associates with music. This can be furthered through games, performances and other alternatives that help to define music and to train the ear and the mind to respond in specific ways toward musical techniques. As this is done through psychological processes, it is able to change the psychological understanding of music as well as the relationship that one has toward the understanding of musical techniques. Theoretical and pedagogical understanding, as well as implications toward performance, are able to work together to create a different approach toward the cognitive processes that are used as a part of music (Davidson, 2002). Not only does there need to be an understanding of cognitive processes through pedagogy, but also a relationship of music to the surrounding environment. Not only does music education create an association with specific concepts of cognition that is related to the musical techniques. More importantly, are social implications that are a part of the process of learning about music. For instance, the rock era immediately creates recognition of the social components of this time, including associations with drugs and different movements that were occurring in the culture. The development and implication of the social theories, as well as the other processes within music, will create a difference in the ability for children and untrained musicians to create a positive association with music. Applying the social psychology, as well as the other acoustical theories, to teaching and musical development, can provide a stronger association with the music that is being heard. Conclusion The cognitive process that is associated with hearing and understanding music is one that has several associations and layered responses. The development begins with the science of acoustics and the way that the mind responds to the basic pitch, timbre and rhythm of music. As this moves through the brain, there is an association and response that is used with the music. When the mind is untrained with specific musical techniques and associations with music, then perception and understanding of the music will differ in understanding. By developing a relationship to the psychological, emotional and cognitive understanding of music, as well as teaching others of this process, is the ability for one to understand the musical techniques used in different forms of music. References Adrian North & David Hargreaves. The Social and Applied Psychology of Music. (Oxford University Press, 2008). Albert Bregman, Auditory Scene Analysis: The Perceptual Organisation of Sound, (Cambridge, Mass: MIT Press, 1990). Carol L. Krumhansl, Cognitive Foundations of Musical Pitch, Oxford U. Press, 1990 David M. Howard & Jamie Angus, Acoustics and Psychoacoustics (3rd edition). (Oxford: Focal Press, 2006) David J. Hargreaves, The Developmental Psychology of Music, (Cambridge University Press, 1986); Diana Deutsch (ed.), The Psychology of Music (2nd edition). (Academic Press, 1999). Irène Deliège & John A. Sloboda (eds.), Musical Beginnings: Origins and Development of Musical Competence, (Oxford University Press, 1996) Jane W. Davidson (ed.), The Music Practitioner: Research for the Music Performer, Teacher and Listener, (Aldershot: Ashgate, 2004) Juan G. Roederer, Introduction to the Physics and Psycho-physics of Music (2nd edition). (Berlin: Springer, 1979) Rita Aiello & John A. Sloboda (eds.), Musical Perceptions, (Oxford University Press, 1994); W. Jay Dowling & Dane L. Harwood, Music Cognition, (Academic Press, 1985). Read More