Jove
Visualize
Contact Us
JoVE
x logofacebook logolinkedin logoyoutube logo
ABOUT JoVE
OverviewLeadershipBlogJoVE Help Center
AUTHORS
Publishing ProcessEditorial BoardScope & PoliciesPeer ReviewFAQSubmit
LIBRARIANS
TestimonialsSubscriptionsAccessResourcesLibrary Advisory BoardFAQ
RESEARCH
JoVE JournalMethods CollectionsJoVE Encyclopedia of ExperimentsArchive
EDUCATION
JoVE CoreJoVE BusinessJoVE Science EducationJoVE Lab ManualFaculty Resource CenterFaculty Site
Terms & Conditions of Use
Privacy Policy
Policies

Related Experiment Videos

Music perception.

Diana Deutsch1

  • 1Department of Psychology, University of California, San Diego, La Jolla, CA 92093, USA. ddeutsch@ucsd.edu

Frontiers in Bioscience : a Journal and Virtual Library
|May 9, 2007
PubMed
Summary
This summary is machine-generated.

Laboratory music perception differs from real-world listening. Listeners group tones into configurations, but perceived music can vary from the score, with individual differences noted.

Related Concept Videos

You might also read

Related Articles

Articles linked to this work by shared authors, journal, and citation graph.

Sort by
Same author

Perceiving Slope and Acceleration: Evidence for Variable Tempo Sampling in Pitch-Based Sonification of Functions.

IEEE transactions on visualization and computer graphics·2025
Same author

Absolute pitch is disrupted by a memory illusion.

The Journal of the Acoustical Society of America·2021
Same author

Bis(dimethyl sulfoxide-κO)tetra-kis-(μ2-3,4,5-tri-meth-oxy-benzoato-κ(2) O:O')dizinc.

Acta crystallographica. Section E, Structure reports online·2014
Same author

Absolute pitch among students at the Shanghai Conservatory of Music: a large-scale direct-test study.

The Journal of the Acoustical Society of America·2013
Same author

On-line perception of Mandarin Tones 2 and 3: evidence from eye movements.

The Journal of the Acoustical Society of America·2013
Same author

Absolute pitch is associated with a large auditory digit span: a clue to its genesis.

The Journal of the Acoustical Society of America·2013
Same journal

The CD44 protein family: roles in embryogenesis and tumor progression.

Frontiers in bioscience : a journal and virtual library·2017
Same journal

Four varieties of voltage-gated proton channels.

Frontiers in bioscience : a journal and virtual library·2017
Same journal

Lurie's tubercle-count method to test TB vaccine efficacy in rabbits.

Frontiers in bioscience : a journal and virtual library·2017
Same journal

Optical spectroscopy of breast biopsies and human breast cancer xenografts in nude mice.

Frontiers in bioscience : a journal and virtual library·2017
Same journal

The colostrum-deprived, artificially-reared, neonatal pig as a model animal for studying rotavirus gastroenteritis.

Frontiers in bioscience : a journal and virtual library·2017
Same journal

Action of polypeptide growth factors in colon cancer; development of new therapeutic approaches.

Frontiers in bioscience : a journal and virtual library·2017
See all related articles

Area of Science:

  • Cognitive Psychology
  • Musicology
  • Auditory Perception

Background:

  • Music perception research often occurs in controlled laboratory settings.
  • Real-world music listening involves complex environmental and cognitive factors.
  • Understanding the link between theoretical models and practical experience is crucial.

Purpose of the Study:

  • To investigate the relationship between laboratory-based music perception and real-world music listening.
  • To examine how listeners group musical tones and how this influences composition and performance.
  • To identify discrepancies between perceived music and notated scores, and explore listener variability.

Main Methods:

  • Analysis of general principles of auditory grouping in music.
  • Examination of music composition and performance practices in relation to perceptual principles.

Related Experiment Videos

  • Comparison of perceived musical configurations with notated scores.
  • Investigation of inter-listener variability in music perception.

    • Main Results:

    • Listeners group musical tones into perceptual configurations based on established principles.
    • Perceived music can significantly diverge from the notated score, especially for specific configurations.
    • Substantial differences exist among listeners regarding the perception of certain musical passages.
    • The study highlights a gap between theoretical models of music perception and lived auditory experiences.

    Conclusions:

    • Laboratory findings on music perception do not always align with real-world listening experiences.
    • Individual differences in auditory processing significantly impact music perception.
    • Findings have implications for music composition, performance, and music education, emphasizing the subjective nature of musical experience.