Music cognition and the cognitive psychology of film structure

Canadian Psychology

Volumn 43, Issue 4, 2002, Pages 215-232

  Cohen, Annabel J ^a  

^a UNIVERSITY OF PRINCE EDWARD ISLAND   (Canada)

Author keywords

[No Author keywords available]

Indexed keywords

EID: 0036852951     PISSN: 07085591     EISSN: None     Source Type: Journal    
DOI: 10.1037/h0086918     Document Type: Article

References (105)

1. Abel, R. (1988). French film theory and criticism. Vol. 1. 1907-1929. Princeton, NJ: Princeton.
2. Anderson, J.D. (1996). The reality of illusion: An ecological approach to cognitive film theory. Carbondale, IL: Southern Illinois University Press.
3. Anderson, J.D. (1997). Introduction to the symposium on cognitive science and the future of film studies. [On-line]. Available: http://www.gsu.edu/~wwwcom/ccsmi/v3nlpl.htm, 2-6.
4. Andrew, D. (1976). The major film theories. New York: Oxford University Press.
5. Arnheim, R. (1957). Film as art. Berkeley, CA: University of California Press. (Original work published 1933-1938; 8th printing 1971).
6. Arnheim, R. (1974). Art and visual perception. Berkeley, CA: University of California Press.
7. Arnheim, R. (1988). The power of the center: A study of composition in the visual arts. Berkeley, CA: University of California Press.
8. Arnheim, R. (1992). But is it science? In G.C. Cupchik & J. László (Eds.), Emerging visions of the aesthetic process (pp. 27-36). Cambridge, UK: Cambridge University Press.
9. Ash, M.G. (1995). Gestalt psychology in German culture, 1980-1967: Holism and the quest for objectivity. New York: Cambridge University Press.
10. Basora, A.C., & Chang, Y. (1999, June 18). Musical panorama: The Red Violin. [Review of the film The Red Violin.] Newsweek. Retrieved fom the Web October 2000. http://members.Easyspace.come/knightley/newsweek1990618.html.
11. Berlyne, D. (Ed.) (1974). Studies in the new experimental aesthetics: Steps toward and objective psychology of aesthetic appreciation. Washington, DC: Wiley.
12. Bolivar, V., Cohen, A.J., & Fentress, J. (1994). Semantic and formal congruency in music and motion pictures: Effects on the interpretation of visual action. Psychomusicology, 13, 28-59.
13. Boltz, M. (2001). Musical soundtracks as a schematic influence on the cognitive processing of filmed events. Music Perception, 18, 427-455.
14. Bordwell, D. (1989). A case for cognitivism. IRIS, 9, 11-41.
15. Bordwell, D., & Thompson, K. (1979). Film art: An introduction. New York: McGraw Hill.
16. Bordwell, D., & Thompson, K. (1999). Film art: An introduction. (International ed., 5th ed.). New York: McGraw Hill.
17. Bordwell, D., & Thompson, K. (2001). Film art: An introduction. (International ed., 6th ed.). New York: McGraw Hill.
18. Boring, E.G. (1950). A history of experimental psychology (2nd ed.). New York: Appleton-Century-Crofts.
19. Bywater, T., & Sobschack, T. (1989). Introduction to film criticism. New York: Longman.
20. Carroll, J. (1980). Toward a structural psychology of cinema. New York: Mouton.
21. Cohen, A.J. (1975). Recognition of tone sequences from the Western-European chromatic scale: Tonality, transposition and the pitch set. Doctoral dissertation, Queen's University. Dissertation Abstracts International, 1977, 37, 4179B. (Available from National Library, Ottawa, Ontario. Order No. PC26238).
22. Cohen, A.J. (1991). Tonality and perception: Musical scales primed by excerpts from the "Well-Tempered Clavier" of J.S. Bach. Psychological Research, 53, 305-314.
23. Cohen, A.J. (1993). Associationism and musical soundtrack phenomena. Contemporary Music Review, 9, 163-178.
24. Cohen, A.J. (Ed.). (1994). Special issue on the psychology of film music. Psychomusicology, 13.
25. Cohen, A.J. (2000a). Film music: Perspectives from cognitive psychology. In J. Buhler, C. Flinn, & D. Neumeyer (Eds.), Music and cinema (pp. 360-377). Hanover, NH: Wesleyan University.
26. Cohen, A.J. (2000b). Processing of music and film: Independence and integration. Manuscript accepted pending satisfactory revision. Memory and Cognition.
27. Cohen, A.J. (2000c). Hugo Münsterberg's (1916) "The Photoplay" and the psychology of film and film music. (Abstract) Canadian Psychology, 41: 2a, 44.
28. Cohen, A.J. (2000d). Development of tonality induction: Plasticity, exposure, and training. Music Perception, 17, 437-459.
29. Cohen, A.J. (2001). Music as a source of emotion in film. In P. Juslin & J. Sloboda (Eds.), Music and emotion (pp. 249-272). Oxford: Oxford University Press.
30. Cohen, A.J. (in press). How music influences the interpretation of film and video: Approaches from experimental psychology. In R. Kendall & R. Savage (Eds.), Selected reports in ethnomusicology: Special issue in systematic musicology - Musical meaning, expression and communication.
31. Cook, N. (1987). The perception of large-scale tonal closure. Music perception, 5, 197-205.
32. Cook, N. (1993). Perception: A perspective from music theory. In R. Aiello (Ed.), Music perceptions (pp. 64-95). New York: Oxford.
33. Cook, (1998). Analysing musical multimedia. Oxford: Clarendon Press.
34. Cowen, P.S. (1988). Manipulating montage: Effects on film comprehension, recall, person perception, and aesthetic responses. Empirical Studies of the Arts, 6, 97-115.
35. Cowen, P.S. (1992). Visual memory, verbal schemas, and film comprehension. Empirical Studies of the Arts; 10, 33-55.
36. Cowen, P.S., & Lebel, A. (1998). The influence of story, plot, and genre on memory for action in a film. Empirical Studies of the Arts, 16, 71-83.
37. Croonen, W.L.M. (1994). Effects of length, tonal structure, and contour in the recognition of tone series. Perception and Psychophysics, 55, 623-632.
38. Cuddy, L.L., Cohen, A.J., & Mewhort, D.J.K.M. (1981). Perception of structure in short melodic sequences. Journal of Experimental Psychology: Human Perception & Performance, 7, 869-883.
39. Cuddy, L.L., & Lunney, C.A. (1995). Expectancies generated by intervals: Perceptual judgments of melodic continuity. Perception and Psychophysics, 57, 451-62.
40. Deliège, I. (1987). Grouping conditions in listening to music: An approach to Lerdahl & Jackendoff's grouping preference rules. Music Perception, 4, 325-360.
41. Deliège, I. (2001). Prototype effects in music listening: An empirical approach to the notion of imprint. Music Perception, 18, 371-407.
42. Deutsch, D. (1999). The psychology of music. 2nd ed. New York: Academic.
43. Eisenstein, S.M. (1942). Film sense. (J. Leyda, Trans.). New York: Harcourt.
44. Eisenstein, S.M. (1949). Film form. (J. Leyda, Trans. & Ed.). New York: Harcourt. (Original work published 1939.).
45. Fechner, G.T. (1860/1966). Elements of psychophysics, Vol. I. (H.E. Adler, Trans.). New York: Holt, Rinehart, & Winston.
46. Fichman, N. (Producer), & Girard, E. (Director). (1998). The Red Violin [Film]. (Available from Cineplex Odeon.).
47. Frankland, B.W. (1998). Empirical tests of Lerdahl & Jackendoff's (1983) low-level group preference rules for the parsing of melody. Doctoral dissertation, Dalhousie University, Halifax, Nova Scotia.
48. Frankland, B.W., & Cohen, A.J. (1996). Using the Krumhansl and Schmuckler key-finding algorithm to quantify the effects of tonality in the interpolated pitch-comparison task. Music Perception, 14, 57-83.
49. Frankland, B.W., & Cohen, A.J. (in press). Parsing of melody: Quantification and testing the local grouping rules of Lerdahl & Jackendoff's (1983) "Generative theory of tonal music." Music Perception.
50. Frijda, N.H. (1986). The emotions. Cambridge, UK: Cambridge University Press.
51. Gilman, K. (1999). Le Violon Plaisant. [Review of a film]. Retrieved from the Web/10/02. http://www.people.fas....ilman/reviews/movies /red_violin.htm.
52. Green, D.M. (1980). Form in tonal music: An introduction to analysis (2nd ed.). New York: Holt, Rinehart & Winston.
53. Hale, M. (1980). Human science and the social order: Hugo Münsterberg and the origins of applied psychology. Philadelphia, PA: Temple University Press.
54. Heider, F., & Simmel, M. (1944). An experimental study of apparent behavior. American Journal of Psychology, 57, 243-259.
55. Helmholtz, H. von (1954). On the sensations of tone. 4th ed. (A.J. Ellis, Trans. & Ed.). New York: Cover. (Original work first published in 1887.).
56. Hochberg, J. (1986). Representation of motion and space in video and cinematic displays. In K. Boff, L. Kaufman, & J.P. Thomas (Eds.), Handbook of perception and human performance: Volume 1 Sensory processes and perception (pp. 22-1-64). New York: Wiley.
57. Hochberg, J., & Brooks, V. (1996a). Movies in the mind's eye. In D. Bordwell & N. Carroll (Eds.), Post-theory: Reconstructing film studies (pp. 368-387). Madison, WI: University of Wisconsin Press.
58. Hochberg, J., & Brooks, V. (1996b). The perception of motion pictures. In M.P. Friedman & E.C. Carterette (Eds.), Cognitive ecology (pp. 205-292). New York: Academic Press.
59. Johnson, B.D. (1998). Firing up the festival. [Review of the film The Red Violin.] Maclean's, 37, p. 58.
60. Kalinak, K. (1992). Settling the score. Madison, WI: University of Wisconsin Press.
61. Krumhansl, C.L. (1979). The psychological representation of musical pitch in a tonal context. Cognitive Psychology, 11, 346-374.
62. Krumhansl, C.L. (1990). Cognitive foundations of musical pitch. New York: Oxford.
63. Krumhansl, C.L. (1998). Topic in music: An empirical study of memorability, openness, and emotion in Mozart's string quintet in C major and Beethoven's string quartet in A minor. Music Perception, 16, 119-134.
64. Krumhansl, C., & Shepard, R. (1979). The psychological representation of musical pitch in a tonal context. Cognitive Psychology, 11, 346-374.
65. Krumhansl, C.L., & Toivianinen (2001). Tonal cognition. In R.J. Zatorre & I. Peretz (Eds.), The biological foundations of music (pp. 77-91). New York: New York Academy of Sciences.
66. Landy, F.J. (1992). Hugo Münsterberg: Victim or visionary? Journal of Applied Psychology, 77, 787-802.
67. Landry, L. (1927). La psychologie du cinéma [The psychology of the moving picture], journal de Psychologie, 24, 134-145.
68. Leontiv, D.A., Petrov, V.M., & Sorkin, V.S. (1992). Empirical aesthetics in the former USSR: Selected topics. In G.C. Cupchik & J. László (Eds.), Emerging visions of the aesthetic process (pp. 194-209). Cambridge, UK: Cambridge University Press.
69. Lerdahl, F., & Jackendoff, R. (1983). A generative theory of tonal music. Cambridge: MIT.
70. Levin, D.T., & Simons, D.J. (2000). Perceiving stability in a changing world: Combining shots and integrating views in motion pictures and the real world. Media Psychology, 2, 357-380.
71. Levinson, J. (1997). Music in the moment. Ithaca, NY: Cornell University Press.
72. Lipscomb, S. (1999). Cross-modal integration: Synchronization of auditory and visual components in simple and complex media. Collected Papers of the 137th Meeting of Acoustical Society of America and 2nd Convention of the European Acoustics Association, Berlin. Available on CD Rom from ASA.
73. Mach, E. (1886/1897). Contributions to the analysis of the sensations. (C.M. Williams, Trans.). Chicago, IL: Open Court Publishing.
74. Machlis, J., & Forney, K. (2000). The enjoyment of music. 8th ed. New York: Norton.
75. Magliano, J.P., Miller, J., & Zwaan, R.A. (2001). Indexing space and time in film understanding, Journal of Applied Cognitive Psychology, 15, 533-545.
76. Marshall, S.K., & Cohen, A.J. (1988). Effects of musical soundtracks on attitudes toward animated geometric figures. Music Perception, 6, 95-112.
77. Marvin, E.W., & Brinkman, A. (1999). The effect of modulation and formal manipulation on perception of tonic closure by expert listeners. Music Perception, 16, 389-408.
78. Meyer, L. (1956). Emotion and meaning in music. Chicago, IL: University of Chicago Press.
79. Mitry, J. (1997). The aesthetics and psychology of cinema. (C. King, Trans.). Bloomington, IN: Indiana University Press. (Original abridged work published in 1990; original work published in 1963.).
80. Münsterberg, H. (1916/1970). The photoplay: A psychological study. New York: Arno. (Republished by Dover as The film: A psychological study.).
81. Münsterberg, M. (1922). Hugo Münsterberg: His life and work. New York: Appleton.
82. Murray, D. (1988). A history of western psychology. 2nd edition. Englewood Cliffs, NJ: Prentice Hall.
83. Narmour, E. (1990). The analysis and cognition of basic melodic structures: The implication-realization model Chicago, IL: University of Chicago Press.
84. Newtson D. (1973). Attribution and the unit of perception of ongoing behavior. Journal of Personality and Social Psychology, 28 28-38.
85. Nyyssonen, P. (1998 October). Film theory at the turning point of modernity. Film-Philosophy: Electronic Salon. Retrieved from the Web 24/06/00. http://www.mail-base.ac.uk/lists/film-philosophy/files/nyyssonen.html.
86. Peretz, I. (1989). Determinants of clustering in music: An appraisal of task factors. International Journal of Psychology, 24, 157-178.
87. Pollard-Gott, L. (1983). Emergence of thematic concepts in repeated listening to music. Cognitive Psychology, 15, 66-94.
88. Schellenberg, E.G. (1996). Expectancy in melody: Tests of the implication-realization model. Cognition, 58, 75-125.
89. Schlemmer, M. (2000). Music as actor. Presentation to the 13th Film-und Fernsewissenschaftliches Kolloquium (FFK) [Film and TV-science colloquium], Göttingen, Germany.
90. Schmuckler, M. (1997). Expectancy effects in memory for melodies. Canadian Journal of Experimental Psychology, 51, 292-306.
91. Schönpflug, W. (1994). The road not taken: A false start for cognitive psychology. Psychological Review, 101, 237-242.
92. Shepard, R.N. (1964). Circularity of judgments of relative pitch. Journal of the Acoustical Society of America, 36, 2346-2353.
93. Sklar, R. (1993). Film: An international history of the medium. Harry N. Abrams, Inc.
94. Spillmann, J., & Spillman, L. (1993). The rise and fall of Hugo Münsterberg. Journal of the History of the Behavioral Sciences. 29, 322-338.
95. Sragow, M. (1999). Making film is making music: Director François Girard on the art of making art. Retrieved from the Web/10/02 http://www.salonmag.co...1/ stag/1999/07/01/violin/print.html.
96. Stam, R. (2000). Film theory. Malden, MA: Blackwell.
97. Sterritt, D. (1999). Music drives "Red Violin": Interview John Corigliano. Christian Science Monitor, 91, 147, 15. Retreived from the Web/10/02 http://ehostvgw6.epnet.com/fulltext.asp.
98. Sylva, J. (1998). The red violin. [Review of a film]. Retrieved from the Web/10/02. http://www.clearillusions.come/reviews-r-redviolinthe-98.html.
99. Tan, W. (Ed.). (1996). Emotion and the structure of narrative film: Film as an emotion machine. Mahwah, NJ: Erlbaum.
100. Tarkovsky, A. (1986). Sculpting in time: Reflections on the cinema. (K. Hunter-Blair Trans.). Austin, TX: University of Texas Press.
101. Thompson, W.F., Cuddy, L.L., & Plaus, C. (1997). Expectancies generated by melodic intervals: Evaluation of principles of melodic implication in a melody production task. Perception and Psychophysics, 59, 1069-1076.
102. Thompson, W.F., Russo, F.A., & Sinclair, D. (1994). Effects of underscoring on the perception of closure in filmed events. Psychomusicology, 13, 9-27.
103. Trainor, L.J., & Trehub, S.E. (1992). A comparison of infants' and adults' sensitivity to western musical structure. Journal of Experimental Psychology: Human Perception & Performance, 18, 394-402.
104. Welker, R.L. (1982). Abstraction of themes from melodic variations. Journal of Experimental Psychology: Human Perception and Performance, 8, 435-447.
105. Wicclair, M.R. (1978). Film theory and Hugo Münsterberg's "The Film": A psychological study. Journal of Aesthetic Education. 12, 33-50.