a dynamically minimalist cognitive explanation of musical preference: is familiarity everything?

Clicks: 304
ID: 204626
2014
Article Quality & Performance Metrics
Overall Quality
Not rated
Combines reader engagement with the AI quality analysis. This article has not been analysed, so there is no overall score — reader engagement is measured and shown alongside.
AI Quality Assessment
Not analyzed
Readership in this journal
Steady

Ranked #229 of 1,131 articles by views in accounts of chemical research

Most read Least read

Bar heights use a square-root scale. Only the 120 most-read articles are drawn; the journal has 1,131 in total.

Mint this article as an NFT
Not yet minted

Create a permanent, verifiable on-chain record of this article on the Scimatic Network. The NFT is held in your Journament account, and you can withdraw it to your own wallet at any time.

5 SUSD one-off · no wallet required
Abstract
This paper examines the idea that attraction to music is generated at a cognitive level through the formation and activation of networks of interlinked ‘nodes’. Although the networks involved are vast, the basic mechanism for activating the links is relatively simple. Two comprehensive cognitive-behavioral models of musical engagement are examined with the aim of identifying the underlying cognitive mechanisms and processes involved in musical experience. A ‘dynamical minimalism’ approach (after Nowak, 2004) is applied to re-interpret musical engagement (listening, performing, composing or imagining any of these) and to revise the latest version of the reciprocal-feedback model (RFM) of music processing. Specifically, a single cognitive mechanism of ‘spreading activation’ through previously associated networks is proposed as a pleasurable outcome of musical engagement. This mechanism underlies the dynamic interaction of the various components of the RFM, and can thereby explain the generation of positive affects in the listener’s musical experience. This includes determinants of that experience stemming from the characteristics of the individual engaging in the musical activity (whether listener, composer, improviser or performer), the situation and contexts (e.g. social factors), and the music (e.g. genre, structural features). The theory calls for new directions for future research, two being (1) further investigation of the components of the RFM to better understand musical experience and (2) more rigorous scrutiny of common findings about the salience of familiarity in musical experience and preference.
Reference Key
eschubert2014frontiersa Use this key to autocite in the manuscript while using SciMatic Manuscript Manager or Thesis Manager
Authors ;Emery eSchubert;David J. Hargreaves;Adrian C. North
Journal accounts of chemical research
Year 2014
DOI
10.3389/fpsyg.2014.00038
URL
Keywords

Citations

No citations found. To add a citation, contact the admin at info@scimatic.org

No comments yet. Be the first to comment on this article.