Advanced Search

Journal Navigation

Journal Home

Subscriptions

Archive

Contact Us

Table of Contents

Sign In to gain access to subscriptions and/or personal tools.
Psychology of Music
This Article
Right arrow Full Text (PDF)
Right arrow References
Right arrow Alert me when this article is cited
Right arrow Alert me if a correction is posted
Services
Right arrow Email this article to a friend
Right arrow Similar articles in this journal
Right arrow Alert me to new issues of the journal
Right arrow Add to Saved Citations
Right arrow Download to citation manager
Right arrowRequest Permissions
Right arrow Request Reprints
Right arrow Add to My Marked Citations
Citing Articles
Right arrow Citing Articles via HighWire
Right arrow Citing Articles via Google Scholar
Right arrow Citing Articles via Scopus
Google Scholar
Right arrow Articles by Bamberger, J.
Right arrow Search for Related Content
Social Bookmarking
 Add to CiteULike   Add to Complore   Add to Connotea   Add to Del.icio.us   Add to Digg   Add to Reddit   Add to Technorati   Add to Twitter  
What's this?

The Development of Intuitive Musical Understanding: A Natural Experiment

Jeanne Bamberger

Massachusetts Institute of Technology, j.bamb{at}mit.edu

Tracing the compositional process of two musically untrained college students, this close case study demonstrates their ability to produce archetypal tonal melodies, even when working initially within the constraints of tonally and metrically ambiguous melodic materials. The two students were representative of a sample of about 75 who participated in a new approach to music fundamentals supported by a novel, interactive computer music environment. Students’ logs, including their composition sketches, decision-making, analysis of progressive modifications and completed compositions, serve as evidence and data for analysis. It is argued that, when students work at their own pace with immediate sound feedback, can modify given materials and have access to multiple representations at differing levels of detail, they are able to make explicit their intuitive criteria for compositional decision-making, as well as proposing an intuitive model of a ‘sensible tune’.

Key Words: archetypes • experimental methodology • learning • music theory • musical intuitions • perception • structural functions

Psychology of Music, Vol. 31, No. 1, 7-36 (2003)
DOI: 10.1177/0305735603031001321


Add to CiteULike CiteULike   Add to Complore Complore   Add to Connotea Connotea   Add to Del.icio.us Del.icio.us   Add to Digg Digg   Add to Reddit Reddit   Add to Technorati Technorati   Add to Twitter Twitter    What's this?


This article has been cited by other articles:


Home page
Psychology of MusicHome page
M. Barrett
'Creative collaboration': an 'eminence' study of teaching and learning in music composition
Psychology of Music, April 1, 2006; 34(2): 195 - 218.
[Abstract] [PDF]