Irene Deliège – författare

The question: `From where, and by what mechanisms, does an individual's musical ability originate?' is a subject of major interest both to music psychologists, and musicians, heightened by the recent research into prenatal perception of sound. The Origins and Development of Musical Competence brings together authoritative reviews on central issues, beginning with prenatal auditory experience, through infancy and early childhood. The chapters chart the developmental process with reference to the child's changing environment: from the uterus, through the intense and semi-exclusive mother-baby bond, to the wider contexts provided by the family, school, and society at large, making this the most up-to-date integration of music and developmental psychology.

The Musical Mind, published in 1985, was written by the relatively unknown John Sloboda. It made ground-breaking inroads in raising crucial questions relating to music's status as a form of human expression and has become the seminal text in the field of music psychology. The scope of that book was impressive: from music perception to production, embracing topics as diverse as music's origin and the circumstances that encourage its skill acquisition. Musical structure, grouping, and perceptual processing, including memory, were key areas where John Sloboda had made early empirical investigations. Discussion of emotional responses and creative processes were far more inductively written, based on his own personal experiences. The Musical Mind laid a research agenda in asking those crucial 'how' and 'why' questions that have since occupied a growing body of researchers from all over the world. Following a quarter of a century after that seminal work, Music and the Mind celebrates the life and work of John Sloboda whilst taking stock of where the field of music psychology stands 25 years after The Musical Mind first appeared. It reviews key areas of current research in the field, written by world-leading authors, each making a significant and original academic contribution. Offering a timely review of the field of music psychology in the 21st Century, the contributors to Music and the Mind also reflect on how the field has been significantly stimulated by the influential work of John Sloboda. This book is fascinating reading for students and researchers in music psychology and musicology, as well as music professionals.

This collection initiates a resolutely interdisciplinary research dynamic specifically concerning musical creativity. Creativity is one of the most challenging issues currently facing scientific psychology and its study has been relatively rare in the cognitive sciences, especially in artificial intelligence. This book will address the need for a coherent and thorough exploration.Musical Creativity: Multidisciplinary Research in Theory and Practice comprises seven sections, each viewing musical creativity from a different scientific vantage point, from the philosophy of computer modelling, through music education, interpretation, neuroscience, and music therapy, to experimental psychology. Each section contains discussions by eminent international specialists of the issues raised, and the book concludes with a postlude discussing how we can understand creativity in the work of eminent composer, Jonathan Harvey.This unique volume presents an up-to-date snapshot of the scientific study of musical creativity, in conjunction with ESCOM (the European Society for the Cognitive Sciences of Music). Describing many of the different aspects of musical creativity and their study, it will form a useful springboard for further such study in future years, and will be of interest to academics and practitioners in music, psychology, cognitive science, artificial intelligence, neuroscience and other fields concerning the study of human cognition in this most human of behaviours.

This collection of essays and interviews addresses important theoretical, philosophical and creative issues in Western art music at the end of the twentieth- and the beginning of the twenty-first centuries. Edited by Max Paddison and Irène Deliège, the book offers a wide range of international perspectives from prominent musicologists, philosophers and composers, including Célestin Deliège, Pascal Decroupet, Richard Toop, Rudolf Frisius, Alastair Williams, Herman Sabbe, François Nicolas, Marc Jimenez, Anne Boissière, Max Paddison, Hugues Dufourt, Jonathan Harvey, and new interviews with Pierre Boulez, Brian Ferneyhough, Helmut Lachenmann, and Wolfgang Rihm. Part I is mainly theoretical in emphasis. Issues addressed include the historical rationalization of music and technology, new approaches to the theorization of atonal harmony in the wake of Spectralism, debates on the 'new complexity', the heterogeneity, pluralism and stylistic omnivorousness that characterizes music in our time, and the characterization of twentieth-century and contemporary music as a 'search for lost harmony'. The orientation of Part II is mainly philosophical, examining concepts of totality and inclusivity in new music, raising questions as to what might be expected from an autonomous contemporary musical logic, and considering the problem of the survival of the avant-garde in the context of postmodernist relativism. As well as analytic philosophy and cognitive psychology, critical theory features prominently, with theories of social mediation in music, new perspectives on the concept of musical material in Adorno's late aesthetic theory, and a call for 'an aesthetics of risk' in contemporary art as a means 'to reassert the essential role of criticism, of judgment, and of evaluation as necessary conditions to bring about a real public debate on the art of today'. Part III offers creative perspectives, with new essays and interviews from important contemporary composers who have mad

This text comprises of reviews of work relating to music and mind. It presents a range of approaches from the psychological through the computational, to the musicological. The reviews were selected from papers submitted at the Third International Conference on Music Perception and Cognition Liege 1994 to illustrate the wide range of perspectives now being adopted in studying how humans make and respond to music. The book is divided ino five sections. The first part illustrates the role of analysis and ethnomusicology in understanding cultural determinants of musical behaviour. The second part charts what is known about aquisition of musical competence, from pre-birth through to the expert performer. The evidence accumulated about specific areas of the brain which control musical thinking and behaviour is examined in Part Three. The fourth part examines how neurological, behavioural and artificial intelligence approaches are converging to shed light on processes in auditory perception. Finally, Part Five highlights the important developments in how we conceptualize the way in which musical structures are represented in the mind.

This issue comprises the twenty-five papers presented at the Second Music and the Cognitive Sciences conference held at Cambridge University in 1990.

This issue comprises the twenty-five papers presented at the Second Music and the Cognitive Sciences conference held at Cambridge University in 1990.

This text comprises of reviews of work relating to music and mind. It presents a range of approaches from the psychological through the computational, to the musicological. The reviews were selected from papers submitted at the Third International Conference on Music Perception and Cognition Liege 1994 to illustrate the wide range of perspectives now being adopted in studying how humans make and respond to music. The book is divided ino five sections. The first part illustrates the role of analysis and ethnomusicology in understanding cultural determinants of musical behaviour. The second part charts what is known about aquisition of musical competence, from pre-birth through to the expert performer. The evidence accumulated about specific areas of the brain which control musical thinking and behaviour is examined in Part Three. The fourth part examines how neurological, behavioural and artificial intelligence approaches are converging to shed light on processes in auditory perception. Finally, Part Five highlights the important developments in how we conceptualize the way in which musical structures are represented in the mind.

This text comprises of reviews of work relating to music and mind. It presents a range of approaches from the psychological through the computational, to the musicological. The reviews were selected from papers submitted at the Third International Conference on Music Perception and Cognition Liege 1994 to illustrate the wide range of perspectives now being adopted in studying how humans make and respond to music. The book is divided ino five sections. The first part illustrates the role of analysis and ethnomusicology in understanding cultural determinants of musical behaviour. The second part charts what is known about aquisition of musical competence, from pre-birth through to the expert performer. The evidence accumulated about specific areas of the brain which control musical thinking and behaviour is examined in Part Three. The fourth part examines how neurological, behavioural and artificial intelligence approaches are converging to shed light on processes in auditory perception. Finally, Part Five highlights the important developments in how we conceptualize the way in which musical structures are represented in the mind.

This collection of essays and interviews addresses important theoretical, philosophical and creative issues in Western art music at the end of the twentieth- and the beginning of the twenty-first centuries. Edited by Max Paddison and Irène Deliège, the book offers a wide range of international perspectives from prominent musicologists, philosophers and composers, including Célestin Deliège, Pascal Decroupet, Richard Toop, Rudolf Frisius, Alastair Williams, Herman Sabbe, François Nicolas, Marc Jimenez, Anne Boissière, Max Paddison, Hugues Dufourt, Jonathan Harvey, and new interviews with Pierre Boulez, Brian Ferneyhough, Helmut Lachenmann, and Wolfgang Rihm. Part I is mainly theoretical in emphasis. Issues addressed include the historical rationalization of music and technology, new approaches to the theorization of atonal harmony in the wake of Spectralism, debates on the 'new complexity', the heterogeneity, pluralism and stylistic omnivorousness that characterizes music in our time, and the characterization of twentieth-century and contemporary music as a 'search for lost harmony'. The orientation of Part II is mainly philosophical, examining concepts of totality and inclusivity in new music, raising questions as to what might be expected from an autonomous contemporary musical logic, and considering the problem of the survival of the avant-garde in the context of postmodernist relativism. As well as analytic philosophy and cognitive psychology, critical theory features prominently, with theories of social mediation in music, new perspectives on the concept of musical material in Adorno's late aesthetic theory, and a call for 'an aesthetics of risk' in contemporary art as a means 'to reassert the essential role of criticism, of judgment, and of evaluation as necessary conditions to bring about a real public debate on the art of today'. Part III offers creative perspectives, with new essays and interviews from important contemporary composers who have mad

This issue comprises the twenty-five papers presented at the Second Music and the Cognitive Sciences conference held at Cambridge University in 1990.

This text comprises of reviews of work relating to music and mind. It presents a range of approaches from the psychological through the computational, to the musicological. The reviews were selected from papers submitted at the Third International Conference on Music Perception and Cognition Liege 1994 to illustrate the wide range of perspectives now being adopted in studying how humans make and respond to music. The book is divided ino five sections. The first part illustrates the role of analysis and ethnomusicology in understanding cultural determinants of musical behaviour. The second part charts what is known about aquisition of musical competence, from pre-birth through to the expert performer. The evidence accumulated about specific areas of the brain which control musical thinking and behaviour is examined in Part Three. The fourth part examines how neurological, behavioural and artificial intelligence approaches are converging to shed light on processes in auditory perception. Finally, Part Five highlights the important developments in how we conceptualize the way in which musical structures are represented in the mind.

This collection of essays and interviews addresses important theoretical, philosophical and creative issues in Western art music at the end of the twentieth- and the beginning of the twenty-first centuries. Edited by Max Paddison and Irène Deliège, the book offers a wide range of international perspectives from prominent musicologists, philosophers and composers, including Célestin Deliège, Pascal Decroupet, Richard Toop, Rudolf Frisius, Alastair Williams, Herman Sabbe, François Nicolas, Marc Jimenez, Anne Boissière, Max Paddison, Hugues Dufourt, Jonathan Harvey, and new interviews with Pierre Boulez, Brian Ferneyhough, Helmut Lachenmann, and Wolfgang Rihm. Part I is mainly theoretical in emphasis. Issues addressed include the historical rationalization of music and technology, new approaches to the theorization of atonal harmony in the wake of Spectralism, debates on the ''new complexity'', the heterogeneity, pluralism and stylistic omnivorousness that characterizes music in our time, and the characterization of twentieth-century and contemporary music as a ''search for lost harmony''. The orientation of Part II is mainly philosophical, examining concepts of totality and inclusivity in new music, raising questions as to what might be expected from an autonomous contemporary musical logic, and considering the problem of the survival of the avant-garde in the context of postmodernist relativism. As well as analytic philosophy and cognitive psychology, critical theory features prominently, with theories of social mediation in music, new perspectives on the concept of musical material in Adorno''s late aesthetic theory, and a call for ''an aesthetics of risk'' in contemporary art as a means ''to reassert the essential role of criticism, of judgment, and of evaluation as necessary conditions to bring about a real public debate on the art of today''. Part III offers creative perspectives, with new essays and interviews from important contemporary composers who have mad

This collection of essays and interviews addresses important theoretical, philosophical and creative issues in Western art music at the end of the twentieth- and the beginning of the twenty-first centuries. Edited by Max Paddison and Irène Deliège, the book offers a wide range of international perspectives from prominent musicologists, philosophers and composers, including Célestin Deliège, Pascal Decroupet, Richard Toop, Rudolf Frisius, Alastair Williams, Herman Sabbe, François Nicolas, Marc Jimenez, Anne Boissière, Max Paddison, Hugues Dufourt, Jonathan Harvey, and new interviews with Pierre Boulez, Brian Ferneyhough, Helmut Lachenmann, and Wolfgang Rihm. Part I is mainly theoretical in emphasis. Issues addressed include the historical rationalization of music and technology, new approaches to the theorization of atonal harmony in the wake of Spectralism, debates on the ''new complexity'', the heterogeneity, pluralism and stylistic omnivorousness that characterizes music in our time, and the characterization of twentieth-century and contemporary music as a ''search for lost harmony''. The orientation of Part II is mainly philosophical, examining concepts of totality and inclusivity in new music, raising questions as to what might be expected from an autonomous contemporary musical logic, and considering the problem of the survival of the avant-garde in the context of postmodernist relativism. As well as analytic philosophy and cognitive psychology, critical theory features prominently, with theories of social mediation in music, new perspectives on the concept of musical material in Adorno''s late aesthetic theory, and a call for ''an aesthetics of risk'' in contemporary art as a means ''to reassert the essential role of criticism, of judgment, and of evaluation as necessary conditions to bring about a real public debate on the art of today''. Part III offers creative perspectives, with new essays and interviews from important contemporary composers who have mad

This collection initiates a resolutely interdisciplinary research dynamic specifically concerning musical creativity. Creativity is one of the most challenging issues currently facing scientific psychology and its study has been relatively rare in the cognitive sciences, especially in artificial intelligence. This book will address the need for a coherent and thorough exploration.Musical Creativity: Multidisciplinary Research in Theory and Practice comprises seven sections, each viewing musical creativity from a different scientific vantage point, from the philosophy of computer modelling, through music education, interpretation, neuroscience, and music therapy, to experimental psychology. Each section contains discussions by eminent international specialists of the issues raised, and the book concludes with a postlude discussing how we can understand creativity in the work of eminent composer, Jonathan Harvey.This unique volume presents an up-to-date snapshot of the scientific study of musical creativity, in conjunction with ESCOM (the European Society for the Cognitive Sciences of Music). Describing many of the different aspects of musical creativity and their study, it will form a useful springboard for further such study in future years, and will be of interest to academics and practitioners in music, psychology, cognitive science, artificial intelligence, neuroscience and other fields concerning the study of human cognition in this most human of behaviours.

Les perspectives évolutionnistes de la musique.Le temps est loin où l''homme pensait que les étoiles du ciel avaient été créées pour le guider sur la terre. Et, pourtant, la querelle entre les tenants du créationisme et la science biologique de Darwin, fondée sur l''évolution des espèces, resurgit parfois encore entre ceux qui ne parviennent pas à discerner entre mythe et démarche scientifique. Cent cinquante ans après la publication de L''Origine des espèces (1859), les biologistes d''aujourd''hui s''inscrivent dans le sillage de Darwin, sans pour autant se réclamer de lui sur un mode dogmatique. Des questions importantes demeurent, en effet, ouvertes. Ainsi, jusqu''où la théorie de la sélection naturelle peut-elle être étendue au-delà de l''étude de l''évolution des formes vivantes ? Peut-elle concerner l''art ? Une société comme l''ESCOM (la Société européenne des sciences cognitives de la musique) ne pouvait rester indifférente au problème touchant spécialement la musique, un point dont Darwin lui-même s''était préoccupé, en 1871, dans son ouvrage La Descendance de l ''homme et la sélection sexuelle. Aborder aujourd''hui le problème de la musique dans le cadre des théories évolutionnistes revient à poser ses origines. Le présent volume (traduction d''un numéro spécial de la revue de l''ESCOM, Mucicæ Scientiæ, publié à l''occasion de l''année Darwin, pour le 200e anniversaire de sa naissance) est la première publication sur le sujet en langue française. Il comporte vingt contributions des meilleurs spécialistes en la matière, européens, américains et australiens. Ce recueil représente une importante synthèse sur le sujet depuis la publication de l''ouvrage fondateur The Origins of Music, édité par Wallin, Merker et Brown, et publié aux MIT Press (USA), voici dix ans. Il aborde le thème des origines de la musique et de son évolution selon les multiples perspectives explorées au cours des dernières années : ses fondements théoriques et culturels, son développement, sa valeur adaptative, son intervention dans les processus émotionnels, dans l''organisation du chant et de la compétence rythmique, sa part dans l''émergence du langage.Richement documenté, cet ouvrage de référence rend compte de l''influence des théories de Darwin sur la musicologie.CE QU''EN PENSE LA CRITIQUE L’ouvrage rassemble 20 textes des meilleurs spécialistes mondiaux en la matière et représente une importante synthèse sur le sujet. - Le Monticule musique, n°16À PROPOS DES AUTEURS Docteure en cognition de la musique, Olivia Ladinig travaille actuellement au Laboratoire de musicologie cognitive et systématique de Columbus (Ohio, États-Unis). Elle a précédemment travaillé au sein du Music Cognition Group à Amsterdam et au sein de l’Unité de psychologie cognitive de l’Université de Klagenfurt (Autriche).Docteur en psychologie de l’Université de Vienne, et ancien Président de la Société autrichienne de psychologie, Oliver Vitouch est actuellement Professeur à l’Unité de Psychologie cognitive de Klagenfurt (Autriche).Irène Deliège est diplômée du Conservatoire royal de Bruxelles et licenciée en psychologie. Elle est aujourd’hui responsable de l’Unité de recherche en psychologie de l’Université de Liège.