How Music Works: Music Cognition

Course manual 2019/2020

Course content

[version 20200301]

Why do we have music? Is it mere cultural phenomenon or is music biologically constrained? And if the latter is the case, is it possible to identify which biological and/or cognitive traits make us musical animals?

First and foremost, it is good to realize that we all have a predisposition for music (like we all have a capacity for language), especially when the focus is on perception rather than production. This view is supported by more and more studies, ranging from the pioneering work of developmental psychologists Sandra Trehub and Laurel Trainor (Trainor, 2008; Trehub, 2003) to that of neuroscientists like Isabelle Peretz and Robert Zatorre (Peretz & Coltheart, 2003; Peretz & Zatorre, 2005; Zatorre, 2005), research that suggests that music has an intimate relation with our cognition and underlying biology.

This course discusses recent developments in the research field of music cognition, as well as a potential biological component of our capacity for music. Topics include a) the origins and evolution of musicality, b) the cognition of rhythm and melody, c) musical competence, d) relation between music and nonmusical abilities, and e) the similarities and differences between music and language. The topics might change due to recent developments. All topics are introduced in a two hour lecture, followed by a seminar in which each week at least two (recent) papers will be discussed. For this the students are asked to bring in issues for a plenary discussion and/or prepare position statements. The course is closed with an essay that elaborates on one of the topics that were discussed in the course.

N.B. Students are expected to be familiar with the main terminology of music and music cognition research. Those that unfamiliar with music or the field of music cognition are advised to read:

• Thompson, W.F. (2015) Music, Thought, and Feeling (2nd Edition). Oxford: Oxford University Press.

Course will be based on:  Honing, H. (ed.) (2018). The Origins of Musicality. Cambridge, Mass.: The MIT Press .

See for additional information http://www.mcg.uva.nl

Study materials

Literature

• Honing, H. (ed.) (2018). The Origins of Musicality. Cambridge, Mass.: The MIT Press ; Additional literature papers provided via Canvas

Objectives

• Insight in the aims, methods and recent results in the field of music cognition.

Teaching methods

• Seminar
• Lecture
• Self-study
• Presentation/symposium
• Working independently on e.g. a project or thesis

Seminar, (guest) lectures.

Learning activities

Attendance

Requirements of the programme concerning attendance (OER-B):

1. In the case of practicals, the student must attend at least 80%. Should the student attend less than 80%, he/she must redo the practical, or the Examinations Board may have one or more supplementary assignments issued.
2. In the case of study-group sessions with assignments, the student must attend at least 80% of the study-group sessions. Should the student attend less than 80%, he/she must redo the study group, or the Examinations Board may have one or more supplementary assignments issued.

Assessment

Fraud and plagiarism

The 'Regulations governing fraud and plagiarism for UvA students' applies to this course. This will be monitored carefully. Upon suspicion of fraud or plagiarism the Examinations Board of the programme will be informed. For the 'Regulations governing fraud and plagiarism for UvA students' see: www.student.uva.nl

Course structure

Timetable

The schedule for this course is published on DataNose.

Additional information

Course uses Blackboard for all info, studymaterial, assignments, etc.

Last year's course evaluation

In order to provide students some insight how we use the feedback of student evaluations to enhance the quality of education, we decided to include the table below in all course guides.

Contact information

Coordinator

• prof. dr. Henkjan Honing