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Biomusicology is the study of music from a biological point of view. The term was coined by Nils L. Wallin in 1991 to encompass several branches of music psychology and musicology, including evolutionary musicology, neuromusicology, and comparative musicology.
Some definitions refer to music as a score, or a composition: [18] [7] [19] music can be read as well as heard, and a piece of music written but never played is a piece of music notwithstanding. According to Edward E. Gordon the process of reading music , at least for trained musicians, involves a process, called "inner hearing" or "audiation ...
Biomusic is a form of experimental music which deals with sounds created or performed by non-humans.The definition is also sometimes extended to include sounds made by humans in a directly biological way.
One part of the adaptive function question is whether music constitutes an evolutionary adaptation or exaptation (i.e. by-product of evolution). Steven Pinker , in his book How the Mind Works , for example, argues that music is merely "auditory cheesecake "—it was evolutionarily adaptive to have a preference for fat and sugar but cheesecake ...
In addition to transmitting signals to other parts of the brain, neurons can modify the rules which neighboring neurons to in a process called biological synchronization. [3] The figure to the right illustrates entrainment between finger motion of the left and right hands, but only if the motion of both hands are moving in the same direction.
Musicology (from Greek μουσική mousikē 'music' and -λογια-logia, 'domain of study') is the scholarly study of music.Musicology research combines and intersects with many fields, including psychology, sociology, acoustics, neurology, natural sciences, formal sciences and computer science.
The neuroscience of music is the scientific study of brain-based mechanisms involved in the cognitive processes underlying music. These behaviours include music listening , performing , composing , reading, writing, and ancillary activities.
Other times, "part" is used to refer in a more general sense to any identifiable section of the piece. This is for example the case in the widely used ternary form, usually schematized as A–B–A. In this form the first and third parts (A) are musically identical, or very nearly so, while the second part (B) in some way provides a contrast ...