Table Of ContentMusic and FaMiliarity
sEMPrE studies in
the Psychology of Music
series Editors
Graham Welch, Institute of Education, University of London, UK
adam Ockelford, Roehampton University, UK
ian cross, University of Cambridge, UK
The theme for the series is the psychology of music, broadly defined. Topics
will include: (i) musical development at different ages, (ii) exceptional musical
development in the context of special educational needs, (iii) musical cognition
and context, (iv) culture, mind and music, (v) micro to macro perspectives on
the impact of music on the individual (such as from neurological studies through
to social psychology), (vi) the development of advanced performance skills and
(vii) affective perspectives on musical learning. The series will present the
implications of research findings for a wide readership, including user-groups
(music teachers, policy makers, parents), as well as the international academic
and research communities. The distinguishing features of the series will be this
broad focus (drawing on basic and applied research from across the globe) under
the umbrella of sEMPrE’s distinctive mission, which is to promote and ensure
coherent and symbiotic links between education, music and psychology research.
Other titles in the series
Collaborative Learning in Higher Music Education
Edited by Helena Gaunt and Heidi Westerlund
I Drum, Therefore I Am
Being and Becoming a Drummer
Gareth dylan smith
The Act of Musical Composition
Studies in the Creative Process
Edited by dave collins
Studio-Based Instrumental Learning
Kim Burwell
Musical Creativity: Insights from Music Education Research
Oscar Odena
Music and Familiarity
listening, Musicology and Performance
Edited by
ElainE KinG
University of Hull, UK
Helen M. Prior
King’s College, London, UK
© elaine King and Helen M. Prior 2013
All rights reserved. no part of this publication may be reproduced, stored in a retrieval
system or transmitted in any form or by any means, electronic, mechanical, photocopying,
recording or otherwise without the prior permission of the publisher.
elaine King and Helen M. Prior have asserted their right under the Copyright, Designs and
Patents Act, 1988, to be identified as the editors of this work.
Published by
ashgate Publishing limited ashgate Publishing company
Wey Court east 110 Cherry Street
Union road Suite 3-1
Farnham Burlington, VT 05401-3818
Surrey, GU9 7PT USA
England
www.ashgate.com
British Library Cataloguing in Publication Data
Music and familiarity : listening, musicology and
performance. -- (SeMPre studies in the psychology of music)
1. Music--Psychological aspects. 2. Music appreciation.
3. Musical analysis. 4. Musicology. 5. Music--
Performance--Psychological aspects.
i. Series ii. King, elaine, 1974- iii. Prior, Helen M.
iV. Society for education, Music and Psychology research.
781.1'7-dc23
The Library of Congress has cataloged the printed edition as follows:
Music and familiarity : listening, musicology and performance / edited by Elaine King
and Helen M. Prior.
pages cm. -- (SeMPre studies in the psychology of music)
includes bibliographical references and index.
iSBn 978-1-4094-2075-0 (hardcover) -- iSBn 978-1-4094-2076-7 (ebook) -- iSBn
978-1-4724-0027-7 (epub) 1. Music--Psychological aspects. 2. Music appreciation--
Psychological aspects. i. King, elaine, 1974- ii. Prior, Helen M.
Ml3830.M966 2013
781'.11--dc23
2012042526
iSBn 9781409420750 (hbk)
iSBn 9781409420767 (ebk – PDF)
iSBn 9781472400277 (ebk – ePUB)
V
Contents
List of Figures vii
List of Tables ix
List of Music Examples xi
Notes on Contributors xiii
Series Editors’ Preface xix
Acknowledgements xxi
Introduction 1
Elaine King and Helen M. Prior
PART I LIsTenIng
1 Keeping it Fresh:
How Listeners Regulate their own Exposure to Familiar Music 13
Alinka Greasley and Alexandra Lamont
2 Familiarity, Schemata and Patterns of Listening 33
Helen M. Prior
3 The Effects of Repertoire Familiarity and Listening Preparation
on New Audiences’ Experiences of Classical Concert Attendance 63
Melissa C. Dobson
4 Familiarity with Music in Post-Operative Clinical Care:
A Qualitative Study 81
Katherine A. Finlay
PART II MusIcoLogy
5 Unfamiliar Sounds?
Approaches to Intercultural Interaction in the World’s Musics 109
Henry Stobart
6 Well, What Do You Know? Or, What Do You Know Well?
Familiarity as a Structural Force in Crumb’s Black Angels 137
Jonathan James Hargreaves
vi MUSIC AND FAMILIARITY
7 Familiarity, Information and Musicological Efficiency 157
Vanessa Hawes
8 Familiarity and Reflexivity in the Research Process 175
Clemens Wöllner, Jane Ginsborg and Aaron Williamon
9 Familiarity in Music Education 197
Susan Hallam
PART III PeRfoRMAnce
10 The Significance of Familiar Structures in Music Memorisation
and Performance 217
Artemis Apostolaki
11 Groove as Familiarity with Time 239
Rowan Oliver
12 Social Familiarity:
Styles of Interaction in Chamber Ensemble Rehearsal 253
Elaine King
13 Familiarity and Musical Performance 271
Mine Doğantan-Dack
Index 289
List of Figures
1.1 Patterns of changing complexity over time 15
1.2 Patterns of musical waxing and waning 27
2.1 Template for the representations of listeners’ perceptual schemata 39
2.2 Representation of final schema for participant A (Clementi) 41
2.3 Representation of final schema for participant J (Clementi) 43
2.4 Representation of final schema for participant S (Clementi) 45
2.5 Representation of final schema for participant A (Schoenberg) 47
2.6 Representation of final schema for participant J (Schoenberg) 49
2.7 Representation of final schema for participant S (Schoenberg) 50
2.8 Representation of final schema for participant A (Berio) 52
2.9 Representation of final schema for participant J (Berio) 54
2.10 Representation of final schema for participant S (Berio) 55
3.1 Mean familiarity and enjoyment ratings for each piece in the
three concerts attended by the participants 70
3.2 Mean familiarity ratings for each piece from the LP and
non-LP groups 71
3.3 Mean enjoyment ratings for each piece from the LP and
non-LP groups 71
5.1 Isaac Gilsemans, A View of the Murderers’ Bay (1642) 115
5.2 A pinkillu flute consort performing in a llama corral during
the feast Carnival, Wak’an Phukru community, Macha, Bolivia 119
5.3 Charango players of Easter songs in Sacaca, Bolivia 125
6.1 Three-part network of associations in a musical reference 140
6.2 Programme for Black Angels 143
6.3 Analysis of Black Angels: Blocks and historical arch 149
8.1 Reasons why and age when (mean and SD) respondents
chose to work in the field 181
10.1 The working memory model, including the episodic buffer 227
10.2 Music-specific sub-system of the working memory model:
The central overlapping area demonstrates the cognitive
processes shared by verbal and musical functions 229
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List of Tables
2.1 Number of hearings preceding different types of responses 57
3.1 Participant profiles 67
3.2 The programmes of the three concerts attended 68
4.1 Musical examples 89
4.2 Participant music listening preferences according to genre 91
9.1 Stages of procedural and declarative skill acquisition 201
9.2 Teacher and learner attachment styles 206
12.1 Summary of background information for the ensembles
included in the data set 260
12.2 Task-related and socio-emotional categories (column 1) with
frequency of utterances for the cello–piano duo data (column 2)
plus comparison with suggested limits provided by Bales
(columns 3 and 4) 262
12.3 Task-related and socio-emotional categories (column 1) with
frequency of utterances for the vocal–piano duo data (column 2)
plus comparison with suggested limits provided by Bales
(columns 3 and 4) 264
