Popescu Tudor, Schiavio Andrea, Haiduk Felix
Department of General Psychology, University of Padova, Via Venezia, Padova, Italy.
Vienna Cognitive Science Hub, University of Vienna, Kolingasse, Vienna, Austria.
J Cogn. 2024 Sep 9;7(1):69. doi: 10.5334/joc.399. eCollection 2024.
Music making across cultures arguably involves a blend of innovation and adherence to established norms. This integration allows listeners to recognise a range of innovative, surprising, and functional elements in music, while also associating them to a certain tradition or style. In this light, musical may be seen to involve the novel recombination of shared elements and rules, which can in itself give rise to new cultural conventions. Put simply, future rely on past and present ; this holds for music as it does for other cultural domains. A key process permeating this temporal transition, with regards to both music making and music listening, is . Recent findings suggest that as we listen to music, our brain is constantly generating predictions based on prior knowledge acquired in a given enculturation context. Those predictions, in turn, can shape our appraisal of the music, in a continual perception-action loop. This dynamic process of predicting and calibrating expectations may enable shared musical realities, that is, sets of norms that are transmitted, with some modification, either vertically between generations of a given musical culture, or horizontally between peers of the same or different cultures. As music transforms through , so do the predictive models in our minds and the expectancy they give rise to, influenced by cultural exposure and individual experience. Thus, creativity and prediction are both fundamental and complementary to the transmission of cultural systems, including music, across generations and societies. For these reasons, were the central themes in a symposium we organised in 2022. The symposium aimed to study their interplay from an interdisciplinary perspective, guided by contemporary theories and methodologies. This special issue compiles research discussed during or inspired by that symposium, concluding with potential directions for the field of music cognition in that spirit.
可以说，跨文化的音乐创作涉及创新与对既定规范的遵循的融合。这种融合使听众能够识别音乐中的一系列创新、令人惊讶且实用的元素，同时也能将它们与特定的传统或风格联系起来。从这个角度来看，音乐创作可能被视为涉及共享元素和规则的新颖重组，这本身就可能产生新的文化惯例。简而言之，未来依赖于过去和现在；音乐如此，其他文化领域亦是如此。在音乐创作和音乐聆听方面，贯穿这种时间过渡的一个关键过程是预测。最近的研究结果表明，当我们聆听音乐时，我们的大脑会不断根据在特定文化背景中获得的先验知识生成预测。反过来，这些预测会在持续的感知 - 行动循环中塑造我们对音乐的评价。这种预测和校准期望的动态过程可能促成共享的音乐现实，即一系列规范，这些规范会经过一定修改后，在给定音乐文化的代际之间纵向传递，或者在相同或不同文化的同龄人之间横向传递。随着音乐通过预测而演变，我们脑海中的预测模型以及它们所引发的期望也会受到文化接触和个人经历的影响而发生变化。因此，创造力和预测对于包括音乐在内的文化系统在代际和社会间的传承而言，既是基础又是互补的。出于这些原因，预测和创造力是我们在2022年组织的一次研讨会上的核心主题。该研讨会旨在从跨学科的角度，在当代理论和方法的指导下研究它们之间的相互作用。本期特刊汇集了在该研讨会上讨论或受其启发的研究，并本着这种精神为音乐认知领域总结了潜在的发展方向。
