Carol L. Krumhansl
Carol L. Krumhansl is a music psychologist, Professor of Psychology at Cornell University.[1] Her work addresses the perception of musical tonality (relationships between tones, chords and keys such as C major or C♯ minor). Her approach is based on empirical cognitive psychology and her research established the meaning of the now common term "tonal hierarchies".
Her interdisciplinary research touches music psychology, music theory and cognitive neuroscience of music. Krumhansl's precise mathematical modeling of tonal and rhythmic musical dimensions has been extended in current models of music perception, memory and performance, most notably by her former students Jamshed Bharucha, Michael Hove, Caroline Palmer, Glenn Schellenberg, and Mark Schmuckler.
Her book, Cognitive Foundations of Musical Pitch (Krumhansl, 1990) has been reviewed by David Huron[2] and is a standard resource for teachers and students of music psychology and one of the discipline's most cited sources.[citation needed]
Her father was James A. Krumhansl, a Cornell physicist.[3]
Bibliography
- Carol L. Krumhansl, Cognitive Foundations of Musical Pitch. Oxford: Oxford University Press. 1990. 307pp. ISBN 0-19-505475-X.
References
- ^ "Carol Lynne Krumhansl". Professor of Psychology. Cornell University. Retrieved 22 July 2016.
- ^ Huron, David (1992). "Cognitive Foundations of Musical Pitch. by Carol L. Krumhansl". Psychology of Music. 20 (1): 180–185. Retrieved 27 May 2013.
- ^ Pearce, Jeremy. James Krumhansl, 84, opponent of supercollider. The New York Times, May 22, 2004. Accessed Nov. 20, 2013.
External links
- Über das Glück, Kunst zu erleben
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- Biomusicology
- Cognitive musicology
- Cognitive neuroscience of music
- Culture in music cognition
- Evolutionary musicology
- Psychoacoustics
- Absolute pitch
- Auditory illusion
- Auditory imagery
- Background music
- Consonance and dissonance
- Deutsch's scale illusion
- Earworm
- Embodied music cognition
- Entrainment
- Exercise and music
- Eye movement in music reading
- Franssen effect
- Generative theory of tonal music
- Glissando illusion
- Hedonic music consumption model
- Illusory continuity of tones
- Levitin effect
- Lipps–Meyer law
- Melodic expectation
- Melodic fission
- Mozart effect
- Music and emotion
- Music and movement
- Music in psychological operations
- Music preference
- Music-related memory
- Musical gesture
- Musical semantics
- Musical syntax
- Octave illusion
- Relative pitch
- Sharawadji effect
- Shepard tone
- Speech-to-song illusion
- Temporal dynamics of music and language
- Tonal memory
- Tritone paradox
- Aesthetics of music
- Bioacoustics
- Ethnomusicology
- Hearing
- Melodic intonation therapy
- Music education
- Music therapy
- Musical acoustics
- Musicology
- Neurologic music therapy
- Neuronal encoding of sound
- Performance science
- Philosophy of music
- Psychoanalysis and music
- Sociomusicology
- Systematic musicology
- Zoomusicology
- Jamshed Bharucha
- Lola Cuddy
- Robert Cutietta
- Jane W. Davidson
- Irène Deliège
- Diana Deutsch
- Tuomas Eerola
- Henkjan Honing
- David Huron
- Nina Kraus
- Carol L. Krumhansl
- Fred Lerdahl
- Daniel Levitin
- Leonard B. Meyer
- Max Friedrich Meyer
- James Mursell
- Richard Parncutt
- Oliver Sacks
- Carl Seashore
- Max Schoen
- Roger Shepard
- John Sloboda
- Carl Stumpf
- William Forde Thompson
- Sandra Trehub
- Music Perception
- Musicae Scientiae (journal)
- Musicophilia
- Music, Thought, and Feeling
- Psychology of Music (journal)
- The World in Six Songs
- This Is Your Brain on Music
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