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BCS 260 > Exam II > Flashcards

Exam II Flashcards

1
Q

Probe-Tone Technique

A

tone profile study- played harmonic progression and then probe tone to see how close they are

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2
Q

Key Profile

A

Plotting an avg rating of each note and how it fits into the key

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3
Q

Corpus

A

Large body of musical work grouped together based on some commonality

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4
Q

Chart of Regions

A

Depicts how certain keys are related (Schoenberg)

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5
Q

Meter

A

Regular framework of beats/points in time that are accented

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6
Q

Phenomenal Accent

A

Something in the music that causes us to infer a strong beat

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7
Q

Tactus

A

The beat level that we tap to (typically the quarter or dotted quarter note)

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8
Q

Syncopation

A

Conflict between between meter and phenomenal accent

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9
Q

Dynamic Attending Theory

A

Theory that meter shapes attention, processing of a note occurs best on stronger beats

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10
Q

Entrainment

A

The ability to perceive meter and then synchronize motion with it

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11
Q

Reversal

A

Our expectation that when there is a leap, the melody will change direction

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12
Q

Inertia

A

After a step, we expect to keep going in the same direction

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13
Q

Priming

A

You process an event better/more quickly

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14
Q

Markov Model

A

Displays probability of something based on what happened previously (e.g. scale degree, interval, pitch, etc.)

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15
Q

Schematic Expectation

A

Based on general musical knowledge (style, chord progression, etc.)

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16
Q

Vertical Expectation

A

Based on knowledge of what actually happens in the piece

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17
Q

ITPRA Theory

A

Huron’s theory of expectation (Imagination, Tension, Prediction, Appraisal)

18
Q

Amusia

A

Condition with extreme lack of musical ability (Inability to identify melodies, small intervals, etc.)

19
Q

Double Dissociation

A

Certain abilities/disabilities affecting the brain can occur independently of each other (E.g. amusia and aphasia, Isabel Peretz)

20
Q

MBEA

A

Montral Battery of Evaluating Amusia–> judging whether 2 melodies/rhythms are the same

21
Q

Aphasia

A

Deficit in linguistic processing

22
Q

nPVI

A

Cross-cultural correlations between language and music, difference in rhythms in languages reflect in music as well (French and English)

23
Q

Scotch Snap

A

Short note on the beat followed by a longer note off the beat

24
Q

Frontal Lobe

A

Personality, executive function, motor cortex (intrasulcular gyrus is longer musicians/unusual dexterity with both sides of motor cortex)

25
Q

Parietal Lobe

A

Sensory info (touch)

26
Q

Occipital Lobe

A

Visual processing

27
Q

Cerebellum

A

Bigger in male musicians, dense cells

28
Q

Corpus Callosum

A

White matter that connects two sides of the brain, larger in musicians

29
Q

Brain Stem

A

Path from cochlea to auditory cortex

30
Q

Tonotopic Organization

A

Frequency mapped cochlea, arranged by pitch height

31
Q

Structural Adaptation

A

Large scale, physical changes in the brain (e.g. area of brain becoming larger)

32
Q

Functional Adaptation

A

Change in function of brain (One area being more activated by a certain task)

33
Q

PET

A

Positron Emission Tomography- Radioactive solution is used to track blood flow

34
Q

EEG

A

Electroencephalography: looks at electrical current flowing through the brain (where)

35
Q

MEG

A

Magnetoencephalography: looks at magnetic field in brain, good at temporal resolution

36
Q

tDCS

A

Transcranial magnetic stimulation: invasive brain procedure that tracks brain activation

37
Q

TMS

A

Transcranial magnetic stimulation (less invasive than tDCS)

38
Q

ERP

A

Event Related Potential: Measured brain response to any stimulus

39
Q

Mismatched Negativity

A

Occurs after an infrequent change in a repetitive sequence of sounds

40
Q

Melodic Intonation Therapy

A

Used to treat aphasia–> use singing ability even when speech is impaired to get people to produce phrases in music (good ex. of plasticity)

41
Q

Synesthesia

A

Association to different sensations (e.g. associating musical sounds with colors)

BCS 260 (2 decks)

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