Study with us!

This project will review the available empirical data for human and nonhuman animals on statically learning in auditory perception and discuss the impact that isochrony might have on the results.

This project is part of a series of studies contributing to an interdisciplinary research agenda on musicality (Honing, 2022). The main aim is to develop engaging listening games that allow for probing musicality in a variety of geographical regions.

This project is part of a series of studies contributing to an interdisciplinary research agenda on musicality (Honing, 2022). The main aim is to develop engaging listening games that allow for probing musicality in a variety of geographical regions.

This project is part of a series of pilot studies that will contribute to an interdisciplinary research agenda on musicality (Honing, 2018). The main aim is to develop engaging listening games that allow for, in potential, the hundreds of thousands of responses that are needed to be able to properly characterize musicality phenotypes, and their variability, in a variety of geographical regions with ready access to the internet.

The aim of this project is to create a formalized memory model for familiar music.

The minor Music, Culture, Cognition enables students to establish links between culture and cognition through the study of music across cultures (and potentially even across species). It offers a unique combination of cultural theory and methods from the cognitive sciences through a focus on music, its workings, functions and origins. You will be working with experts from the fields of both cultural musicology and music cognition.

This is a crash course of how science can help understanding our cognition of music.

This course addresses recent cognitive perspectives on music as a social, acoustical, psychological and cultural phenomenon.

The course provides an overview of current concepts of, and empirical findings about, musical rhythm in cognitive science.

In this course, we will learn to work specifically with audio data, the form of music most commonly consumed today, using the tools Spotify provides for working with its catalogue.

In this course we survey different theories of the origins of music and language.

In the last two decades an important shift has occurred in music research, that is, from music as an art (or art object) to music as a process in which the performer, the listener, and music as sound play a central role. This transformation is most notable in the field of systematic musicology, which developed from “a mere extension of musicology” into a “complete reorientation of the discipline to fundamental questions which are non-historical in nature, [encompassing] research into the nature and properties of music as an acoustical, psychological and cognitive phenomenon” (Duckles & Pasler, 2001; Honing, 2006). These recent strands of music research will be interpreted in the context of the “cognitive revolution” in the humanities and the sciences. Next to an overview of the methods and techniques that became central to the contemporary musicologist’s toolkit, current developments will be discussed that explore what cognitive musicology can say about how music works.

Over the years it has become clear that all humans share a predisposition for music, just like we have for language. We all can perceive and enjoy music. This view is supported by a growing body of research from developmental psychology neuroscience and the many contributions from the field of music cognition. These studies indicate that our capacity for music has an intimate relationship with our cognition and underlying biology, which is particularly clear when the focus is on perception rather than production.

The aim of this course is to identify the cognitive, biological and mechanistic underpinnings for music cognition as key ingredients of musicality, to assess to what extent these are unique to humans, and by doing so providing insight in their potential biological origins. As such this course has the aspiration to lay a new, interdisciplinary and comparative foundation for the study of musicality.

In addition, this course will discuss recent developments in the research field of music cognition. Topics include a) the origins and evolution of musicality, b) the cognition of rhythm and melody, c) musical competence, d) relation between musical and non-musical abilities, and e) the similarities and differences between music and language. The topics might change due to recent developments.

In this course, students will work on an AI-related project in a small group of 3 to 5 students.

Ervaring opdoen met het zelfstandig uitvoeren van een muziekwetenschappelijk onderzoek aan de hand van een zelfgekozen onderwerp en methoden op basis van de cursussen uit het afgelopen semester.

Perform independent and practice-based research in the fields of historical, cultural, and/or cognitive musicology.