Intro
Preface
Contents
Mathematics of Pitch and Interval
Relative Musical Pitch in Formal Definition
1 Introduction
1.1 Subject of the Study
1.2 Clarifications
1.3 Aspects of Consideration of the Objects Under Study
1.4 Research Objectives and Methods
2 Preliminary (Informal) Overview of Research Objects
2.1 Tones and Intervals
2.2 Interval Structures and Interval Systems
2.3 Some Technical Concepts
2.4 Primary SPO Systems
2.5 Conjugacies of Interval Systems. Primary Conjugacies. The Aggregate of All SPO Systems
2.6 Some Comments

3 Formal Definitions
3.1 Key Concepts
3.2 Some Generalizations and Definitions
3.3 Conjugations and Conjugacies of Interval Systems
3.4 Final Definitions: Interval Systems and Conjugacies of Interval Systems of the SPO
4 Final Notes
References
What Are Musical Intervals? A Question Recharged via an Algebraic Theory of Measurement
1 Motivation
2 A Refined Approach to an Algebraic Theory of Measurement
Tailored to Capture a General Theory of Musical Intervals
3 Musical Side
4 Summary
References
Language and Narrative
Thinking/Feeling Musical Narrative

1 Introduction
2 The Concept of Narrative
3 Sound as Narrative Material
4 Musical Storytelling as Sonic Thinking
5 Conclusion
References
The Conceptual Structure of Music: Congruence, Modularity, and the Language of Musical Thought
1 Introduction
2 Perceptual Multiparametric Congruence
2.1 Basic Percepts
2.2 Complex Concepts
2.3 Rhythm and Metre
2.4 Chords and Harmony
3 Modularity
3.1 Evidence from Neuropsychology and Neuroscience
3.2 Schemas of Music Modularity
4 Perception and Cognition
4.1 The Language of Musical Thought
4.2 Central Systems

5 Findings and Discussion
References
Evolution and Perception
Correlations Between Musical and Biological Variation in Derivative Analysis
1 Introduction
2 The Model of Derivative Analysis
3 MDA's Biological Correspondences
3.1 Decontextualized Variation
3.2 Variation on Time
4 Concluding Remarks
References
To the Question of the Possibility of Identifying the Psychophysiological Signs of "Ethnic Hearing" as Differential Perception of "Native" and "Alien" Music
1 Introduction

2 Objective Differentiation of the Signs of Musical Perception: A List of Possibilities
2.1 The Psychophysiological Signs of Musical Sensitivity
2.2 EMG and Temperature Indices of Music Perception
2.3 Neurobiological Indices of Music Perception
2.4 Dependence of the Psychophysiological Features of Music Perception on Neurohumoral Conditions
2.5 Dependence of the Psychophysiological Features of Music Perception on the Dominant Archetype Pattern
2.6 Dependence of Psychophysiological Features of the Perception of Music on the Dominant Sensor Modality Listener