Pop Music: The Issues In Cognitive Psychology

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The topics in Cognitive Psychology As time passes by our music evolved due to the new genres that arise. Pop music is one of the motto of it to our brain that sets our mood, helps us concentrate and be productive. But not everyone accept the fact that music can help us do more or think accordingly. Some people consider pop music as a distraction to our cognitive development. There is a study that showed how pop music can affect the two types of person, the extrovert and introvert. The effects to those people are different. Because how music affects the cognitive development of a person depends on his/her personality. According to Shohov (2010) the extrovert type of people can do what they have to do, even though there is a pop music playing…show more content…
As Fink notes, this method severs music from cultural context.12 Lyrics are also susceptible to a decontextualization, that is, printing the lyrics of a song for their (isolated) reading/analysis. As well as negating the vocal performance, it also negates the lyrics’ location in the song: their relation to other sound events and the interplay between them. Though, Frith holds that this analysis of lyrics is valid for folk musics only, specifically (though not limited to) “country, blues, soul, and the right strands of rock; in the mainstream of mass music something else is going on.”13 Here, I take “mass music” to mean pop music. Further, when transposed to the page and with the notation of the lyrics printed, the sung phrase, as we would hear it in the song is framed as a mere combination of words and notes, devoid of a time dimension. This is in aid of tracing musical histories and understanding the mechanics of music, rather than an attempt to discover musical meaning, which Middleton points out is the province of popular music analysis.14 One assumption that there is scope to make here is that people listen to different musics with different sets of expectations and with different ‘ears’. If we could be reductive and say that the musicologist listens to the classical work as an enactment of a score, how could we reconcile this with pop music’s autography and emphasis on character of sound? This is perhaps where phonography and musicology

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