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On Repeat: How Music Plays the Mind, by Elizabeth Hellmuth Margulis
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Winner of the Wallace Berry Award, Society for Music Theory
Winner of the Deems Taylor/Virgil Thomson Award, ASCAP
What is it about the music you love that makes you want to hear it again?
Why do we crave a "hook" that returns, again and again, within the same piece?
And how does a song end up getting stuck in your head?
Whether it's a motif repeated throughout a composition, a sample looped under an electronic dance beat, a passage replayed incessantly by a musician in a practice room-or an "earworm" burrowing through your mind like a broken record-repetition is nearly as integral to music as the notes themselves. Its centrality has been acknowledged by everyone from evolutionary biologist W. Tecumseh Fitch, who has called it a "design feature" of music, to the composer Arnold Schoenberg who admitted that "intelligibility in music seems to be impossible without repetition." And yet, stunningly little is actually understood about repetition and its role in music.
On Repeat offers the first in-depth inquiry into music's repetitive nature, focusing not on a particular style, or body of work, but on repertoire from across time periods and cultures. Author Elizabeth Hellmuth Margulis draws on a diverse array of fields including music theory, psycholinguistics, neuroscience, and cognitive psychology, to look head-on at the underlying perceptual mechanisms associated with repetition. Her work sheds light on a range of issues from repetition's use as a compositional tool to its role in characterizing our behavior as listeners, and then moves beyond music to consider related implications for repetition in language, learning, and communication.
Written in engaging prose, and enlivening otherwise complex concepts for the specialist and non-specialist alike, On Repeat will captivate scholars and students across numerous disciplines from music theory and history, to psychology and neuroscience-and anyone fascinated by the puzzle of repetition in music.
- Sales Rank: #736633 in Books
- Published on: 2013-12-09
- Original language: English
- Number of items: 1
- Dimensions: 6.40" h x .50" w x 9.30" l, 1.00 pounds
- Binding: Hardcover
- 224 pages
Review
One of the top 10 science and tech books for December, 2013 - The Guardian
A signal musical and intellectual achievement. - Music & Letters
"Most music repeats itself a lot-an awful lot, actually. In On Repeat, Elizabeth Margulis takes a firm grasp of this obvious fact and moves it out from under our musical noses, giving it the thoughtful consideration it deserves. With knowledge and illustrations ranging from neuroscience to music analysis, and leavened with her personal experiences as a listener and pianist, Margulis shows that music's repetitiveness, far from being a flaw or lapse, is essential for us to hear, remember, move, feel, and delight in music, especially the music we know and love the best."-Justin London, Professor of Music, Carleton College, and author of Hearing in Time: Psychological Aspects of Musical Meter
"Cognitive music theorist Elizabeth Hellmuth Margulis addresses one of the great puzzles about music: why does it repeat so much? This simple question provides a wedge into a range of issues underlying musical understanding and appreciation. On Repeat is a consequential book written in engaging and non-technical language."-Fred Lerdahl, Fritz Reiner Professor of Music, Columbia University
"[H]ighly stimulating, if controversial. Recommended." --CHOICE
"[A] signal musical and intellectual achievement." -- Music and Letters
"A foundational study...The author has contributed a volume of overwhelming significance, originality, and rigor." --Society for Music Theory, in awarding the Wallace Berry Award
"The engaging, entertaining style of On Repeat makes it a pleasure to read... an important contribution to the field of music cognition, and should be of interest to scholars throughout the field." - Music Perception
"[A]n exciting new examination of a very old subject... eminently readable and intriguing, having much to offer the academic musician, the experimental psychologist, or the interested lay reader. The book represents a significant advance in our understanding of the deep questions behind the variegated phenomena of musical repetition." - Music Theory Online
"Margulis's On Repeat goes a long way toward explaining the sea change between two [repeated performances], as well as the earworm I had on the drive home." --Journal of Aesthetics and Art Criticism
About the Author
Elizabeth Hellmuth Margulis directs the Music Cognition Lab at the University of Arkansas. Her research uses theoretical, behavioral, and neuroimaging methodologies to investigate the dynamic, moment-to-moment experience of listeners without special musical training. She was also trained as a concert pianist.
Most helpful customer reviews
16 of 16 people found the following review helpful.
A Treatise, A Treatise on Repetition
By Dr. Debra Jan Bibel
The author, Elizabeth Hellmuth Margulis, is a musicologist and cognitive psychologist who uses brain imaging technology in her research on what makes music so special compared to speech or textual reading. Her observation that music and repetition are integrally linked and are biologically rooted is the chief focus of this academic, nearly encyclopedic book, as she also tackles repetition in other aspects of our lives as well, such as daily routines of hygiene, grooming, and morning coffee, various religious practices, and learning, including television advertising. She also mentions pathological repetitions, as in obsessive-compulsive disorder and autism.
The structure of music itself involves repetition, from the simple verse and refrain to pulsing minimalism, with rondos and fugues on the way. Repetition in speech, on the other hand, can become ineffective and boring, unless in oratory and propaganda, cadences and phrasing become musical. Composer Steve Reich even used repeated speech patterns to some of his music. Military drill commands are more effective in delivery and being heard if sung instead of shouted. Perhaps the most interesting and accessible chapter concerns our common experience of listening three times to novel music (or reading three times a complex novel) before able to judge its merits fairly. [See comment for elaboration and examples.] A characteristic of childhood is the need for verbatim repetition of stories, while adulthood prefers gist rephrasing and summations. Also presented are repetiton in trancing, in performances, in standardization of music via recordings, and data from experiments and imaging.
This book is difficult reading, since it is scholarly and assumes some familiarity with classical musicology and even brain anatomy. A simple question, an onion of an answer. As layer by layer new ramifications are exposed, the core explanation remains hidden. Another book is needed for evolutionary aspects of music as communication, or, deeper, in the metaphysics of vibration, oscillation, and orbital repetitions. On Repeat is a fascinating book that offers much to consider and reconsider.
3 of 3 people found the following review helpful.
There's more repetition in music than you think
By Steve Wright
What a great book!
What a great book!
You really didn't need to see that sentence written more than once. But when it comes to music, repetition occurs at all levels and is necessary. This book showed me just how much, and why.
Rigorous and engaging, On Repeat draws from many disciplines (music cognition, music theory, neuroscience, linguistics, musicology) to shine a welcome light on hitherto elusive truths about how repetition in music works to "play the mind".
After reading this, I'll never listen to a piece of music quite the same way again. (In fact, as Margulis showed me, I never could have done anyway).
If you're interesting in understanding how music (all kinds) works, you need this book.
3 of 3 people found the following review helpful.
A Delightful Read
By Bart Paull
Written in an engaging style, Dr. Margulis’ book offers surprising insights into repetition as a fundamental feature of music. Drawing on diverse examples from across musical genres, the book is at once a well-researched text at the forefront of its field and an accessible answer to some of the music world’s most intriguing questions. The text is artfully woven with examples of common musical experiences (melodies getting stuck in our heads, or why we get tired of a song after listening to it too many times) interspersed with descriptions of clever experiments designed to help explain why these occur. The book underpins a most basic human experience with a multidisciplinary scientific approach that is a joy to read.
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