On Repeat

How Music Plays the Mind

Elizabeth Hellmuth Margulis

Takes an interdisciplinary approach connecting music, cognition, psychology, and neurology
Offers new implications for the relationship between music and language, the nature of musical pleasure, and the cognitive science of musical repetition
Accessibly written for general readers interested in the common human experience of music

On Repeat

How Music Plays the Mind

Elizabeth Hellmuth Margulis

Description

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.

On Repeat

How Music Plays the Mind

Elizabeth Hellmuth Margulis

Table of Contents
1. The Puzzle of Musical Repetition
2. From Acoustic to Perceived Repetition
3. Attention, Temporality, and Music that Repeats Itself
4. Earworms, Technology, and the Verbatim
5. Relistenings
6. In Performance
7. Overt Participation, Implied Participation
8. Repetition, Music, and Mind

On Repeat

How Music Plays the Mind

Elizabeth Hellmuth Margulis

Author Information

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.

On Repeat

How Music Plays the Mind

Elizabeth Hellmuth Margulis

Reviews and Awards

Winner of the Wallace Berry Award, Society for Music Theory and the Deems Taylor/Virgil Thomson Award from the American Society for Composers, Authors and Publishers (ASCAP).

"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

"Margulis's project is an ambitious one and sets out in a clearly comprehensible way issues that need to be more carefully considered by music theorists and music psychologists alike." -- Music Theory Spectrum

On Repeat

How Music Plays the Mind

Elizabeth Hellmuth Margulis

From Our Blog

Encore! Encore! Encore! Encore!

By Elizabeth Hellmuth Margulis How much repetition is too much repetition? How high would the number of plays of your favorite track on iTunes have to climb before you found it embarrassing? How many times could a song repeat the chorus before you stopped singing along and starting eyeing the radio suspiciously? And why does musical repetition often lead to bliss instead of exhaustion? How high would the number of plays of your favorite track on iTunes have to climb before you found it embarrassing? How many times could a song repeat the chorus before you stopped singing along and starting eyeing the radio suspiciously?

Posted on January 21, 2014

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