ABSTRACT
The first Music and Cognitive Science symposium which took place in Paris in 1988 was, for me, a chance to introduce the subject of some work in progress on The psychological organisation of listening to music. There an overview of three experimental studies centred around the hypothesis of the existence of a mechanism for cue extraction in the construction of a schema of the work was presented. This first phase of the work took into account the role of so called cues in the formation of groupings of groups leading to the capture of an overall mapping of the work during its perception in real time. Pieces from contemporary musical repertoire the Sequenza VI for alto solo by Luciano Berio, and Eclat by Pierre Boulez (I.Deliège, 1989, I.Deliège et al., 1990)—
were chosen for the experiments. Quite a strong similarity between the performance of professional musicians and non-musicians was observed.
