The period from 1970 to 1976 converged psychoacoustics, cognitive psychology, and early neuroscience to form a unified neurocognitive framework for music. Research emphasized how melodies are encoded, remembered, and lateralized, with specialization in hemispheric processing, and used memory-for-melodies tasks, contour-interval analysis, and perceptual categorization to reveal the structure guiding musical experience. Emotion and complexity emerged as central axes, linking affective responses to physiological states and illustrating how attention modulates perception under demanding listening conditions. The integration of culture and form added a measurement-driven perspective, highlighting how cultural context shapes musical meaning and structure while maintaining a disciplined approach to object-based analysis. Historical and methodological emphasis on cross-domain boundaries among speech and music further anchored the field in a broader auditory cognition tradition.