The emotional meaning of harmonic intervals

The present study reexamines the hypothesis that there exist emotional attributions specific to simple musical elements. In Experiment 1, groups of participants, with varying musical expertise, rated the emotional meaning of four natural intervals heard as two harmonic sine waves. In Experiment 2, the higher tone was kept constant at an octave above the low tone used in Experiment 1, while the lower tone was constant. Attributions for each interval were positively correlated from one experimental session to another; despite the intervals differed in terms of their component pitches. Musicians gave the most reliable choices of meaning. In a third experiment, participants rated the emotional meaning of various unfamiliar ethnic melodies with expressions describing the intervals’ meaning based on the results of Experiment 1 and 2. There were distinct profiles of emotional meanings for each melody and these coincided with the meaning of intervals that constituted the surface and deep structure of each melody. The intervallic structures (i.e., the main intervals of the tunes) and respective chords for each melody were also presented aurally and participants’ ratings showed similar emotional profiles for these when compared to those of the melodies themselves.     

Cross-octave masking of single tones and musical sequences: The effects of structure on auditory recognition

A series of experiments explored the role of structural information in the auditory recognition process, within the context of a backward recognition masking paradigm. A masking tone presented after a test tone has been found to interfere with the perceptual processing of the test tone, the degree of interference decreasing with increased durations of the silent intertone interval between the test and masking tones. In the current studies, the task was modified to utilize three-tone sequences as the test stimuli. Six test sequences were employed (LMH, LHM, MLH, MHL, HLM, HML), where L, M, and H represent the lowest, middle, and highest frequencies in the melody. The observers identified these six possible sequences when the three tones of the test sequence were interleaved with three presentations of a single masking tone. All three tones of the test sequence were drawn from the same octave, while the masking tones could be drawn from any of three octaves, symmetrical around the octave containing the test tones. Under these conditions, interference occurred primarily from masking tones drawn from the same octave as the test tones. Masking tones drawn from other octaves were found to produce little, if any, interference with perception of the test tones. This effect was found to occur only for the identification of tonal sequences. Substantial masking of single-tone targets occurred with masking tones drawn from octaves other than that containing the targets. The results make apparent the use of structural information during auditory recognition. A theoretical interpretation was advanced which suggests that, while single tones are perceived on the basis of absolute pitch, the presence of auditory structure may allow relational information, such as exact pitch intervals or melodic contour, to facilitate perception of the tonal sequence.     

Music perception and octave generalization in rhesus monkeys

Two rhesus monkeys were tested for octave generalization in 8 experiments by transposing 6- and 7-note musical passages by an octave and requiring same or different judgments. The monkeys showed no octave generalization to random-synthetic melodies, atonal melodies, or individual notes. They did show complete octave generalization to childhood songs (e.g., "Happy Birthday") and tonal melodies (from a tonality algorithm). Octave generalization was equally strong for 2-octave transpositions but not for 0.5- or 1.5-octave transpositions of childhood songs. These results combine to show that tonal melodies form musical gestalts for monkeys, as they do for humans, and retain their identity when transposed with whole octaves so that chroma (key) is preserved. This conclusion implicates similar transduction, storage, processing, and relational memory of musical passages in monkeys and humans and has implications for nature-nurture origins of music perception.     

Acquisition of the hierarchy of tonal functions in music

The acquisition of the hierarchy of tonal stabilities in music is investigated in children of elementary school age. Listeners judge how good short tone sequences sound as melodies. The ratings show a pattern of increasing differentiation of the pitches in an octave range. The youngest listeners distinguish between scale and nonscale tones; older listeners distinguish between the tonic triad tones and other scale components. A group of adult listeners show octave equivalence and temporal asymmetries, with a preference for sequences ending on the more stable tones within the hierarchy. Pitch height effects do not interact with the age of the listener. These results are discussed in terms of the primacy of physical variables, novice-expert differences, and general cognitive principles governing the acquisition and development of internal representations of pitch relationships.     

A bidimensional model of pitch in the recognition of melodies

Pitch can be conceptualized as a bidimensional quantity, reflecting both the overall pitch level of a tone (tone height) and its position in the octave (tone chroma). Though such a conceptualization has been well supported for perception of a single tone, it has been argued that the dimension of tone chroma is irrelevant in melodic perception. In the current study, melodies were subjected to structural transformations designed to evaluate the effects of interval magnitude, contour, tone height, and tone chroma. In two transformations, the component tones of a melody were displaced by octave intervals, either preserving or violating the pattern of changes in pitch direction (melodic contour). Replicating previous work, when contour was violated perception of the melody was severely disrupted. In contrast, when contour was preserved the melodies were identified as accurately as the untransformed melodies. In other transformations, a variety of forms of contour information were preserved, while eliminating information for absolute pitch and interval magnitude. The level of performance on all such transformations fell between the levels observed in the other two conditions. These results suggest that the bidimensional model of pitch is applicable to recognition of melodies as well as single tones. Moreover, the results argue that contour, as well as interval magnitude, is providing essential information for melodic perception.     

Melody recognition at fast and slow tempos: effects of age, experience, and familiarity

Eighty-one listeners defined by three age ranges (18-30, 31-59, and over 60 years) and three levels of musical experience performed an immediate recognition task requiring the detection of alterations in melodies. On each trial, a brief melody was presented, followed 5 sec later by a test stimulus that either was identical to the target or had two pitches changed, for a same-different judgment. Each melody pair was presented at 0.6 note/sec, 3.0 notes/sec, or 6.0 notes/sec. Performance was better with familiar melodies than with unfamiliar melodies. Overall performance declined slightly with age and improved substantially with increasing experience, in agreement with earlier results in an identification task. Tempo affected performance on familiar tunes (moderate was best), but not on unfamiliar tunes. We discuss these results in terms of theories of dynamic attending, cognitive slowing, and working memory in aging.     

The role of symmetry in the good continuation ratings of two-part tonal melodies

Subjects heard a series of two-part melodies, in which each part was a random sequence of eight pitches (Experiment 1) or five pitches(Experiment 2) from the diatonic scale. The task was to rate each melody on how well the second part followed the first. It was predicted that the presence of symmetry between the two parts would increase the perception of good continuation. In Experiment 1, two symmetrical relat/lons—(itinversion) and (itretrograde)—yielded melodies that were more highly rated than the control melodies, which consisted of nominally (itdifferent) parts. A third symmetry, the (itretrograde inversion), did not enhance good continuation ratings. In Experiment 2, inversions and retrograde inversions were compared with control melodies, using shorter sequences and pitches with equal durations. Again, inversions, but not retrograde inversions, were significantly preferred. The results suggest that the aesthetic judgment of good continuation depends at least partially on a cognitive analysis of the relation between the melody parts. The positive symmetry effects are further discussed in relation to other studies of symmetry transformations in the contexts of both musical sequences and visual arrays.     

The power of representation and interpretation: Doubling statistical reasoning performance with icons and frequentist interpretations of ambiguous numbers

Abstract

Six highly familiar melodies were submitted to three transformations: reduction and two rhythmic group transformations. These three transformations offered the opportunity to compare the role of various means of melody recognition: melodic contour, harmonic structure, local surface cues. If melody recognition relies on melodic contour, an original melody would be easier to recognise after rhythmic group transformation than after reduction; the rhythmic group transformation, but not the reduction, preserves the melodic contour. If melody recognition depends on the harmonic structure, an original melody would be easier to recognise after reduction than after a rhythmic group transformation; the reduction, but not the rhythmic group transformation, respects the underlying harmonic structure. The results of two experiments, one with children and one with adults, showed that recognition was better for rhythmic group transformation but only when local surface cues were preserved, a result that could neither be predicted by the melodic contour hypothesis nor by the harmonic structure hypothesis. The results give support to the cue abstraction hypothesis, which suggests that melody recognition relies on the recognition of certain surface cues abstracted while hearing and which are then memorised. Recognition performances and speed of recognition served as dependent variables.     

Expectancies generated by melodic intervals: Perceptual judgments of melodic continuity

The present study tested quantified predictors based on the bottom-up principles of Narmour’s (1990) implication-realization model of melodic expectancy against continuity ratings collected for a tone that followed a two-tone melodic beginning. Twenty-four subjects (12 musically trained, 12 untrained) were presented with each of eight melodic intervals—two successive tones which they were asked to consider as the beginning of a melody. On each trial, a melodic interval was followed by a third tone, one of the 25 chromatic notes within the range one octave below to one octave above the second tone of the interval. The subjects were asked to rate how well the third tone continued the melody. A series of regression analyses was performed on the continuation ratings, and a final model to account for the variance in the ratings is proposed. Support was found for three of Narmour’s principles and a modified version of a fourth. Support was also found for predictor variables based on the pitch organization of tonal harmonic music. No significant differences between the levels of musical training were encountered.     

Repetition of previously novel melodies sometimes increases both remember and know responses in recognition memory

Recognition memory for previously novel melodies was tested in three experiments in which subjects usedremember andknow responses to report experiences of recollection, or of familiarity in the absence of recollection, for each melody they recognized. Some of the melodies were taken from Polish folk songs and presented vocally, but without the words. Others were taken from obscure pieces of classical music, presented as single-line melodies. Prior to the test, the melodies were repeated for varying numbers of study trials. Repetition of the Polish melodies increased both remember and know responses, while repetition of classical melodies increased remember but not know responses. When subjects were instructed to report guesses, guess responses were inversely related to remember and know responses and there were more guesses to lures than to targets. These findings establish that remembering and knowing are fully independent functionally and, by the same token, they provide further evidence against the idea that response exclusivity causes increases in remembering to force decreases in knowing. The findings also suggest that simultaneous increases in remembering and knowing occurred because the Polish melodies came from a genre for which the subjects had relatively little previous experience.     

Modeling perceived relationships between melody,harmony, and key

Perceptual relationships between four-voice harmonic sequences and single voices were examined in three experiments. In Experiment 1, listeners rated the extent to which single voices were musically consistent with harmonic sequences. When harmonic sequences did not change key, judgments were influenced by three sources of congruency: melody (whether the single voice was the same as the soprano voice of the harmonic sequence), chord progression (whether the single voice could be harmonized to give rise to the chord progression of the harmonic sequence), and key structure (whether or not the single voice implied modulation). When key changes occurred, sensitivity to sources of congruency was reduced. In Experiment 2, another interpretation of the results was examined: that consistency ratings were based on congruency in well-formedness. Listeners provided well-formedness ratings of the single voices and harmonic sequences. A multiple regression analysis suggested that consistency ratings were based not merely on well-formedness but on congruency in melody, chord progression, and key structure. In Experiment 3, listeners rated the extent of modulation in harmonic sequences and in each voice of the sequences. Discrimination between modulation conditions was greater for single voices than for harmonic sequences, suggesting that abstraction of key from melody may occur without reference to implied harmony. A partially hierarchical system for processing melody, harmony, and key is proposed.     

Octave equivalence as measured by similarity ratings

Octave equivalence refers to the musical equivalence of notes separated by one or more octaves; such notes are assigned the same name in the musical scale. The present series of experiments was an attempt to determine whether octave equivalence would be incorporated into subjects’ similarity ratings of pairs of tones or tone sequences. In the first experiment, subjects on each trial rated the similarity of two successively presented tones. The results failed to show evidence of octave equivalence. In subsequent experiments, the range of frequency values presented and the musical context were manipulated. Evidence of octave equivalence was found only when the range of tone height differences presented was small; the effect of musical context was negligible. The implications of these results for theories of music perception and recognition are discussed.     

Laterality effects in processing tonal and atonal melodies with affective and nonaffective task instructions

Right-handed university subjects were presented with monaural melodies that either conformed to the rules of the Western tonal system (tonal melodies) or that systematically deviated from it (atonal melodies) while containing similar contours and pitch skips. Subjects were tested under two different task instructions. One group was requested to judge whether each melody sounded correct or not (the nonaffective task); the other group had to judge whether each melody sounded pleasant or not (the affective task). The nonaffective task was found to elicit essentially no ear difference. In contrast, the affective instruction induced opposite and reliable laterality effects, depending on the valence of the response. The pleasant responses were indicative of a left hemisphere predominance and the unpleasant responses of a right hemisphere predominance. The results are consistent with the claim that the left hemisphere is biased toward positive emotions and the right to negative emotions. Moreover, the results suggest that affective appreciation of melodies is dissociable from their nonaffective judgment.     

Task determinants of ear differences in melody processing

In Experiment 1 nonmusicians were presented with dichotic melodies, which differed either on all pitches or by a single note, followed by a set of four binaural melodies. They were asked to recognize among the alternatives only one member of the dichotic pair in the “single-focus” task, and both dichotic melodies in the “double-focus” task. These different attention requirements led to a LEA in the first task which contrasted with the REA observed in the other task when melodies differed by all pitches. A possible confounding (fusion of the common pitches) prevents comparison of the tasks for melodies differing by a single pitch. The role of the extent of melody differences was further investigated in a second experiment by changing melodies on one, two, or three notes. No effect of material was observed on ear asymmetries. Task demands appeared as the most critical determinant of ear differences and are discussed in terms of their particular influence on the adoption of an analytic or holistic processing mode. Male subjects were found to be more responsive than females to analytic processing suggestions.     

Harmonic expectation and affect in Western music: effects of attention and training

We investigated the effects of selective attention and musical training on the processing ofharmonic expectations. In Experiment 1, participants with and without musical training were required to respond to the contour of melodies as they were presented with chord progressions that were highly expected, slightly unexpected, or extremely unexpected. Reaction time and accuracy results showed that when attention was focused on the melody, musically trained participants were still sensitive to different harmonic expectations, whereas participants with no musical training were undifferentiated across expectation conditions. In Experiment 2, participants were required to listen holistically to the entire chord progression and to rate their preference for each chord progression. Results from preference ratings showed that all the participants, with or without musical training, were sensitive to manipulations of harmonic expectations. Experiments 3 and 4 showed that changing the speed of presentation of chord progressions did not affect the pattern of results. The four experiments together highlight the importance of attentional focus in musical training, especially as it relates to the processing of harmonic expectations.     

Specific previous experience affects perception of harmony and meter

Prior knowledge shapes our experiences, but which prior knowledge shapes which experiences? This question is addressed in the domain of music perception. Three experiments were used to determine whether listeners activate specific musical memories during music listening. Each experiment provided listeners with one of two musical contexts that was presented simultaneously with a melody. After a listener was familiarized with melodies embedded in contexts, the listener heard melodies in isolation and judged the fit of a final harmonic or metrical probe event. The probe event matched either the familiar (but absent) context or an unfamiliar context. For both harmonic (Experiments 1 and 3) and metrical (Experiment 2) information, exposure to context shifted listeners' preferences toward a probe matching the context that they had been familiarized with. This suggests that listeners rapidly form specific musical memories without explicit instruction, which are then activated during music listening. These data pose an interesting challenge for models of music perception which implicitly assume that the listener's knowledge base is predominantly schematic or abstract.     

Memory for melody: infants use a relative pitch code

Pitch perception is fundamental to melody in music and prosody in speech. Unlike many animals, the vast majority of human adults store melodic information primarily in terms of relative not absolute pitch, and readily recognize a melody whether rendered in a high or a low pitch range. We show that at 6 months infants are also primarily relative pitch processors. Infants familiarized with a melody for 7 days preferred, on the eighth day, to listen to a novel melody in comparison to the familiarized one, regardless of whether the melodies at test were presented at the same pitch as during familiarization or transposed up or down by a perfect fifth (7/12th of an octave) or a tritone (1/2 octave). On the other hand, infants showed no preference for a transposed over original-pitch version of the familiarized melody, indicating that either they did not remember the absolute pitch, or it was not as salient to them as the relative pitch.     

Schema-based processing in auditory scene analysis

What is the involvement of what we know in what we perceive? In this article, the contribution of melodic schema-based processes to the perceptual organization of tone sequences is examined. Two unfamiliar six-tone melodies, one of which was interleaved with distractor tones, were presented successively to listeners who were required to decide whether the melodies were identical or different. In one condition, the comparison melody was presented after the mixed sequence: a target melody interleaved with distractor tones. In another condition, it was presented beforehand, so that the listeners had precise knowledge about the melody to be extracted from the mixture. In the latter condition, recognition performance was better and a bias toward same responses was reduced, as compared with the former condition. A third condition, in which the comparison melody presented beforehand was transposed up in frequency, revealed that whereas the performance improvement was explained in part by absolute pitch or frequency priming, relative pitch representation (interval and/or contour structure) may also have played a role. Differences in performance as a function of mean frequency separation between target and distractor sequences, when listeners did or did not have prior knowledge about the target melody, argue for a functional distinction between primitive and schema-based processes in auditory scene analysis.     

Quantification of the hierarchy of tonal functions within a diatonic context

Listeners rated test tones falling in the octave range from middle to high C according to how well each completed a diatonic C major scale played in an adjacent octave just before the final test tone. Ratings were well explained in terms of three factors. The factors were distance in pitch height from the context tones, octave equivalence, and the following hierarchy of tonal functions: tonic tone, other tones of the major triad chord, other tones of a diatonic scale, and the nondiatonic tones. In these ratings, pitch height was more prominent for less musical listeners or with less musical (sinusoidal) tones, whereas octave equivalence and the tonal hierarchy prevailed for musical listeners, especially with harmonically richer tones. Ratings for quarter tones interpolated halfway between the halftone steps of the standard chromatic scale were approximately the averages of ratings for adjacent chromatic tones, suggesting failure to discriminate tones at this fine level of division.     

Maximum key-profile correlation (MKC) as a measure of tonal structure in music

Tonal structure is musical organization on the basis of pitch, in which pitches vary in importance and rate of occurrence according to their relationship to a tonal center. Experiment 1 evaluated the maximum key-profile correlation (MKC), a product of Krumhansl and Schmuckler’s key-finding algorithm (Krumhansl, 1990), as a measure of tonal structure. The MKC is the maximum correlation coefficient between the pitch class distribution in a musical sample and key profiles,which indicate the stability of pitches with respect to particular tonal centers. The MKC values of melodies correlated strongly with listeners’ ratings of tonal structure. To measure the influence of the temporal order of pitches on perceived tonal structure, three measures (fifth span, semitone span, and pitch contour) taken from previous studies of melody perception were also correlated with tonal structure ratings. None of the temporal measures correlated as strongly or as consistently with tonal structure ratings as did the MKC, and nor did combining them with the MKC improve prediction of tonal structure ratings. In Experiment 2, the MKC did not correlate with recognition memory of melodies. However, melodies with very low MKC values were recognized less accurately than melodies with very high MKC values. Although it does not incorporate temporal, rhythmic, or harmonic factors that may influence perceived tonal structure, the MKC can be interpreted as a measure of tonal structure, at least for brief melodies.