Reaction time and musical expectancy: priming of chords

The cognitive processes underlying musical expectation were explored by measuring reaction time in a priming paradigm. Subjects made a speeded true/false decision about a target chord following a prime chord to which it was either closely or distantly related harmonically. Using a major/minor decision task in Experiment 1, we found that major targets were identified faster, and with fewer errors, when they were related than when unrelated. An apparent absence (and possible reversal) of this effect for minor targets can be attributed to the prime's biasing effect on the target's stability. In Experiments 2 and 3 we tested this hypothesis by employing an in-tune/out-of-tune decision for major and minor targets separately. Both major and minor in-tune targets were identified faster when related than when unrelated. We outline a spreading activation model which consists of a network of harmonic relations. Priming results from the indirect activation of chord nodes linked through the network.     

Perceived pitch class of isolated musical triads

A paired-comparisons task was used to determine which note of a pure-tone triad sounded most similar to the triad. Musically inexperienced Ss showed no systematic preference, experienced Ss consistently preferred the highest note in the triad, and professional musicians split equally between preferring the highest note and the root note. Preference for the root note shifted to preference for the highest note as the triad type became increasingly inharmonic, suggesting that the former depended on inference of a missing fundamental. When Ss were asked to vocally reproduce the pitch they heard when listening to a triad, similar results were obtained, except that a root-note preference was not detectable in Ss with less musical experience. Preference for the root note was also facilitated by use of octave-replicated tones, and this increase was shown to be due to obscuring of pitch-height cues, rather than harmonic complexity.     

Discrete cortical regions associated with the musical beauty of major and minor chords

Previous research has demonstrated that the degree of aesthetic pleasure a person experiences correlates with the activation of reward functions in the brain. However, it is unclear whether different affective qualities and the perceptions of beauty that they evoke correspond to specific areas of brain activation. Major and minor musical keys induce two types of affective qualities--bright/happy and dark/sad--that both evoke aesthetic pleasure. In the present study, we used positron emission tomography to demonstrate that the two musical keys (major and minor) activate distinct brain areas. Minor consonant chords perceived as beautiful strongly activated the right striatum, which has been assumed to play an important role in reward and emotion processing, whereas major consonant chords perceived as beautiful induced significant activity in the left middle temporal gyrus, which is believed to be related to coherent and orderly information processing. These results suggest that major and minor keys, both of which are perceived as beautiful, are processed differently in the brain.     

Modularity in musical processing: the automaticity of harmonic priming

Three experiments investigated the modularity of harmonic expectations that are based on cultural schemata despite the availability of more predictive veridical information. Participants were presented with prime-target chord pairs and made an intonation judgment about each target. Schematic expectation was manipulated by the combination of prime and target, with some transitions being schematically more probable than others. Veridical information in the form of prime-target previews, local transition probabilities, or valid versus invalid previews was also provided. Processing was facilitated when a schematically probable target chord followed the prime. Furthermore, this effect was independent of all manipulations of veridical expectation. A solution to L. B. Meyer's (1967b) query "On Rehearing Music" is suggested, in which schematic knowledge contributes to harmonic expectation in a modular manner regardless of whether any veridical knowledge exists.     

Lateralization for reading musical chords: Disentangling symbolic, analytic, and phonological aspects of reading

It has been repeatedly shown that the left hemisphere (right visual field) is superior to the right hemisphere (LVF) in reading English, a bias possibly due to any or all of three confounded factors: (1) the symbolic nature of the coding system; (2) the analytic requirements of the decoding process; and (3) the phonological associations of the elements. Recent work on reading Japanese ideograms (Kanji) disentangles (1) from (2) and (3), but leaves the latter two confounded. We further disentangle (2) and (3) by examining visual field preference for reading musical chords, representatives of an analytic, nonphonological symbol system. The strong RVF advantage is interpreted as indicating that the left hemisphere is dominant for reading an analytic symbol system that is not phonologically based. We conclude that the left-hemisphere advantage traditionally found for reading phonological symbols is due to their analytic nature in addition to any effect due to their linguistic association.     

Local versus global processing of harmonic cadences in the solution of musical puzzles

The structure of Western musical pieces is delineated by several kinds of cadence. Half cadences in the main key indicate temporary endings; authentic cadences in the main key indicate definitive endings. Authentic cadences in the dominant key are of cognitive interest, since they mark a definitive ending at a local level but a temporary ending at a global level. This study investigated the local versus global processing of these cadences. Participants were presented with sections of 16-bar minuets displayed on a computer screen in the form of a musical jigsaw puzzle. The sections consisted of either the first or the second half of the minuet (8 bars each). The first section ended with either a half cadence in the main key (all experiments), an authentic cadence in the dominant key (all experiments), or an authentic cadence in the main key (Exp. 4). The second section always ended in an authentic cadence in the main key. Participants were asked either to join the two sections of each minuet in the most coherent order (Exps. 1, 2, 4) or to rate the perceived completion of each section (Exps. 3, 4). Numerous inversion errors were observed when the first section of the minuets ended with an authentic cadence in the dominant key. Completion judgments indicated that these cadences were perceived as marking a definitive ending. Both facts suggest that local processing of harmonic cadences prevails over global processing. This finding concurs with recent studies showing that listeners had great difficulties in perceiving the higher-order organization of musical form. Received: 30 September 1996 / Accepted: 20 August 1997     

Domain-specific learning of grammatical structure in musical and phonological sequences

Artificial grammar learning depends on acquisition of abstract structural representations rather than domain-specific representational constraints, or so many studies tell us. Using an artificial grammar task, we compared learning performance in two stimulus domains in which respondents have differing tacit prior knowledge. We found that despite grammatically identical sequence structures, learning was better for harmonically related chord sequences than for letter name sequences or harmonically unrelated chord sequences. We also found transfer effects within the musical and letter name tasks, but not across the domains. We conclude that knowledge acquired in implicit learning depends not only on abstract features of structured stimuli, but that the learning of regularities is in some respects domain-specific and strongly linked to particular features of the stimulus domain.     

Perception of musical tension in short chord sequences: The influence of harmonic function,sensory dissonance,horizontal motion,and musical training

This study investigates the effect of four variables (tonal hierarchies, sensory chordal consonance, horizontal motion, and musical training) on perceived musical tension. Participants were asked to evaluate the tension created by a chord X in sequences of three chords {C major → X → C major} in a C major context key. The X chords could be major or minor triads major-minor seventh, or minor seventh chords built on the 12 notes of the chromatic scale. The data were compared with Krumhansl’s (1990) harmonic hierarchy and with predictions of Lerdahl’s (1988) cognitive theory, Hutchinson and Knopoff’s (1978) and Parncutt’s (1989) sensory-psychoacoustical theories, and the model of horizontal motion defined in the paper. As a main outcome, it appears that judgments of tension arose from a convergence of several cognitive and psychoacoustics influences, whose relative importance varies, depending on musical training.     

Change detection in multi-voice music: the role of musical structure, musical training, and task demands

This study evaluated the relationship between primitive and scheme-driven grouping (A. S. Bregman, 1990) by comparing the ability of different listeners to detect single note changes in 3-voice musical compositions. Primitive grouping was manipulated by the use of 2 distinctly different compositional styles (homophony and polyphony). The effects of scheme-driven processes were tested by comparing performance of 2 groups of listeners (musicians and nonmusicians) and by varying task demands (integrative and selective listening). Following previous studies, which had tested only musically trained participants, several variables were manipulated within each compositional style. The results indicated that, although musicians demonstrated a higher sensitivity to changes than did nonmusicians, the 2 groups exhibited similar patterns of sensitivity under a variety of conditions.     

Relationships between musical structure and psychophysiological measures of emotion

Psychophysiological studies with music have not examined what exactly in the music might be responsible for the observed physiological phenomena. The authors explored the relationships between 11 structural features of 16 musical excerpts and both self-reports of felt pleasantness and arousal and different physiological measures (respiration, skin conductance, heart rate). Overall, the relationships between musical features and experienced emotions corresponded well with those known between musical structure and perceived emotions. This suggests that the internal structure of the music played a primary role in the induction of the emotions in comparison to extramusical factors. Mode, harmonic complexity, and rhythmic articulation best differentiated between negative and positive valence, whereas tempo, accentuation, and rhythmic articulation best discriminated high arousal from low arousal. Tempo, accentuation, and rhythmic articulation were the features that most strongly correlated with physiological measures. Music that induced faster breathing and higher minute ventilation, skin conductance, and heart rate was fast, accentuated, and staccato. This finding corroborates the contention that rhythmic aspects are the major determinants of physiological responses to music.     

The structure of musical preferences: a five-factor model

Music is a cross-cultural universal, a ubiquitous activity found in every known human culture. Individuals demonstrate manifestly different preferences in music, and yet relatively little is known about the underlying structure of those preferences. Here, we introduce a model of musical preferences based on listeners' affective reactions to excerpts of music from a wide variety of musical genres. The findings from 3 independent studies converged to suggest that there exists a latent 5-factor structure underlying music preferences that is genre free and reflects primarily emotional/affective responses to music. We have interpreted and labeled these factors as (a) a Mellow factor comprising smooth and relaxing styles; (b) an Unpretentious factor comprising a variety of different styles of sincere and rootsy music such as is often found in country and singer-songwriter genres; (c) a Sophisticated factor that includes classical, operatic, world, and jazz; (d) an Intense factor defined by loud, forceful, and energetic music; and (e) a Contemporary factor defined largely by rhythmic and percussive music, such as is found in rap, funk, and acid jazz. The findings from a fourth study suggest that preferences for the MUSIC factors are affected by both the social and the auditory characteristics of the music.     

Processing of musical structure by high-functioning adolescents with autism spectrum disorders

Enhanced pitch perception and memory have been cited as evidence of a local processing bias in autism spectrum disorders (ASD). This bias is argued to account for enhanced perceptual functioning (Mottron &; Burack, 2001 Mottron, L. and Burack, J. A. 2001. “Enhanced perceptual functioning in the development of autism”. In The development of autism: Perspectives from theory to research, Edited by: Burack, J. A., Charman, T., Yirmiya, N. and Zelazo, P. R. 131–147. Mahwah, NJ: Lawrence Erlbaum.  [Google Scholar]; Mottron, Dawson, Soulières, Hubert, &; Burack, 2006 Mottron, L., Dawson, M., Soulières, I., Hubert, B. and Burack, J. 2006. Enhanced perceptual functioning in autism: An update, and eight principles of autistic perception. Journal of Autism and Developmental Disorders, 36(1): 27–43. doi:10.1007/s10803-005-0040-7[Crossref], [PubMed], [Web of Science ®] , [Google Scholar]) and central coherence theories of ASD (Frith, 1989 Frith, U. 1989. Autism: Explaining the enigma, Oxford: United Kingdom: Blackwell.  [Google Scholar]; Happé &; Frith, 2006 Happé, F. and Frith, U. 2006. The weak coherence account: Detail-focused cognitive style in autism spectrum disorders. Journal of Autism and Developmental Disorders, 36(1): 5–25. doi:10.1007/s10803-005-0039-0[Crossref], [PubMed], [Web of Science ®] , [Google Scholar]). A local processing bias confers a different cognitive style to individuals with ASD (Happé, 1999 Happé, F. 1999. Autism: Cognitive deficit or cognitive style?. Trends in Cognitive Sciences, 3(6): 216–222. doi:10.1016/S1364-6613(99)01318-2[Crossref], [PubMed], [Web of Science ®] , [Google Scholar]), which accounts in part for their good visuospatial and visuoconstructive skills. Here, we present analogues in the auditory domain, audiotemporal or audioconstructive processing, which we assess using a novel experimental task: a musical puzzle. This task evaluates the ability of individuals with ASD to process temporal sequences of musical events as well as various elements of musical structure and thus indexes their ability to employ a global processing style. Musical structures created and replicated by children and adolescents with ASD (10–19 years old) and typically developing children and adolescents (7–17 years old) were found to be similar in global coherence. Presenting a musical template for reference increased accuracy equally for both groups, with performance associated to performance IQ and short-term auditory memory. The overall pattern of performance was similar for both groups; some puzzles were easier than others and this was the case for both groups. Task performance was further found to be correlated with the ability to perceive musical emotions, more so for typically developing participants. Findings are discussed in light of the empathizing-systemizing theory of ASD (Baron-Cohen, 2009 Baron-Cohen, S. 2009. Autism: The Empathizing-Systemizing (E-S) Theory. Annals of the New York Academy of Sciences, 1156: 68–80. doi:10.1111/j.1749-6632.2009.04467.x[Crossref], [PubMed], [Web of Science ®] , [Google Scholar]) and the importance of describing the strengths of individuals with ASD (Happé, 1999 Happé, F. 1999. Autism: Cognitive deficit or cognitive style?. Trends in Cognitive Sciences, 3(6): 216–222. doi:10.1016/S1364-6613(99)01318-2[Crossref], [PubMed], [Web of Science ®] , [Google Scholar]; Heaton, 2009 Heaton, P. 2009. Assessing musical skills in autistic children who are not savants. Philosophical Transactions of the Royal Society Biological Sciences, 364: 1443–1447. doi:10.1098/rstb.2008.0327[Crossref], [PubMed], [Web of Science ®] , [Google Scholar]).     

Further investigation of harmonic priming in long contexts using musical timbre as surface marker to control for temporal effects

Harmonic priming studies have reported facilitated processing for chords that are harmonically related to the prime context. Responses to the target (the last chord of an 8-chord sequence) were faster and more accurate when the target was strongly related, i.e., a tonic chord, to the preceding prime context than when it was less related, i.e., a subdominant chord. Results have been interpreted in terms of musical expectations and processing speed: the prime allows listeners to develop expectations for future events which lead to facilitated processing of the most strongly expected event. The present experiment investigated an alternative hypothesis suggesting that the harmonic structure of the prime context might create an ambiguity about "when" to respond that is stronger in contexts ending on less related targets than in contexts ending on strongly related targets. A change of musical timbre was used as surface marker indicating without ambiguity the temporal occurrence of the target. Participants made speeded intonation judgments of the target, i.e., judging whether targets are acoustically consonant or dissonant. The findings replicate the previously reported priming effect and rule out that processing differences are solely due to ambiguities about when in time the target will occur.     

Key distance effects on perceived harmonic structure in music

Two experiments provide convergent evidence for the hypothesis that listeners interpret chords in terms of their harmonic functions in a system of interrelated keys. The perceived associations between chords undergo significant changes depending on the broader tonal framework in which they are embedded. Three independent context effects are identified, and their magnitude is found to be a systematic function of the distance between the context key and the key lot keys) of which the chords are members. In the first experiment, listeners rate how musically related one chord is to a second chord; the chords are those that function within two maximally distant major keys (C major and F# major). All possible chord pairs from this set are presented in each of three context keys: G major which is close to C major and distant from F# major), A major (which is moderately distant from both C major and F# major), and B major (which is close to F# major and distant from C major). The second experiment measures recognition memory for the same chords embedded in tonal sequences in C, G, A, or B major keys, or random sequences. In the two experiments, the distance between the context key and the key of the chords on the circle-of-fifths affects: (1) the probability that a repeated chord is correctly recognized, (2) the strength of association between chords from the same key measured in terms of both confusion errors and direct relatedness judgments, and (3) asymmetries in confusion errors and relatedness judgments when the chords are in different keys. Perceived harmonic relations are thus found to be strongly context dependent, but the context effects are lawful functions of interkey distance. We conclude that listeners possess a highly articulated system of knowledge about the harmonic functions of chords in musical keys and an appreciation of musical structure at the level of abstract tonal centers.     

Development of the perception of musical relations: semitone and diatonic structure

In the present research we examined the development of sensitivity to two musical relations significant in Western tonal music, the semitone and diatonic structure. Infants and preschool children were tested for their detection of a semitone change in any position of a five-note melody. Two standard melodies were used, one composed of diatonic tones only and the other containing a non-diatonic tone. In Experiment 1, children from 4 to 6 years of age were superior in detecting the semitone change in the diatonic context compared with the nondiatonic context. In Experiment 2, infants 9 to 11 months of age detected the semitone change in all positions, but their performance was not influenced by diatonic context. These findings indicate that infants and children can discriminate a semitone in a musical context and that the priority of diatonic structure emerges by 4 to 6 years of age.     

A comparison of infants' and adults' sensitivity to western musical structure.

Adults (n = 28) and 8-month-old infants (n = 48) listened to repeated transpositions of a 10-note melody exemplifying the rules of Western tonal music. They were tested for their detection of two types of changes to that melody: (a) a 4-semitone change in 1 note that remained within the key and implied dominant harmony (diatonic change) or (b) a 1-semitone change in the same note that went outside the key (nondiatonic change). Adults easily detected the nondiatonic change but had difficulty with the diatonic change. Infants detected both changes equally well, performing better than adults in some circumstances. These findings imply that there are qualitative differences in infants' and adults' processing of musical information.     

Auditory feedback in music performance: the role of melodic structure and musical skill

Five experiments explored whether fluency in musical sequence production relies on matches between the contents of auditory feedback and the planned outcomes of actions. Participants performed short melodies from memory on a keyboard while musical pitches that sounded in synchrony with each keypress (feedback contents) were altered. Results indicated that altering pitch contents can disrupt production, but only when altered pitches form a sequence that is structurally similar to the planned sequence. These experiments also addressed the role of musical skill: Experiments 1 and 3 included trained pianists; other experiments included participants with little or no musical training. Results were similar across both groups with respect to the disruptive effects of auditory feedback manipulations. These results support the idea that a common hierarchical representation guides sequences of actions and the perception of event sequences and that this coordination is not acquired from learned associations formed by musical skill acquisition.     

Perceived utility of emotion: the structure and construct validity of the Perceived Affect Utility Scale in a cross-ethnic sample

This study introduces a new measure of the perceived utility of emotion, which is the degree to which emotions are perceived to be useful in achieving goals. In this study, we administered this new measure, the Perceived Affect Utility Scale (PAUSe), to a sample of 142 European American and 156 East Asian American college students. Confirmatory factor analyses provided support for a new, culturally informed parsing of emotion and for perceived utility of emotion to be distinguishable from ideal affect, a related but separate construct. Next, we explored the potential importance of perceived utility of emotion in cultural research. Through path analyses, we found that: (a) culturally relevant variables (e.g., independence) played a mediating role in the link between ethnic group and perceived utility of emotion; and (b) perceived utility of emotion played a mediating role in the link between culturally relevant variables and ideal affect. In particular, perceived utility of self-centered emotions (e.g., pride) was found to be associated with independence and ideal affect of those same emotions. In contrast, perceived utility of other-centered emotions (e.g., appreciation) was found to be associated with interdependence, dutifulness/self-discipline, and ideal affect of those same emotions. Implications for perceived utility of emotion in understanding cultural factors are discussed.