Tonal expectations influence pitch perception

In this study, we investigated the influence of tonal relatedness on pitch perception in melodies. Tonal expectations for target tones were manipulated in melodic contexts while controlling sensory expectations, thus allowing us to assess specifically the influence oftonal expectations on pitch perception. Three experimentsprovided converging evidence that tonal relatedness modulates pitch perception in nonmusician listeners. Experiment 1 showed, with a rating task, the influence of the tonal relatedness of a target tone on listeners' judgments of tuning/mistuning. Experiment 2 showed, with a priming task, that pitch processing of in-tune tones was faster for tonally related targets than for less related targets. Experiment 3 showed, with a comparison task, that discrimination performance for small mistunings was better when the to-be-compared tones were tonally related to the melodic context. Findings are discussed in relation to psychoacoustic research on contextual pitch perception and to studies showing facilitation of early processing steps via knowledge- and attention-related processes.     

Musical duplex perception: perception of figurally good chords with subliminal distinguishing tones.

In a variant of duplex perception with speech, phoneme perception is maintained when distinguishing components are presented below intensities required for separate detection, forming the basis for the claim that a phonetic module takes precedence over nonspeech processing. This finding is replicated with music chords (C major and minor) created by mixing a piano fifth with a sinusoidal distinguishing tone (E or E flat). Individual threshold intensities for detecting E or E flat in the context of the fixed piano tones are established. Chord discrimination thresholds defined by distinguishing tone intensity were determined. Experiment 2 verified masked detection thresholds and subliminal chord identification for experienced musicians. Accurate chord perception was maintained at distinguishing tone intensities nearly 20 dB below the threshold for separate detection. Speech and music findings are argued to demonstrate general perceptual principles.     

Tonal hierarchy representations in auditory imagery

Two experiments investigated psychological representations of musical tonality in auditory imagery. In Experiment 1, musically trained participants heard a single tone as a perceptual cue and built an auditory image of a specified major tonality based on that cue; participants’ images were then assessed using judgments of probe tones. In Experiment 2 participants imaged a minor tonality rather than a major one. Analysis of the probe tone ratings indicated that participants successfully imaged both major and minor tonal hierarchies, demonstrating that auditory imagery functions comparably to auditory perception. In addition, the strength of the major tonal image was dependent upon the pitch and tonal relations of the perceptual cue and the to-be-imaged tonality. Finally, representations of minor tonal hierarchies were less robust than those of major ones, converging with perceptual evidence that minor tonalities are less psychologically stable than major tonalities.     

Infants' and adults' perception of scale structure.

Adults and 9-month-old infants were required to detect mistuned tones in multitone sequences. When 7-tone versions of a common nursery tune were generated from the Western major scale (unequal scale steps) or from an alternative scale (equal steps), infants detected the mistuned tones more accurately in the unequal-step context than in the equal-step context (Experiment 1). Infants and adults were subsequently tested with 1 of 3 ascending-descending scales (15 tones): (a) a potentially familiar scale (major) with unequal steps, (b) an unfamiliar scale with unequal steps, and (c) an unfamiliar scale with equal steps. Infants detected mistuned tones only in the scales with unequal steps (Experiment 2). Adults performed better on the familiar (major) unequal-step scale and equally poorly on both unfamiliar scales (Experiments 3 and 4). These findings are indicative of an inherent processing bias favoring unequal-step scales.     

Influences of acculturation and musical sophistication on perception of musical interval patterns.

Influences of acculturation and musical sophistication on music perception were examined. Judgments for mistuning were obtained for Ss differing in musical sophistication who listened to a melody that was based on interval patterns from Western and Javanese musical scales. Less musically sophisticated Ss' judgments were better for Western than Javanese patterns. Musicians' thresholds did not differ across Western and Javanese patterns. Differences in judgments across scales are accountable to acculturation through listening exposure and musical sophistication gained through formal experience.     

Impaired categorical perception of lexical tones in Mandarin-speaking congenital amusics

The degree to which cognitive resources are shared in the processing of musical pitch and lexical tones remains uncertain. Testing Mandarin amusics on their categorical perception of Mandarin lexical tones may provide insight into this issue. In the present study, a group of 15 amusic Mandarin speakers identified and discriminated Mandarin tones presented as continua in separate blocks. The tonal continua employed were from a high-level tone to a mid-rising tone and from a high-level tone to a high-falling tone. The two tonal continua were made in the contexts of natural speech and of nonlinguistic analogues. In contrast to the controls, the participants with amusia showed no improvement for discrimination pairs that crossed the classification boundary for either speech or nonlinguistic analogues, indicating a lack of categorical perception. The lack of categorical perception of Mandarin tones in the amusic group shows that the pitch deficits in amusics may be domain-general, and this suggests that the processing of musical pitch and lexical tones may share certain cognitive resources and/or processes (Patel 2003, 2008, 2012).     

Differential recognition of pitch patterns in discrete and gliding stimuli in congenital amusia: evidence from Mandarin speakers

This study examined whether "melodic contour deafness" (insensitivity to the direction of pitch movement) in congenital amusia is associated with specific types of pitch patterns (discrete versus gliding pitches) or stimulus types (speech syllables versus complex tones). Thresholds for identification of pitch direction were obtained using discrete or gliding pitches in the syllable /ma/ or its complex tone analog, from nineteen amusics and nineteen controls, all healthy university students with Mandarin Chinese as their native language. Amusics, unlike controls, had more difficulty recognizing pitch direction in discrete than in gliding pitches, for both speech and non-speech stimuli. Also, amusic thresholds were not significantly affected by stimulus types (speech versus non-speech), whereas controls showed lower thresholds for tones than for speech. These findings help explain why amusics have greater difficulty with discrete musical pitch perception than with speech perception, in which continuously changing pitch movements are prevalent.     

Interference effects in tone memory

Memory for a standard tone in comparison to a subsequent test tone was examined in three experiments with three intervening tones between the standard and test tones. In each trial, the intervening tones were presented from one of seven frequency range and distance from the standard tone conditions. Experiment 1 tone patterns were played at four different presentation rates, and the subjects judged whether the test was higher or lower than the standard. Memory interference effects caused by the different intervening tone conditions could be accounted for by a directional shift in the standard tone memory toward the intervening tones and by a general decrease in the standard tone memory strength with more distant intervening tones. Interference effects were smaller for the rapid presentation rates because the intervening tones formed separate "perceptual streams." Two additional experiments presented the tone patterns in a task requiring the subjects to match a continuously variable tone to their memory of the standard (Experiment 2) and a task requiring them to judge whether the standard and test tones were the "same" or "different" (Experiment 3). These experiments showed large differences in interference effects as a function of the required judgment and the subjects' musical experience.     

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.     

Effects of length,tonal structure,and contour in the recognition of tone series

Four experiments on recognition of tone series are reported. The first experiment tested the accuracy of recognition in relation to length, contour complexity, and tonal structure of the series. Series comprised (1) 7 or 10 tones, (2) either a strong or a weak tonal structure, depending on the temporal ordering of the tones, and (3) few or many contour reversals. The second experiment used 7-tone series having either a strong or a weak tonal structure, depending on the mode (Ionian or Phrygian) in which the series was presented. Both experiments employed asamedifferent task in which a standard series was compared with either an exact or an inexact transposition, the latter type having one incorrectly transposed tone (mostly nondiatonic in Experiment 1 and always diatonic in Experiment 2) These experiments showed that (1) 7-tone series were better recognized than were 10-tone series, (2) series with a strong tonal structure were better recognized than were series with a weak tonal structure, and (3) contour complexity did not influence the responses. Two control experiments, using mistuned tone series, showed that the outcomes of Experiments 1 and 2 could not be attributed to nonmusical artifacts of the stimulus set.     

Perceptual interactions between musical pitch and timbre.

These experiments examined perceptual interactions between musical pitch and timbre. Experiment 1, through the use of the Garner classification tasks, found that pitch and timbre of isolated tones interact. Classification times showed interference from uncorrelated variation in the irrelevant attribute and facilitation from correlated variation; the effects were symmetrical. Experiments 2 and 3 examined how musical pitch and timbre function in longer sequences. In recognition memory tasks, a target tone always appeared in a fixed position in the sequences, and listeners were instructed to attend to either its pitch or its timbre. For successive tones, no interactions between timbre and pitch were found. That is, changing the pitches of context tones did not affect timbre recognition, and vice versa. The tendency to perceive pitch in relation to other context pitches was strong and unaffected by whether timbre was constant or varying. In contrast, the relative perception of timbre was weak and was found only when pitch was constant. These results suggest that timbre is perceived more in absolute than in relative terms. Perceptual implications for creating patterns in music with timbre variations are discussed.     

Responsiveness of Western adults to pitch-distributional information in melodic sequences

Responsiveness of musically trained and untrained adults to pitch-distributional information in melodic contexts was assessed. In Experiment 1, melodic contexts were pure-tone sequences, generated from either a diatonic or one of four nondiatonic tonesets, in which pitch-distributional information was manipulated by variation of the relative frequency of occurrence of tones from the toneset. Both the assignment of relative frequency of occurrence to tones and the construction of the (fixed) temporal order of tones within the sequences contravened the conventions of western tonal music. A probe-tone technique was employed. Each presentation of a sequence was followed by a probe tone, one of the 12 chromatic notes within the octave. Listeners rated the goodness of musical fit of the probe tone to the sequence. Probe-tone ratings were significantly related to frequency of occurrence of the probe tone in the sequence for both trained and untrained listeners. In addition, probe-tone ratings decreased as the pitch distance between the probe tone and the final tone of the sequence increased. For musically trained listeners, probe-tone ratings for diatonic sequences tended also to reflect the influence of an internalized tonal schema. Experiment 2 demonstrated that the temporal location of tones in the sequences could not alone account for the effect of frequency of occurrence in Experiment 1. Experiment 3 tested musically untrained listeners under the conditions of Experiment 1, with the exception that the temporal order of tones in each sequence was randomized across trials. The effect of frequency of occurrence found in Experiment 1 was replicated and strengthened.     

A study of perceptual development for musical tuning

Musical tuning perception in infancy and adulthood was explored in three experiments. In Experiment 1, Western adults were tested in detection of randomly located mistunings in a melody based on musical interval patterns from native and nonnative musical scales. Subjects performed better in a Western major scale context than in either a Western augmented or--a Javanese pelog scale context. Because the major scale is used frequently in Western music and, therefore, is more perceptually familiar than either the augmented scale or the pelog scale are, the adults’ pattern of performance is suggestive of musical acculturation. Experiments 2 and3 were designed to explore the onset of culturally specific perceptual reorganization for music in the age period that has been found to be important in linguistically specific perceptual reorganization for speech. In Experiment 2, 1-year-olds had a pattern of performance similar to that of the adults, but 6-month-olds could not detect mistunings reliably better than chance. In Experiment 3, another group of 6-month-olds was tested, and a larger degree of mistuning was used so that floor effects might be avoided. These 6-month-olds performed better in the major and augmented scale contexts than in the pelog context, without a reliable performance difference between the major and augmented contexts. Comparison of the results obtained with 6-month-olds and 1-year-olds suggests that culturally specific perceptual reorganization for musical tuning begins to affect perception between these ages, but the 6-month-olds’ pattern of results considered alone is not as clear. The 6-month-olds’ better performance on the major and augmented interval patterns than on the pelog interval pattern is potentially attributable to either the 6-month.olds’ lesser perceptual acculturation than that of the 1-year-olds or perhaps to an innate predisposition for processing of music based on a single fundamental interval, in this case the semitone.     

A study of perceptual development for musical tuning.

Musical tuning perception in infancy and adulthood was explored in three experiments. In Experiment 1, Western adults were tested in detection of randomly located mistunings in a melody based on musical interval patterns from native and nonnative musical scales. Subjects performed better in a Western major scale context than in either a Western augmented or a Javanese pelog scale context. Because the major scale is used frequently in Western music and, therefore, is more perceptually familiar than either the augmented scale or the pelog scale are, the adults' pattern of performance is suggestive of musical acculturation. Experiments 2 and 3 were designed to explore the onset of culturally specific perceptual reorganization for music in the age period that has been found to be important in linguistically specific perceptual reorganization for speech. In Experiment 2, 1-year-olds had a pattern of performance similar to that of the adults, but 6-month-olds could not detect mistunings reliably better than chance. In Experiment 3, another group of 6-month-olds was tested, and a larger degree of mistuning was used so that floor effects might be avoided. These 6-month-olds performed better in the major and augmented scale contexts than in the pelog context, without a reliable performance difference between the major and augmented contexts. Comparison of the results obtained with 6-month-olds and 1-year-olds suggests that culturally specific perceptual reorganization for musical tuning begins to affect perception between these ages, but the 6-month-olds' pattern of results considered alone is not as clear. The 6-month-olds' better performance on the major and augmented interval patterns than on the pelog interval pattern is potentially attributable to either the 6-month-olds' lesser perceptual acculturation than that of the 1-year-olds or perhaps to an innate predisposition for processing of music based on a single fundamental interval, in this case the semitone.     

Specialist musical training and the octave illusion: analytical listening and veridical perception by pipe organists

The octave illusion is a useful tool for investigation of the contribution of specialist training to auditory perception. The stimulus that induces the illusion involves two tones with a frequency ratio of 2:1, presented dichotically, and with ear of presentation reversed every 250 ms. Most listeners report hearing a single tone that alternates from high in the right ear to low in the left ear [Scientific American 233 (1975) 92-104]. The first experiment investigated the hypothesis that musical training contributes to veridical perception of an ambiguous stimulus. As hypothesized, participants with the highest level of musical training were more likely to perceive the stimulus veridically. Exploring the effects of specialist training, Experiment 2 contrasted expert pipe organists with other instrumentalists. As hypothesized, participants expert in playing pipe organ--an instrument with harmonic and spatial features similar to those of the octave illusion--were more likely to perceive the stimulus veridically. The results have implications for plasticity of the auditory system and the analytical listening that accompanies specialist, intensive training and rehearsal.     

Duplex perception with musical stimuli

Duplex perception, a phenomenon previously demonstrated for speech stimuli, is demonstrated here for musical stimuli. In the first experiment, major and minor chords are produced by dichotic fusion of two simultaneous piano notes presented to one ear (perfect fifth) with a “natural” or “flat” single note presented to the opposite ear. Musically trained subjects perceive simultaneously both the single tone and a fused (major or minor) chord. The chords are labeled more consistently than the single notes, even though the fused chords differ solely in terms of the contralateral notes. In a second experiment, using pure tones in place of piano notes, other musically trained subjects individually exhibited categorical perception for either the fused chord or the single tones, but never for both types of stimuli. The duplex phenomenon is discussed in terms of its implications for its specific component modes of perception.     

Action,prediction, and temporal awareness

The brain needs to track changes in the relation between action and effect. In two experiments, participants made voluntary keypress actions. In an adaptation phase, these actions were followed after a fixed interval by a tone. During a subsequent test phase, the duration of the interval was unexpectedly changed. We used time perception as an implicit marker of the experience of participants' control over the effect, and confirmed a temporal binding between actions and effects. On test trials, participants perceived tones to occur as shifted towards their time of occurrence in the preceding adaptation phase. Therefore, the perceived time of a tone was partly based on learning of an internal prediction, rather than on the time of actual sensory input. This predictive model is rapidly updated over a few trials (Experiment 1), and requires attention to the tones (Experiment 2). The brain learns action–effect relations. This predictive learning influences the perception of effects, and underlies some temporal illusions associated with action.     

Musicians' working memory for tones,words, and pseudowords

Studies investigating factors that influence tone recognition generally use recognition tests, whereas the majority of the studies on verbal material use self-generated responses in the form of serial recall tests. In the present study we intended to investigate whether tonal and verbal materials share the same cognitive mechanisms, by presenting an experimental instrument that evaluates short-term and working memories for tones, using self-generated sung responses that may be compared to verbal tests. This paradigm was designed according to the same structure of the forward and backward digit span tests, but using digits, pseudowords, and tones as stimuli. The profile of amateur singers and professional singers in these tests was compared in forward and backward digit, pseudoword, tone, and contour spans. In addition, an absolute pitch experimental group was included, in order to observe the possible use of verbal labels in tone memorization tasks. In general, we observed that musical schooling has a slight positive influence on the recall of tones, as opposed to verbal material, which is not influenced by musical schooling. Furthermore, the ability to reproduce melodic contours (up and down patterns) is generally higher than the ability to reproduce exact tone sequences. However, backward spans were lower than forward spans for all stimuli (digits, pseudowords, tones, contour). Curiously, backward spans were disproportionately lower for tones than for verbal material—that is, the requirement to recall sequences in backward rather than forward order seems to differentially affect tonal stimuli. This difference does not vary according to musical expertise.     

Musicians' working memory for tones, words, and pseudowords

Studies investigating factors that influence tone recognition generally use recognition tests, whereas the majority of the studies on verbal material use self-generated responses in the form of serial recall tests. In the present study we intended to investigate whether tonal and verbal materials share the same cognitive mechanisms, by presenting an experimental instrument that evaluates short-term and working memories for tones, using self-generated sung responses that may be compared to verbal tests. This paradigm was designed according to the same structure of the forward and backward digit span tests, but using digits, pseudowords, and tones as stimuli. The profile of amateur singers and professional singers in these tests was compared in forward and backward digit, pseudoword, tone, and contour spans. In addition, an absolute pitch experimental group was included, in order to observe the possible use of verbal labels in tone memorization tasks. In general, we observed that musical schooling has a slight positive influence on the recall of tones, as opposed to verbal material, which is not influenced by musical schooling. Furthermore, the ability to reproduce melodic contours (up and down patterns) is generally higher than the ability to reproduce exact tone sequences. However, backward spans were lower than forward spans for all stimuli (digits, pseudowords, tones, contour). Curiously, backward spans were disproportionately lower for tones than for verbal material-that is, the requirement to recall sequences in backward rather than forward order seems to differentially affect tonal stimuli. This difference does not vary according to musical expertise.     

Cardiac activity and information processing: the effects of stimulus significance, and detection and response requirements.

In two experiments, measures of heart rate and electromyographic activity were obtained from 40 male undergraduates while they performed two series of trials involving a sequential information processing task. Each trial consisted of a warning light, three successive tones, and a responded light, separated by 6-sec intervals. In Experiment 1, subjects responded only if the three tones were of different frequencies. Acclerative heart-rate responses to the last tone increased as a function of the significance of that tone. Subsequent cardiac decelerations were only observed if the subject was preparing to make a response. These results were replicated in Experiment 2, in which subjects responded only if two of the preceding tones were of the same frequency. Electromyographic activity was not significantly affected by stimulus significance or response anticipation. The data indicate that cardiac acceleration and deceleration reflect two independent psychological processes, associated with information-processing and decision-making activity on the one hand, and preparatory activity on the other.