Tonal hierarchies in the music of north India

Cross-culturally, most music is tonal in the sense that one particular tone, called the tonic, provides a focus around which the other tones are organized. The specific organizational structures around the tonic show considerable diversity. Previous studies of the perceptual response to Western tonal music have shown that listeners familiar with this musical tradition have internalized a great deal about its underlying organization. Krumhansl and Shepard (1979) developed a probe tone method for quantifying the perceived hierarchy of stability of tones. When applied to Western tonal contexts, the measured hierarchies were found to be consistent with music-theoretic accounts. In the present study, the probe tone method was used to quantify the perceived hierarchy of tones of North Indian music. Indian music is tonal and has many features in common with Western music. One of the most significant differences is that the primary means of expressing tonality in Indian music is through melody, whereas in Western music it is through harmony (the use of chords). Indian music is based on a standard set of melodic forms (called rags), which are themselves built on a large set of scales (thats). The tones within a rag are thought to be organized in a hierarchy of importance. Probe tone ratings were given by Indian and Western listeners in the context of 10 North Indian rags. These ratings confirmed the predicted hierarchical ordering. Both groups of listeners gave the highest ratings to the tonic and the fifth degree of the scale. These tones are considered by Indian music theorists to be structurally significant, as they are immovable tones around which the scale system is constructed, and they are sounded continuously in the drone. Relatively high ratings were also given to the vadi tone, which is designated for each rag and is given emphasis in the melody. The ratings of both groups of listeners generally reflected the pattern of tone durations in the musical contexts. This result suggests that the distribution of tones in music is a psychologically effective means of conveying the tonal hierarchy to listeners whether they are familiar with the musical tradition. Beyond this, only the Indian listeners were sensitive to the scales (thats) underlying the rags. For Indian listeners, multidimensional scaling of the correlations between the rating profiles recovered the theoretical representation of scales described by theorists of Indian music.(ABSTRACT TRUNCATED AT 400 WORDS)     

The dimensions of tonal experience: A nonmetric multidimensional scaling approach

Subjects were required in each trial to directly compare two pairs of tones and indicate which pair of tones had the greater subjective difference or dissimilarity. Eleven tones differing in both intensity and frequency were employed. Subjects made binary comparisons among the 55 tone pairs which can be formed from the set of 11 tones. These paired comparisons of tonal intervals were used to determine a two-dimensional Euclidean representation for tonal experience. Loudness and pitch appeared as orthogonal dimensions in this representation. However, a 45-deg rotation of loudness and pitch axes produced axes which could be identified as volume and density. This relationship suggested that volume and density were simple functions of pitch and loudness. Volume and density predictions based on this two-dimensional representation were shown to provide a good account of the data from three experiments on volume and density.     

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.     

2~4岁普通话儿童前注意阶段的声调感知机制

以MMN、p-MMR作为汉语词汇声调感知的神经关联物,探究2~4岁汉语普通话儿童前注意阶段对声调刺激的失匹配响应,关注范畴信息和偏差大小两个因素对儿童感知水平的影响。结果显示:在范畴间大偏差条件下(T1/T3),诱发明显的MMN;在范畴内或小偏差条件下(T3a/T3、T3b/T3、T2/T3),都未诱发显著的MMR。表明:2~4岁普通话儿童正处于声调感知能力的发展过程中,音位信息和声学信息共同影响其声调感知。     

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).     

Tonal Coarticulation in Thai after Unilateral Brain Damage

The magnitude and temporal extent of anticipatory and perseverative tonal coarticulation was investigated in Thai-speaking normal and brain-damaged adults. A total of 47 speakers (10 young normal, 10 old normal, 13 nonaphasic right-brain-damaged patients, 14 left-brain-damaged aphasic patients, 9 fluent, 5 nonfluent) produced all 25 possible sequences of two tones from the five lexical tones of Thai embedded in a carrier sentence.F₀contours were analyzed in terms of height and slope at 10% intervals throughout the duration of the two syllables. Acoustic analysis revealed that anticipatory and perseverative tonal coarticulation of tones was markedly reduced in left fluent aphasics, totally absent in left nonfluent aphasics, but reasonably intact in right hemisphere patients. Findings are interpreted to highlight the nature of speech disturbances in nonfluent and fluent aphasia, hemispheric specialization for tone, and tonal coarticulation in Thai.     

Effects of Phonetic Similarity in the Identification of Mandarin Tones

Tonal languages differ in how they use phonetic correlates e.g. average pitch height and pitch direction, for tonal contrasts. Thus, native speakers of a tonal language may need to adjust their attention to familiar or unfamiliar phonetic cues when perceiving non-native tones. On the other hand, speakers of a non-tonal language may need to develop sensitivity to tonal correlates absent from their native system. The current study examines and compares five language groups’ perception of two synthesized Mandarin tones: the high level tone and the high falling tone. It aims to examine how listeners from tonal and non-tonal backgrounds identify and categorize acoustically equidistant pitches varying along two phonetic dimensions: pitch onset and slope. Results reveal “universal” perceptual patterns across groups and also tendencies caused by native tonal systems. Our findings confirm that L1 tonal and prosodic systems affect speakers’ sensitivity to novel perceptual cues and their abilities to discern relevant phonetic differences.     

Encoding lexical tones in jTRACE: a simulation of monosyllabic spoken word recognition in Mandarin Chinese

Despite its prevalence as one of the most highly influential models of spoken word recognition, the TRACE model has yet to be extended to consider tonal languages such as Mandarin Chinese. A key reason for this is that the model in its current state does not encode lexical tone. In this report, we present a modified version of the jTRACE model in which we borrowed on its existing architecture to code for Mandarin phonemes and tones. Units are coded in a way that is meant to capture the similarity in timing of access to vowel and tone information that has been observed in previous studies of Mandarin spoken word recognition. We validated the model by first simulating a recent experiment that had used the visual world paradigm to investigate how native Mandarin speakers process monosyllabic Mandarin words (Malins & Joanisse, 2010). We then subsequently simulated two psycholinguistic phenomena: (1) differences in the timing of resolution of tonal contrast pairs, and (2) the interaction between syllable frequency and tonal probability. In all cases, the model gave rise to results comparable to those of published data with human subjects, suggesting that it is a viable working model of spoken word recognition in Mandarin. It is our hope that this tool will be of use to practitioners studying the psycholinguistics of Mandarin Chinese and will help inspire similar models for other tonal languages, such as Cantonese and Thai.     

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.     

Influence of tonal context and timbral variation on perception of pitch

In this study, spectral timbre's effect on pitch perception is examined in varying contexts. In two experiments, subjects detected pitch deviations of tones differing in brightness in an isolated context in which they compared two tones, in a tone-series context in which they judged whether the last tone of a simple sequence was in or out of tune, and in a melodic context in which they determined whether the last note of familiar melodies was in or out of tune. Timbre influenced pitch judgments in all the conditions, but increasing tonal context allowed the subjects to extract pitch information more accurately. This appears to be due to two factors: (1) The presence of extra tones creates a stronger reference point from which to judge pitch, and (2) the melodies' tonal structure gives more cues that facilitate pitch extraction, even in the face of conflicting spectral information.     

Influence of a tone’s tonal function on temporal change detection

Music cognition research has provided evidence that the tonal function of a musical event influences perception and memory. Our study investigated whether tonal function influences a basic temporal judgment, notably the detection of a temporal change disrupting a sequence’s regularity. The sequences consisted of six musical events presented in isochrony (or with the fifth event occurring earlier or later): Three chords (instilling a tonal context) were followed by a tone (repeated three times). The tones fulfilled one of two tonal functions in the tonal context. Participants had to detect whether the sequence contained a temporal change and were not informed about tonal manipulations. Discrimination performance (as measured by d’) showed an influence of tonal function on temporal change detection: Performance was better for the tonic tone (having the most important tonal function in the key) than for the unstable leading tone, the less stable mediant tone, and even than the stable dominant tone. The outcome shows the influence of listeners’ tonal knowledge on a perceptual time judgment and suggests that processing of tonal and temporal structures interact at some stage of processing.     

Influence of a tone's tonal function on temporal change detection

Music cognition research has provided evidence that the tonal function of a musical event influences perception and memory. Our study investigated whether tonal function influences a basic temporal judgment, notably the detection of a temporal change disrupting a sequence's regularity. The sequences consisted of six musical events presented in isochrony (or with the fifth event occurring earlier or later): Three chords (instilling a tonal context) were followed by a tone (repeated three times). The tones fulfilled one of two tonal functions in the tonal context. Participants had to detect whether the sequence contained a temporal change and were not informed about tonal manipulations. Discrimination performance (as measured by d') showed an influence of tonal function on temporal change detection: Performance was better for the tonic tone (having the most important tonal function in the key) than for the unstable leading tone, the less stable mediant tone, and even than the stable dominant tone. The outcome shows the influence of listeners' tonal knowledge on a perceptual time judgment and suggests that processing of tonal and temporal structures interact at some stage of processing.     

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.     

Cross-cultural music cognition: cognitive methodology applied to North Sami yoiks

This article is a study of melodic expectancy in North Sami yoiks, a style of music quite distinct from Western tonal music. Three different approaches were taken. The first approach was a statistical style analysis of tones in a representative corpus of 18 yoiks. The analysis determined the relative frequencies of tone onsets and two- and three-tone transitions. It also identified style characteristics, such as pentatonic orientation, the presence of two reference pitches, the frequency of large consonant intervals, and a relatively large set of possible melodic continuations. The second approach was a behavioral experiment in which listeners made judgments about melodic continuations. Three groups of listeners participated. One group was from the Sami culture, the second group consisted of Finnish music students who had learned some yoiks, and the third group consisted of Western musicians unfamiliar with yoiks. Expertise was associated with stronger veridical expectations (for the correct next tone) than schematic expectations (based on general style characteristics). Familiarity with the particular yoiks was found to compensate for lack of experience with the musical culture. The third approach simulated melodic expectancy with neural network models of the self-organizing map (SOM) type (Kohonen, T. (1997). Self-organizing maps (2nd ed.). Berlin: Springer). One model was trained on the excerpts of yoiks used in the behavioral experiment including the correct continuation tone, while another was trained with a set of Finnish folk songs and Lutheran hymns. The convergence of the three approaches showed that both listeners and the SOM model are influenced by the statistical distributions of tones and tone sequences. The listeners and SOM models also provided evidence supporting a core set of psychological principles underlying melody formation whose relative weights appear to differ across musical styles.     

先前知识经验对远距离水平映射规则内隐学习的限制

先前研究发现远距离规则能够被内隐地习得和迁移,表明内隐学习获得的知识是底层的抽象规则,那么这一抽象规则的习得和迁移是否会受到先前知识经验的限制?研究采用汉语声调的远距离水平映射规则为材料,通过创设不符合平仄知识经验的任意声调水平映射规则,在控制组块和重复结构等表面特征的条件下,探讨先前知识经验是否限制了远距离水平映射规则的内隐学习和迁移。结果发现相对于符合平仄知识经验的汉语声调水平映射规则,被试不能够内隐地习得和迁移任意声调的水平映射规则,表明先前知识经验在远距离水平映射规则内隐学习过程中发挥着重要作用。     

不同母语环境下16个月婴儿词汇表征中声调的语义特性

采用跨通道注视偏好范式(IPLP)下的声调错读任务, 探究16个月中英婴儿熟悉词汇表征中普通话声调的音位语义特性(phonological specificity)。结果发现在先正确命名再声调错读的任务顺序下, 中英婴儿均在正确命名时表现出命名效应, 在错读时不能再认目标图片, 表现出错读效应, 说明普通话声调对16个月中英婴儿而言都具备语义特性。     

Anchoring effects in music: The resolution of dissonance

Most pieces of music induce in the listener a sense that some pitches sound consonant, stable, or final, while others sound more dissonant, unstable, or transient. A psychological account of the intuition that the dissonance of an unstable tone is sometimes “resolved” by following it by a stable tone that is close in pitch is provided. The perceived hierarchy differentiating tones on the basis of stability may be construed as a cognitive schema, which facilitates the encoding of some tones relative to others. A cognitive principle, melodic anchoring, which specifies the ordered relationships (between tones) that govern (i) the activation of one tonal schema over another and (ii) the assimilation or anchoring of unstable tones to the tonal schema once it has been activated is presented. In a forcedchoice paradigm, the principle is invoked to predict which chord is perceived to “underlie” a sequence that is tonally ambiguous in all respects except the ordered relationships between its tones. In a same-different task, subjects were presented with a pair of tonal sequences. When a stable tone was replaced by an unstable tone, more confusions occurred when the latter was anchored than when it was not. The accuracy advantage when the unstable tone was in the comparison as opposed to the standard sequence was lower when the unstable tone was anchored than when it was not. Finally, subjects rated how well a sequence and a chord sounded together. Melodies that contained an unstable tone were given higher ratings when the unstable tone was anchored than when it was not. Each paradigm was used to demonstrate first immediate and then delayed anchoring.     

The psychological representation of musical pitch in a tonal context

In this series of experiments, evidence was found for a complex psychological representation of musical pitch. The results of a scaling study, in which subjects judged the similarities between pairs of tones presented in an explicitly tonal context, suggest that musical listeners extract a pattern of relationships among tones that is determined not only by pitch height and chroma, but also by membership in the major triad chord and the diatonic scale associated with the tonal system of the context. Multidimensional scaling of the similarity ratings gave a three-dimensional conical structure around which the tones were ordered according to pitch height. The major triad components formed a closely related cluster near the vertex of the cone; the remaining diatonic scale tones formed a less closely related subset farther from the vertex; and, the nondiatonic tones, still farther from the vertex, were widely dispersed. The results also suggest that, in the psychological representation, tones less closely related to the tonality are less stable than tones closely related to the tonality, and that the representation incorporates the tendency for unstable tones to move toward the more stable tones in time, reflecting the dynamic character of musical tones. In the similarity ratings of the scaling study, tones less related to the tonality were judged more similar to tones more related to the tonality than the reverse temporal order. Furthermore, in a delayed recognition task memory performance for nondiatonic tones was less accurate than for diatonic tones, and nondiatonic tones were more often confused with diatonic tones than diatonic tones were confused with nondiatonic tones. These results indicate the tonality-specific nature of the psychological representation and argue that the perception of music depends not only on psychoacoustic properties of the tones, but also on processes that relate the tones to one another through contact with a well-defined and complex psychological representation of musical pitch.     

汉语听觉词汇加工中声调信息对语义激活的制约作用

进行了三个跨通道启动词汇判断实验,探讨汉语听觉词汇加工中声调信息对语义激活的制约作用。实验一和二使用具有相同音段信息、但不同声调信息的双音节合成词（如“条约”和“跳跃”）作为听觉启动词,与其中一个词有语义关系的双字词作为视觉探测词。语义启动词与其配对的声调不匹配词在第一音节的声调、第二音节的声调、或两个声调上有所不同。实验三改变语义启动词的第一或第二音节的声调,以产生声调不匹配的假词启动项;实验三还同时变化了原来的声调与产生的声调之间的相似性。实验结果表明,声调不匹配的启动项目是否产生显著的启动效应取决于词汇竞争的环境、声调输入与深层声调表征之间匹配的程度,以及不匹配的声调所在的位置。文章从语音输入中的声调信息如何激活词汇表征、声调信息如何存储在心理词典中、声调对语义激活的制约作用如何受竞争环境的影响这三个方面讨论了研究的发现。     

Interference in memory for tonal pitch: Implications for a working-memory model

The degree of interference caused by different kinds of stimuli on memory for tonal pitch was studied. Musically trained and untrained subjects heard a sequence of two tones separated by an interval of 5 sec. The tones were either identical in pitch or differed by a semitone. Subjects had to decide whether the tones were identical or not. The interval was filled with tonal, verbal, or visual material under attended and unattended conditions. The results revealed clear group differences. Musically trained subjects' retention of the first test tone was only affected by the interposition of other tones. In contrast, the performance of musically untrained subjects was also affected by verbal and visual items. The findings are discussed in the framework of Baddeley's (1986) working-memory model.