Boundaries of separability between melody and rhythm in music discrimination: A neuropsychological perspective

The detailed study of a patient who suffered from a severe amelodia without arhythmia as a consequence of bilateral temporal lobe damage revealed that the processing of melodic information is at least partially separable from the processing of rhythmic information. This dissociation was replicated across different sets of material, was supported by the presence of a reversed association, and was maintained in conditions that promote integration in the normal brain. These results argue against the view that melody and rhythm are treated as a unified dimension throughout processing. At the same time, they support the view that integration takes place after early separation of the two dimensions.     

Cue utilization in communication of emotion in music performance: relating performance to perception

This study describes the utilization of acoustic cues in communication of emotions in music performance. Three professional guitarists were asked to perform 3 short melodies to communicate anger, sadness, happiness, and fear to listeners. The resulting performances were analyzed with respect to 5 acoustic cues and judged by 30 listeners on adjective scales. Multiple regression analysis was applied to the relationships between (a) the performer's intention and the cues and (b) the listeners' judgments and the cues. The analyses of performers and listeners were related using C. J. Hursch, K. R. Hammond, and J. L. Hursch's (1964) lens model equation. The results indicated that (a) performers were successful at communicating emotions to listeners, (b) performers' cue utilization was well matched to listeners' cue utilization, and (c) cue utilization was more consistent across different melodies than across different performers. Because of the redundancy of the cues, 2 performers could communicate equally well despite differences in cue utilization.     

Time perception: Effects of sex and sound intensity on scales of subjective duration

Six women and six men reproduced ten time intervals varying in logarithmic steps between 1.3 and 20 s. The durations were indicated by white noise of 10, 25, 40 and 55 dB SL, different sound intensities in different sessions. It was found that (i) greater sound intensity entails shorter reproductions, and (ii) reproductions by male observers are shorter than those by female, although for both (i) and (ii) there is an interaction with the standard durations. The data were treated in accordance with the "parallel-clock model" (Eisler, 1975), whereby the parameters of the psychophysical power function are determined from duration reproduction data. As in previous experiments (Eisler, 1975), the data showed a break in the function entailing two segments. The effect of sound intensity could be attributed to the exponent, which was lower for stronger noise, and the effect of sex to the weight coefficient of the upper relative to the lower segment of the psychophysical function, the coefficient being lower for men.     

音乐训练对4~5岁幼儿普通话声调范畴感知能力的影响

已有研究表明, 音乐训练能提高成人对普通话声调范畴感知的能力, 此种训练能否增强幼儿对声调范畴感知的能力?训练效果是否受到训练时间长短的影响?本研究对幼儿园4~5岁幼儿进行音乐训练, 共40人, 分成音乐组和控制组, 每组各20人, 追踪考察音乐训练和训练时间长短对幼儿声调范畴感知能力提升的影响。实验采用前测-中测-后测设计, 对音乐组开展每周3次, 每次30分钟, 以小钟琴演奏为主的音乐训练; 控制组不进行任何有组织的训练活动。结果发现, 12个月音乐训练提升了幼儿对声调范畴感知的程度, 表现为音乐组幼儿范畴边界宽度显著小于控制组, 而训练6个月时, 该优势并不显著。此外, 12个月音乐训练还加强了幼儿区分范畴内刺激声学差异的敏感性, 而对范畴间刺激的区分能力无显著提高。本研究结果支持了音乐学习的歌剧理论(OPERA), 音乐训练具有跨域迁移作用, 可提升4~5岁幼儿对普通话声调范畴感知的能力, 但只有长期持续的训练才可能真正提高幼儿的音高精细化加工水平。     

Context sensitivity and invariance in perception of octave-ambiguous tones

Three experiments investigated the influence of unambiguous (UA) context tones on the perception of octave-ambiguous (OA) tones. In Experiment 1, pairs of OA tones spanning a tritone interval were preceded by pairs of UA tones instantiating a rising or falling interval between the same pitch classes. Despite the inherent ambiguity of OA tritone pairs, most participants showed little or no priming when judging the OA tritone as rising or falling. In Experiments 2 and 3, participants compared the pitch heights of single OA and UA tones representing either the same pitch class or being a tritone apart. These judgments were strongly influenced by the pitch range of the UA tones, but only slightly by the spectral center of the OA tones. Thus, the perceived pitch height of single OA tones is context sensitive, but the perceived relative pitch height of two OA tones, as described in previous research on the “tritone paradox,” is largely invariant in UA tone contexts.     

Detection and recognition of increments and decrements in auditory intensity

Os’ performance in the detection of increments and decrements in the intensity of a pure tone was compared with their performance in an increment-decrement recognition experiment. Recognition performance improved, relative to detection performance, as signal duration increased. This is surprising from the point of view of all stimulus models within signal detection theory. These data and others are described in terms of a change detection mechanism.     

The effects of music on time perception and performance of a driving game

Cassidy, G.G. & MacDonald, R.A.R. (2010). The effects of music on time perception and performance of a driving game. Scandinavian Journal of Psychology 51, 455–464. There is an established and growing body of evidence highlighting that music can influence behavior across a range of diverse domains ( Miell, MacDonald, & Hargreaves 2005 ). One area of interest is the monitoring of “internal timing mechanisms”, with features such as tempo, liking, perceived affective nature and everyday listening contexts implicated as important ( North & Hargreaves, 2008 ). The current study addresses these issues by comparing the effects of self‐selected and experimenter‐selected music (fast and slow) on actual and perceived performance of a driving game activity. Seventy participants completed three laps of a driving game in seven sound conditions: (1) silence; (2) car sounds; (3) car sounds with self‐selected music, and car sounds with experimenter‐selected music; (4) high‐arousal (70 bpm); (5) high‐arousal (130 bpm); (6) low‐arousal (70 bpm); and (7) low‐arousal (130 bpm) music. Six performance measures (time, accuracy, speed, and retrospective perception of these), and four experience measures (perceived distraction, liking, appropriateness and enjoyment) were taken. Exposure to self‐selected music resulted in overestimation of elapsed time and inaccuracy, while benefiting accuracy and experience. In contrast, exposure to experimenter‐selected music resulted in poorest performance and experience. Increasing the tempo of experimenter‐selected music resulted in faster performance and increased inaccuracy for high‐arousal music, but did not impact experience. It is suggested that personal meaning and subjective associations connected to self‐selected music promoted increased engagement with the activity, overriding detrimental effects attributed to unfamiliar, less liked and less appropriate experimenter‐selected music.     

Skill acquisition in music performance: relations between planning and temporal control

We investigated the acquisition of music performance skills in novice and expert pianists. Temporal disruptions in novice performances coincided with constraints in planning capacities. Child and adult pianists ranging in age (9-26 years), training (3-15 years) and sight-reading ability learned to perform a novel musical piece in eleven practice trials. Computer-detected pitch and timing errors revealed: (1) gradual improvements in performance tempo and pitch accuracy with skill level and practice, generally fitting a power function; (2) a relative-timing/pitch accuracy trade-off and high incidence of simultaneous pitch/time errors; (3) improvements in relative timing (temporal continuity, underlying beat, metrical structure) with skill and practice; and (4) increased anticipatory behavior and a greater range of planning with skill and practice. A strong positive relationship between the mastery of temporal constraints and planning abilities within performance suggests that these two cognitive indicators are closely related and may arise from segmentation processes during performance. Examination of sequence timing may explicate planning abilities that underlie many complex skills.     

On the relationship between stimulus intensity and duration of visible persistence

Stimulus intensity and duration of visible persistence have been found to vary directly in some studies but inversely in others. Hawkins and Shulman (1979) have proposed that this inconsistency can be resolved by separating the studies that employed a decrement-threshold measure of persistence (Type I measure) from those that measured the total duration of persistence (Type II measure). They suggested that Type I measures yield an inverse relationship, whereas Type II measures yield a direct relationship between intensity and persistence. Hawkins and Shulman's model is incomplete in ways that are easily remedied. However, the model is totally contradicted by the experimental evidence. A new resolution of the inconsistent results is proposed in terms of retinal afterimages.     

Primacy effect in orienting responses to auditory stimuli of tones and music.

This 25 factorial experiment investigated the primacy effect in the orienting response. The type of stimuli (tone or "music"), stimulus intensities (loud or soft), length of adaptation period (same, 5 or 30 sec; or different, 5 min.), interstimulus intervals (5 or 30 sec.), and sex were studied. College students, 32 males and 32 females were randomly assigned to each group. In the same condition, the tone (or music) was soft (or loud) for 5 sec. (or 30 sec.) in adaptation and was then changed alternately without interruption to loud, soft, etc. (or soft, loud, etc.) for 5 sec. (or 30 sec.). The different condition was identical except for the length of adaptation period in which the stimuli sounded continously for 5 min. Analyses of the GSR manifestation of the orienting responses indicated: (a) an over-all primacy effect with the auditory stimuli and (b) the primacy effect occurred in the 5-sec.-same but not in the 30-sec.-same condition as predicted.     

Auditory-visual conflicts in the perceived duration of lights, tones and gaps

The perceived duration of a short tone (1,000 or 1,500 msec) was longer than that of a separately presented light of equal length. Thus, when light and tone were presented simultaneously, there was a conflict in perceived duration. In that case, the perceived duration of an interval filled with both light and tone was close to that of an interval filled with tone alone. A silent gap in otherwise continuous tone was perceived as longer than a gap in otherwise continuous light, and the perceived duration of a gap occurring simultaneously in both light and tone was close to that of a gap in tone alone. Thus, auditory dominance occurred under the preceding conditions-that is, auditory-visual conflicts in perceived duration, whether occurring between filled intervals or gaps, were resolved in favor of the auditory modality. Visual dominance occurred only under one condition, in which the intensity of tone was reduced, and in which the perceived duration of a 500-msec light was longer than that of a 500-msec tone. The finding of auditory dominance in the perception of time runs counter to the results of studies of sensory conflicts in spatial perception, where vision typically dominates audition and touch.     

Time course of information processing during scene perception: The relationship between saccade amplitude and fixation duration

The present study focuses on two aspects of the time course of visual information processing during the perception of natural scenes. The first aspect is the change of fixation duration and saccade amplitude during the first couple of seconds of the inspection period, as has been described by Buswell (), among others. This common effect suggests that the saccade amplitude and fixation duration are in some way controlled by the same mechanism. A simple exponential model containing two parameters can describe the phenomena quite satisfactorily. The parameters of the model show that saccade amplitude and fixation duration may be controlled by a common mechanism. The second aspect under scrutiny is the apparent lack of correlation between saccade amplitude and fixation duration (Viviani, ). The present study shows that a strong but nonlinear relationship between saccade amplitude and fixation duration does exist in picture viewing. A model, based on notions laid out by Findlay and Walker's () model of saccade generation and on the idea of two modes of visual processing (Trevarthen, ), was developed to explain this relationship. The model both fits the data quite accurately and can explain a number of related phenomena.     

Sing that tune: Infants’ perception of melody and lyrics and the facilitation of phonetic recognition in songs

To better understand how infants process complex auditory input, this study investigated whether 11-month-old infants perceive the pitch (melodic) or the phonetic (lyric) components within songs as more salient, and whether melody facilitates phonetic recognition. Using a preferential looking paradigm, uni-dimensional and multi-dimensional songs were tested; either the pitch or syllable order of the stimuli varied. As a group, infants detected a change in pitch order in a 4-note sequence when the syllables were redundant (experiment 1), but did not detect the identical pitch change with variegated syllables (experiment 2). Infants were better able to detect a change in syllable order in a sung sequence (experiment 2) than the identical syllable change in a spoken sequence (experiment 1). These results suggest that by 11 months, infants cannot “ignore” phonetic information in the context of perceptually salient pitch variation. Moreover, the increased phonetic recognition in song contexts mirrors findings that demonstrate advantages of infant-directed speech. Findings are discussed in terms of how stimulus complexity interacts with the perception of sung speech in infancy.     

Reflex modification in the rat: the inhibitory effects of intensity and frequency changes in steady tones

In laboratory rats (as in humans) a low-intensity tone that precedes a high-intensity burst of noise by approximately 100 ms can reduce the amplitude of the startle reaction elicited by the burst of noise. A series of four experiments with rats investigated the relation between the inhibitory effects of tonal frequency change and the length of the silent period (gap) preceding it. The major findings were the following: (a) A gap in an otherwise continuous pure tone inhibited startle when the gap occurred approximately 100 ms prior to the noise burst. (b) Although an increase in gap duration increased the inhibition afforded by the gap, the maximum inhibition was yielded by gaps of 100 ms and greater; this maximum was equivalent to the inhibition yielded by the presentation of a postgap tone alone. (c) A shift in tonal frequency across a 10-ms gap yielded more inhibition than did the same gap with no frequency shift; again the shift yielded equivalent inhibition to the presentation of the postgap tone alone. (d) An increase in the frequency shift increased inhibition when the shift occurred across a 10-ms gap, but not when the shift occurred across a 100-ms gap.     

Message in a ballad: the role of music preferences in interpersonal perception

How is information about people conveyed through their preferences for certain kinds of music? Here we show that individuals use their music preferences to communicate information about their personalities to observers, and that observers can use such information to form impressions of others. Study 1 revealed that music was the most common topic in conversations among strangers given the task of getting acquainted. Why was talk about music so prevalent? Study 2 showed that (a) observers were able to form consensual and accurate impressions on the basis of targets' music preferences, (b) music preferences were related to targets' personalities, (c) the specific cues that observers used tended to be the ones that were valid, and (d) music preferences reveal information that is different from that obtained in other zero-acquaintance contexts. Discussion focuses on the mechanisms that may underlie the links between personality and music preferences.     

The role of knowledge-based expectations in music perception: evidence from musical restoration

The perceptual restoration of musical sounds was investigated in 5 experiments with Samuel's (1981a) discrimination methodology. Restoration in familiar melodies was compared to phonemic restoration in Experiment 1. In the remaining experiments, we examined the effect of expectations (generated by familiarity, predictability, and musical schemata) on musical restoration. We investigated restoration in melodies by comparing familiar and unfamiliar melodies (Experiment 2), as well as unfamiliar melodies varying in tonal and rhythmic predictability (Experiment 3). Expectations based on both familiarity and predictability were found to reduce restoration at the melodic level. Restoration at the submelodic level was investigated with scales and chords in Experiments 4 and 5. At this level, key-based expectations were found to increase restoration. Implications for music perception, as well as similarities between restoration in music and speech, are discussed.     

Isolating the interference caused by cue duration in partial report: A quantitative approach

In bar-probe partial report experiments, subjects are presented with a brief array of letters, followed by a cue that singles out a target letter. Using this procedure, V. M. Townsend (1973) reported a counterintuitive effect: As the duration of a cue was increased, target performance decreased dramatically. The aim of the present study was to isolate the locus of the cue-duration effect. To this end, several characteristics of the bar-probe display were manipulated in a single experiment: the interstimulus interval between the array and the cue, array density, the number of letters, and the number of symbols adjacent to the target. These factors were manipulated on a priori grounds so as to affect the different sources of information used in the bar-probe task--namely, durable storage, abstract identity information, and feature level information. The data were accurately fit by a simple quantitative, multinomial model that assumes that the different sources of information used in the bar-probe task make independent contributions to performance. The critical assumption of the model is that cue duration interferes with only one source of information--namely, feature level information.