Global context effects on musical expectancy

The effects of global harmonic contexts on expectancy formation were studied in a set of three experiments. Eight-chord sequences were presented to subjects. Expectations for the last chord were varied by manipulating the harmonic context created by the first six: in one context, the last chord was part of an authentic cadence (V–I), whereas in the other, it was a fourth harmonic degree following a full cadence (I–IV). Given this change in harmonic function, the last chord was assumed to be more expected in the former context, all the other local parameters being held constant. The effect of global context on expectancy formation was supported by the fact that subjects reported a lower degree of completion for sequences ending on an unexpected chord (Experiment 1), took longer to decide whether the last chord belonged to the sequence when the last chord was unexpected (Experiment 2), and took longer to decide whether the last chord was consonant or dissonant when it was unexpected (Experiment 3). These results are discussed with reference to current models of tonal cognition.     

Perceiving musical tension in long chord sequences

We attempted to predict perceived musical tension in longer chord sequences by hierarchic and sequential models based on Lerdahl and Jackendoff's and Lerdahl's cognitive theories and on Parncutt's sensory-psychoacoustical theory. Musicians and nonmusicians were asked to rate the perceived tension of chords which were drawn either from a piece composed for the study (Exp. 1) or from a Chopin Prelude (Exps. 2–4). In Exps. 3 and 4, several experimental manipulations were made to emphasize either the global or the local structure of the piece and to verify how these manipultions would affect the respective contribution of the models in the ratings. In all experiments, musical tension was only weakly influenced by global harmonic structure. Instead, it mainly seemed to be determined locally, by harmonic cadences. The hierarchic model of Lerdahl and Jackendoff provided the best fit to tension ratings, not because it accounted for global hierarchic effects, but because it captured the local effect of cadences. By reacting to these local structures, tension ratings fit quite well with a hierarchic model, even though the participants were relatively insensitive to the global structure of the pieces. As a main outcome, it is argued that musical events were perceived through a short perceptual window sliding from cadence to cadence along a sequence. Received: 24 March 1997 / Accepted: 10 May 1998     

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.     

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.     

Effects of harmonics on relative pitch discrimination in a musical context

The contribution of different harmonics to pitch salience in a musical context was examined by requiring subjects to discriminate a small (1/4 semitone) pitch change in one note of a melody that repeated in transposition. In Experiment 1, performance was superior when more harmonics were present (first five vs. fundamental alone) and when the second harmonic (of tones consisting of the first two harmonics) was in tune compared with when it was out of tune. In Experiment 2, the effects of harmonics 6 and 8, which stand in octave-equivalent simple ratios to the fundamental (2∶3 and 1∶2, respectively) were compared with harmonics 5 and 7, which stand in more complex ratios (4:5 and 4:7, respectively). When the harmonics fused into a single percept (tones consisting of harmonics 1, 2, and one of 5, 6, 7, or 8), performance was higher when harmonics 6 or 8 were present than when harmonics 5 or 7 were present. When the harmonics did not fuse into a single percept (tones consisting of the fundamental and one of 5, 6, 7, or 8), there was no effect of ratio simplicity.     

The social context of musical success: A developmental account

This paper brings together extensive data from 257 children to explore the relative importance of social‐environmental factors during critical periods of children's musical development. The paper also presents preliminary findings from a follow‐up of 20 of the most musically successful children 8 years later to determine which childhood factors predict differences in success as adult performers. Those children who continued to play an instrument started at an early age, had higher parental support in lessons, and had first teachers who were friendly but not too technically able. However, these factors alone were not sufficient to predict relative success in childhood. Successful childhood musicians also appear to need teachers who are ‘not too relaxed’ and also ‘not too pushy’ and they also need to do substantial amounts of practice. The follow‐up study suggested, though, that successful adult performers were not those who did the most practice; rather, the successful adults were those who took part in more concert activities in childhood, did more improvisation, and who had mothers at home in their early years. The results are discussed in relation to theories of musical development and the changing influences of parents, teachers and peers.     

Cerebellar patients demonstrate preserved implicit knowledge of association strengths in musical sequences

Recent findings suggest the involvement of the cerebellum in perceptual and cognitive tasks. Our study investigated whether cerebellar patients show musical priming based on implicit knowledge of tonal-harmonic music. Participants performed speeded phoneme identification on sung target chords, which were either related or less-related to prime contexts in terms of the tonal-harmonic system. As groups, both cerebellar patients and age-matched controls showed facilitated processing for related targets, as previously observed for healthy young adults. The outcome suggests that an intact cerebellum is not mandatory for accessing implicit knowledge stored in long-term memory and for its influence on perception. One patient showed facilitated processing for less-related targets (suggesting sensory priming). The findings suggest directions for future research on auditory perception in cerebellar patients to further our understanding of cerebellar functions.     

Sensitivity to event timing in regular and irregular sequences: Influences of musical skill

In two experiments, the performance of listeners with different amounts of musical training (high skill, low skill) was examined in a two-alternative forced choice time-detection task involving simple five-cycle acoustic sequences. In each of a series of trials, all listeners determined which of two pattern cycles contained a small time change. Sequence context was also varied (regular vs. irregular timing). In Experiment 1, in which context was manipulated as a between-subjects variable, high-skill listeners performed significantly better than low-skill listeners only with regular patterns. In Experiment 2, in which context was manipulated as a within-subjects variable, the only significant source of variance was pattern context: All listeners were better at detecting time changes in regular than in irregular patterns. The results are considered in light of several hypotheses, including the expectancy/contrast model (Jones & Boltz, 1989).     

The role of pitch and temporal diversity in the perception and production of musical sequences

In two experiments we explored how the dimensions of pitch and time contribute to the perception and production of musical sequences. We tested how dimensional diversity (the number of unique categories in each dimension) affects how pitch and time combine. In Experiment 1, 18 musically trained participants rated the complexity of sequences varying only in their diversity in pitch or time; a separate group of 18 pianists reproduced these sequences after listening to them without practice. Overall, sequences with more diversity were perceived as more complex, but pitch diversity influenced ratings more strongly than temporal diversity. Further, although participants perceived sequences with high levels of pitch diversity as more complex, errors were more common in the sequences with higher diversity in time. Sequences in Experiment 2 exhibited diversity in both pitch and time; diversity levels were a subset of those tested in Experiment 1. Again diversity affected complexity ratings and errors, but there were no statistical interactions between dimensions. Nonetheless, pitch diversity was the primary factor in determining perceived complexity, and again temporal errors occurred more often than pitch errors. Additionally, diversity in one dimension influenced error rates in the other dimension in that both error types were more frequent relative to Experiment 1. These results suggest that although pitch and time do not interact directly, they are nevertheless not processed in an informationally encapsulated manner. The findings also align with a dimensional salience hypothesis, in which pitch is prioritised in the processing of typical Western musical sequences.     

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.     

Searching for faces in scrambled scenes

While much is known about how faces are recognized, little is known about how a face is first detected. Five face-detection experiments investigated how faces are localized and detected among either scrambled natural backgrounds or inverted faces. The first two experiments revealed that faces pop out among the former but must be searched for serially among the latter. Two subsequent experiments investigated what properties of a face allow for this pop-out. Colour removal or reversal, blurring, and inversion all had small effects on the visual search slope. The only transformation that reduced the parallel nature of face detection was luminance reversal. These results are considered in the light of models of face processing and systems for automatic face detection.     

汉语塞-元-塞音序列语境效应机制探讨

以汉语塞-元音节(/pa/、/pi/和/pu/)及其声学线索的非言语模拟音为语境音,汉语/ta/-/ka/连续体为目标音,在3个实验中考察了语境音对汉语听者识别目标音的影响及潜在机制。实验1发现3个塞-元音节的语境效应与频谱对比效应的预期部分一致,与发音特征理论的预期相矛盾。实验2和实验3发现3个塞-元音节关键声学线索(第二共振峰轨迹)的非言语模拟音和所有共振峰轨迹的非言语模拟音表现出类似的语境效应,二者与3个塞-元音节的语境效应总体上一致,但细节方面存在一些差别。实验结果表明塞-元-塞音序列的语境效应主要源于语境音节关键声学线索的差异,这为听觉理论提供了支持,但语境音的语音范畴也部分影响到3个音节的语境效应模式。另外实验结果发现远离目标音关键声学线索频率区的语境音也促进了特定语音范畴的识别,可能由于语境音激活了相应语音范畴的声学线索。     

音乐训练对执行功能的影响

尽管音乐训练影响许多认知加工,但这种广泛性影响背后的机制迄今仍不清楚。近年来,研究者认为音乐训练的迁移效应可能是通过执行功能起作用。本文将执行功能细分为抑制控制、工作记忆、认知灵活性三个核心成分,考察音乐训练对这三个成分的影响以及执行功能在音乐训练迁移效应中的中介作用。研究结果表明,音乐训练对执行功能不同成分的影响有不同特点。同时,前额叶结构与功能的变化在音乐训练影响执行功能的过程中发挥着重要作用。此外,关于执行功能在音乐训练迁移效应中的中介作用,目前研究还存在不一致的结果,未来研究应采用多种技术手段深入探讨这一问题。     

Episodic encoding in normal aging: attentional resources hypothesis extended to musical material

The goal of the present study was to examine age-related changes in musical episodic memory for novel tunes. This was conducted by manipulating the encoding condition in a recognition paradigm. After receiving memory instructions (intentional condition), older and younger participants obtained equivalent hits. In contrast, when intentional encoding was accompanied by a dancing judgment (dancing + intentional condition), the recognition performance of the older persons was severely impaired. Impaired recognition was also found when participants only judged the excerpts without being instructed to memorize them (dancing judgment condition). Although older participants demonstrated a preserved ability to perform the dancing judgment on its own, this ability was not optimal and likely precluded the initiation of more elaborate encoding strategies. These results suggest that asking older persons to divide their attention in the study phase reduces the quality of their musical encoding. Given this extension to musical material, we discuss the notion that the age-related attentional resource decline appears to be domain-general rather than specific to verbal material.     

Musicians' and nonmusicians' short-term memory for verbal and musical sequences: Comparing phonological similarity and pitch proximity

Language-music comparative studies have highlighted the potential for shared resources or neural overlap in auditory short-term memory. However, there is a lack of behavioral methodologies for comparing verbal and musical serial recall. We developed a visual grid response that allowed both musicians and nonmusicians to perform serial recall of letter and tone sequences. The new method was used to compare the phonological similarity effect with the impact of an operationalized musical equivalent — pitch proximity. Over the course of three experiments, we found that short-term memory for tones had several similarities to verbal memory, including limited capacity and a significant effect of pitch proximity in nonmusicians. Despite being vulnerable to phonological similarity when recalling letters, however, musicians showed no effect of pitch proximity, a result that we suggest might reflect strategy differences. Overall, the findings support a limited degree of correspondence in the way that verbal and musical sounds are processed in auditory short-term memory.     

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

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

Toddlers' categorization of typical and scrambled dolls and cars

Previous research has demonstrated discrimination of scrambled from typical human body shapes at 15–18 months of age [Slaughter, V., & Heron, M. (2004). Origins and early development of human body knowledge. Monographs of the Society for Research in Child Development, 69]. In the current study 18-, 24- and 30-month-old infants were presented with four typical and four scrambled dolls in a sequential touching procedure, to assess the development of explicit categorization of human body shapes. Infants were also presented with typical and scrambled cars, allowing comparison of infants’ categorization of scrambled and typical exemplars in a different domain. Spontaneous comments regarding category membership were recorded. Girls categorized dolls and cars as typical or scrambled at 30 months, whereas boys only categorized the cars. Earliest categorization was for typical and scrambled cars, at 24 months, but only for boys. Language-based knowledge, coded from infants’ comments, followed the same pattern. This suggests that human body knowledge does not have privileged status in infancy. Gender differences in performance are discussed.     

Slippery context effect and critical bands.

This article explored the slippery context effect: When Ss judge the loudness of tones that differ in sound frequency as well as intensity, stimulus context (relative intensity levels at the 2 frequencies) can strongly influence the levels that are judged equally loud. It is shown that the size of the slippery context effect depends on the frequency difference between the tones: Small frequency differences (less than a critical bandwidth) produced essentially no slippery effect; much larger differences produced substantial effects. These results are consistent with a model postulating the existence of a central attentional or preattentive "filter-like" process whose weighting coefficients represent the size of the absolute as opposed to the relative (contextual) component of loudness perception and judgment.     

Relational information and the context effect in recognition memory

A role for relational information was examined for the paradigm in which recognition-memory performance on items tested in the same context in which they were studied is compared with performance on items tested in different contexts. Over a series of five experiments, randomly formed pairs were used to manipulate the context of high-frequency English words. Comparisons were made between instructional manipulations designed to influence the use of relational information, and between yes/no, confidence rating (both between- and within-subject), and forced-choice tasks. There was a context effect not due to the use of inappropriate response strategies. However, high-criterion subjects resembled those subjects who were specifically instructed to use relational information, while low-criterion subjects showed little or no context effect. A model specifying the relationship between item and relational information and how relational information influences decisions in recognition-memory paradigms was proposed.