Timing variations in music performance: musical communication, perceptual compensation, and/or motor control?

A perceptual performance paradigm was designed to disentangle the timing variations in music performance that are due to perceptual compensation, motor control, and musical communication. First, pianists perceptually adjusted the interonset intervals of three excerpts so that they sounded regular. These adjustments deviated systematically from regularity, highlighting two sources of perceptual biases in time perception: rhythmic grouping and a psychoacoustic intensity effect. Then the participants performed the excerpts on the piano in the same regular way. The intensity effect disappeared, and some variations due to motor constraints were observed in relation to rhythmic groups. Finally, the participants performed the excerpts musically. Variations due to musical communication involved additional group-final lengthening that reflected the hierarchical grouping structure of the excerpts. These results underline the nuclear role of grouping in musical time perception and production.     

Context Effects on Musical Chord Categorization: Different Forms of Top‐Down Feedback in Speech and Music?

A critical issue in perception is the manner in which top-down expectancies guide lower level perceptual processes. In speech, a common paradigm is to construct continua ranging between two phonetic endpoints and to determine how higher level lexical context influences the perceived boundary. We applied this approach to music, presenting participants with major/minor triad continua after brief musical contexts. Two experiments yielded results that differed from classic results in speech perception. In speech, context generally expands the category of the expected stimuli. We found the opposite in music: The major/minor boundary shifted toward the expected category, contracting it. Together, these experiments support the hypothesis that musical expectancy can feed back to affect lower-level perceptual processes. However, it may do so in a way that differs fundamentally from what has been seen in other domains.     

Enacting musical emotions. sense-making,dynamic systems,and the embodied mind

The subject of musical emotions has emerged only recently as a major area of research. While much work in this area offers fascinating insights to musicological research, assumptions about the nature of emotional experience seem to remain committed to appraisal, representations, and a rule-based or information-processing model of cognition. Over the past three decades alternative ‘embodied’ and ‘enactive’ models of mind have challenged this approach by emphasising the self-organising aspects of cognition, often describing it as an ongoing process of dynamic interactivity between an organism and its environment. More recently, this perspective has been applied to the study of emotion in general, opening up interesting new possibilities for theory and research. This new approach, however, has received rather limited attention in musical contexts. With this in mind, we critically review the history of music and emotion studies, arguing that many existing theories offer only limited views of what musical-emotional experience entails. We then attempt to provide preliminary grounding for an alternative perspective on music and emotion based on the enactive/dynamic systems approach to the study of mind.     

TWO ISSUES IN AUDITORY COGNITION:

Abstract— The study of auditory and music cognition provides opportunities to explore general cognitive mechanisms in a specific, highly structured domain We discuss two problems with implications for other domains of perception the self-organization of perceptual categories and invariant pattern recognition The perceptual category we consider is the octave We show how general principles of self-organization operating on a cochlear spectral representation can vield octave categories The example of invariant pattern recognition we consider is the recognition of invariant frequency patterns transformed to different absolute frequencies We suggest a system that uses pitch or musical key to map tones into a pitch-invariant format.     

Infant music perception: domain-general or domain-specific mechanisms?

We review the literature on infants' perception of pitch and temporal patterns, relating it to comparable research with human adult and non-human listeners. Although there are parallels in relative pitch processing across age and species, there are notable differences. Infants accomplish such tasks with ease, but non-human listeners require extensive training to achieve very modest levels of performance. In general, human listeners process auditory sequences in a holistic manner, and non-human listeners focus on absolute aspects of individual tones. Temporal grouping processes and categorization on the basis of rhythm are evident in non-human listeners and in human infants and adults. Although synchronization to sound patterns is thought to be uniquely human, tapping to music, synchronous firefly flashing, and other cyclic behaviors can be described by similar mathematical principles. We conclude that infants' music perception skills are a product of general perceptual mechanisms that are neither music- nor species-specific. Along with general-purpose mechanisms for the perceptual foundations of music, we suggest unique motivational mechanisms that can account for the perpetuation of musical behavior in all human societies.     

Spatial representation of pitch height: the SMARC effect

Through the preferential pairing of response positions to pitch, here we show that the internal representation of pitch height is spatial in nature and affects performance, especially in musically trained participants, when response alternatives are either vertically or horizontally aligned. The finding that our cognitive system maps pitch height onto an internal representation of space, which in turn affects motor performance even when this perceptual attribute is irrelevant to the task, extends previous studies on auditory perception and suggests an interesting analogy between music perception and mathematical cognition. Both the basic elements of mathematical cognition (i.e. numbers) and the basic elements of musical cognition (i.e. pitches), appear to be mapped onto a mental spatial representation in a way that affects motor performance.     

音乐知觉期待的研究述评

音乐知觉期待是音乐时间知觉过程中重要的心理现象,它直接影响音乐作为时间艺术的本质特性。文章主要探讨了和音乐知觉期待相关的以下几方面问题：音乐知觉期待存在的范畴,音乐知觉期待依靠音乐元素的四种期待率,音乐知觉期待存在的两种类别和采用的五种研究范式,音乐知觉期待研究的主要领域（神经生理机制、记忆和启动效应等方面）,以及音乐知觉期待通过音乐时间知觉和时间估计对音乐时间操作的影响。展望该领域今后研究的方向,可以认为,对音乐知觉期待的心理特征和存在条件在音乐时间操作中作用的进一步研究,将在很大程度上揭示音乐时间操作中的普遍现象——计时偏差的真正原因     

音乐知觉期待的特征研究

音乐知觉期待是音乐存在的奉质特征,主要的表现是：知觉期待是构成音乐基本元素的心理基础,知觉期待是影响音乐记忆的薅要原因,音乐知觉的心理机制是由“传输激活”引起的期待,知觉期待影响音乐时间操作的心理过程。     

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.     

Stream segregation revisited: Dynamic listening and influences of emotional context on stream perception and attention

A classical experiment of auditory stream segregation is revisited, reconceptualising perceptual ambiguity in terms of affordances and musical engagement. Specifically, three experiments are reported that investigate how listeners’ perception of auditory sequences change dynamically depending on emotional context. The experiments show that listeners adapt their attention to higher or lower pitched streams (Experiments 1 and 2) and the degree of auditory stream integration or segregation (Experiment 3) in accordance with the presented emotional context. Participants with and without formal musical training show this influence, although to differing degrees (Experiment 2). Contributing evidence to the literature on interactions between emotion and cognition, these experiments demonstrate how emotion is an intrinsic part of music perception and not merely a product of the listening experience.     

Language Experience Affects Grouping of Musical Instrument Sounds

Language experience clearly affects the perception of speech, but little is known about whether these differences in perception extend to non‐speech sounds. In this study, we investigated rhythmic perception of non‐linguistic sounds in speakers of French and German using a grouping task, in which complexity (variability in sounds, presence of pauses) was manipulated. In this task, participants grouped sequences of auditory chimeras formed from musical instruments. These chimeras mimic the complexity of speech without being speech. We found that, while showing the same overall grouping preferences, the German speakers showed stronger biases than the French speakers in grouping complex sequences. Sound variability reduced all participants’ biases, resulting in the French group showing no grouping preference for the most variable sequences, though this reduction was attenuated by musical experience. In sum, this study demonstrates that linguistic experience, musical experience, and complexity affect rhythmic grouping of non‐linguistic sounds and suggests that experience with acoustic cues in a meaningful context (language or music) is necessary for developing a robust grouping preference that survives acoustic variability.     

Pitch distribution,melodic contour or both? Modeling makam schema with multidimensional scaling and self-organizing maps

Experienced listeners internalize musical tonal knowledge via statistical learning of pitch distributions as a result of exposure to musical environment. Cross-cultural studies of music cognition offer new perspectives to investigate the acquisition of tonal schema. Makam music is a rich musical system characterized by modal structures defined by micro-tonal pitch sets, and melodic progression patterns (aka seyir features). Makam schema is possibly acquired by internalizing the seyir in addition to pitch features. In the current study, we examined whether an ideal model of makam schema is built with multidimensional scaling analysis and with self-organizing maps (SOMs). We were interested in whether statistical information about seyir features, in addition to pitch distributions, would form an acceptable makam schema model. We qualitatively analyzed topographical organizations in the models to understand whether they reflect complex relations between makams. Multidimensional scaling analyses did not produce an acceptable model for makam schema. The SOM trained with pitch distributions provided an adequate model for makam schema. However, the SOM trained with both pitch distributions and seyir features was better in capturing the complex relations between makams. Further behavioral research is necessary to understand whether melodic progression patterns are intrinsic features of the tonal knowledge of the experienced listeners of makam music.     

Emotional response to musical repetition

Two experiments examined the effects of repetition on listeners' emotional response to music. Listeners heard recordings of orchestral music that contained a large section repeated twice. The music had a symmetric phrase structure (same-length phrases) in Experiment 1 and an asymmetric phrase structure (different-length phrases) in Experiment 2, hypothesized to alter the predictability of sensitivity to musical repetition. Continuous measures of arousal and valence were compared across music that contained identical repetition, variation (related), or contrasting (unrelated) structure. Listeners' emotional arousal ratings differed most for contrasting music, moderately for variations, and least for repeating musical segments. A computational model for the detection of repeated musical segments was applied to the listeners' emotional responses. The model detected the locations of phrase boundaries from the emotional responses better than from performed tempo or physical intensity in both experiments. These findings indicate the importance of repetition in listeners' emotional response to music and in the perceptual segmentation of musical structure.     

Towards a neural basis of music perception

Music perception involves complex brain functions underlying acoustic analysis, auditory memory, auditory scene analysis, and processing of musical syntax and semantics. Moreover, music perception potentially affects emotion, influences the autonomic nervous system, the hormonal and immune systems, and activates (pre)motor representations. During the past few years, research activities on different aspects of music processing and their neural correlates have rapidly progressed. This article provides an overview of recent developments and a framework for the perceptual side of music processing. This framework lays out a model of the cognitive modules involved in music perception, and incorporates information about the time course of activity of some of these modules, as well as research findings about where in the brain these modules might be located.     

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.     

Musicians and tone-language speakers share enhanced brainstem encoding but not perceptual benefits for musical pitch

Behavioral and neurophysiological transfer effects from music experience to language processing are well-established but it is currently unclear whether or not linguistic expertise (e.g., speaking a tone language) benefits music-related processing and its perception. Here, we compare brainstem responses of English-speaking musicians/non-musicians and native speakers of Mandarin Chinese elicited by tuned and detuned musical chords, to determine if enhancements in subcortical processing translate to improvements in the perceptual discrimination of musical pitch. Relative to non-musicians, both musicians and Chinese had stronger brainstem representation of the defining pitches of musical sequences. In contrast, two behavioral pitch discrimination tasks revealed that neither Chinese nor non-musicians were able to discriminate subtle changes in musical pitch with the same accuracy as musicians. Pooled across all listeners, brainstem magnitudes predicted behavioral pitch discrimination performance but considering each group individually, only musicians showed connections between neural and behavioral measures. No brain-behavior correlations were found for tone language speakers or non-musicians. These findings point to a dissociation between subcortical neurophysiological processing and behavioral measures of pitch perception in Chinese listeners. We infer that sensory-level enhancement of musical pitch information yields cognitive-level perceptual benefits only when that information is behaviorally relevant to the listener.     

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.     

音乐的神经美学：从审美反应到神经基础

近年来, 随着音乐的神经科学与神经美学的发展, 逐渐形成一个新的研究领域, 即音乐的神经美学。这一研究领域关注音乐审美的心理过程和神经机制, 将注意力集中于音乐审美活动中的感知、认知和情感解释。音乐审美加工引起了相应的审美反应, 其中有三种音乐审美反应得到研究者更多的关注, 即音乐审美情绪、判断与偏好。研究者围绕这三种反应, 对音乐审美反应的知觉、认知、情绪加工和影响因素以及其神经机制展开研究。这些研究为我们理解音乐和美学的行为与神经机制提供了经验性证据。     

It's not what you play,it's how you play it: Timbre affects perception of emotion in music

Salient sensory experiences often have a strong emotional tone, but the neuropsychological relations between perceptual characteristics of sensory objects and the affective information they convey remain poorly defined. Here we addressed the relationship between sound identity and emotional information using music. In two experiments, we investigated whether perception of emotions is influenced by altering the musical instrument on which the music is played, independently of other musical features. In the first experiment, 40 novel melodies each representing one of four emotions (happiness, sadness, fear, or anger) were each recorded on four different instruments (an electronic synthesizer, a piano, a violin, and a trumpet), controlling for melody, tempo, and loudness between instruments. Healthy participants (23 young adults aged 18–30 years, 24 older adults aged 58–75 years) were asked to select which emotion they thought each musical stimulus represented in a four-alternative forced-choice task. Using a generalized linear mixed model we found a significant interaction between instrument and emotion judgement with a similar pattern in young and older adults (p < .0001 for each age group). The effect was not attributable to musical expertise. In the second experiment using the same melodies and experimental design, the interaction between timbre and perceived emotion was replicated (p < .05) in another group of young adults for novel synthetic timbres designed to incorporate timbral cues to particular emotions. Our findings show that timbre (instrument identity) independently affects the perception of emotions in music after controlling for other acoustic, cognitive, and performance factors.