Development of the perception of musical relations: semitone and diatonic structure

In the present research we examined the development of sensitivity to two musical relations significant in Western tonal music, the semitone and diatonic structure. Infants and preschool children were tested for their detection of a semitone change in any position of a five-note melody. Two standard melodies were used, one composed of diatonic tones only and the other containing a non-diatonic tone. In Experiment 1, children from 4 to 6 years of age were superior in detecting the semitone change in the diatonic context compared with the nondiatonic context. In Experiment 2, infants 9 to 11 months of age detected the semitone change in all positions, but their performance was not influenced by diatonic context. These findings indicate that infants and children can discriminate a semitone in a musical context and that the priority of diatonic structure emerges by 4 to 6 years of age.     

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.     

Cross-modal interactions in the perception of musical performance

We investigate the dynamics of sensory integration for perceiving musical performance, a complex natural behavior. Thirty musically trained participants saw, heard, or both saw and heard, performances by two clarinetists. All participants used a sliding potentiometer to make continuous judgments of tension (a measure correlated with emotional response) and continuous judgments of phrasing (a measure correlated with perceived musical structure) as performances were presented. The data analysis sought to reveal relations between the sensory modalities (vision and audition) and to quantify the effect of seeing the performances on participants' overall subjective experience of the music. In addition to traditional statistics, functional data analysis techniques were employed to analyze time-varying aspects of the data. The auditory and visual channels were found to convey similar experiences of phrasing but different experiences of tension through much of the performances. We found that visual information served both to augment and to reduce the experience of tension at different points in the musical piece (as revealed by functional linear modeling and functional significance testing). In addition, the musicians' movements served to extend the sense of phrasing, to cue the beginning of new phrases, to indicate musical interpretation, and to anticipate changes in emotional content. Evidence for an interaction effect suggests that there may exist an emergent quality when musical performances are both seen and heard. The investigation augments knowledge of human communicative processes spanning language and music, and involving multiple modalities of emotion and information transfer.     

The perception of musical rhythm and metre

The occurrence of relatively long notes, and the repetition of melodic phrases are important cues to the metre, or regular beat, of a piece of music. A model of how people use this information to infer the metre of unaccompanied melodies is described here. The model is in the form of a computer program, and involves a definition of melodic repetition which encompasses repetitions that include certain kinds of variation. The program has been applied to the task of analysing the metric structure of the forty-eight fugue subjects of the Well-Tempered Clavier by J S Bach. The program is discussed in relation to other models both of musical understanding and of sequential concept learning.     

Pitch interactions in the perception of isolated musical triads

In previous work done in our laboratory, we have investigated the perceived pitch class of isolated musical triads. We have found that as the amount of musical training increased, listeners perceptions progress, from very confused percepts of pitch class, to analytic percepts corresponding to the pitch class of the highest note in the triad, and finally to synthetic percepts corresponding to the root note for the more harmonic triad types. In the present work, we used a pitch matching technique to determine the actual pitch, rather than merely the pitch class, perceived when listeners analytically "hear out" a particular note in a major triad. There was a strong tendency for the pitch of the analytically perceived note to be displaced by as much as 60 cents in the direction of the other notes in the triad. The magnitude of this effect decreased as musical training increased, and it was also affected by the relative salience of the individual triad notes. These results have implications for the mechanism of triad perception, and for claims regarding the harmonic equivalence of triad inversions.     

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.     

Crossmodal interactions in the perception of expressivity in musical performance

In musical performance, bodily gestures play an important role in communicating expressive intentions to audiences. Although previous studies have demonstrated that visual information can have an effect on the perceived expressivity of musical performances, the investigation of audiovisual interactions has been held back by the technical difficulties associated with the generation of controlled, mismatching stimuli. With the present study, we aimed to address this issue by utilizing a novel method in order to generate controlled, balanced stimuli that comprised both matching and mismatching bimodal combinations of different expressive intentions. The aim of Experiment 1 was to investigate the relative contributions of auditory and visual kinematic cues in the perceived expressivity of piano performances, and in Experiment 2 we explored possible crossmodal interactions in the perception of auditory and visual expressivity. The results revealed that although both auditory and visual kinematic cues contribute significantly to the perception of overall expressivity, the effect of visual kinematic cues appears to be somewhat stronger. These results also provide preliminary evidence of crossmodal interactions in the perception of auditory and visual expressivity. In certain performance conditions, visual cues had an effect on the ratings of auditory expressivity, and auditory cues had a small effect on the ratings of visual expressivity.     

Infants' haptic perception of object unity in rotating displays

Four-month-old infants were allowed to manipulate, without vision, two rings attached to a bar that permitted each ring to undergo rotary motion against a fixed surface. In different conditions, the relative motions of the rings were rigid, independent, or opposite, and they circled either the same fixed point outside the zone of manipulation or spatially separated points. Infants' perception of the ring assemblies were affected by the nature of the rotary motion in two ways. First, infants perceived a unitary object when the felt ends of the object underwent a common, rigid rotary motion; perception of object unity was stronger in this condition than when the ends underwent either independent or opposite rotary motions. Second, infants perceived two distinct objects when the felt ends of the objects underwent independent rotary motions that centred on distinct fixed points. Perception of the distinctness of the objects was less clear when the ends underwent opposite or independent rotary motions that centred on a common fixed point. These findings provide the first evidence that infants are sensitive to rotary motion patterns and can extrapolate a global pattern of rigid motion from the distinct, local velocities that they produce and experience at their two hands.     

Selective perception of events

Two hundred and twelve subjects were given one of two interpretive sets prior to viewing an event. Following observation, the first interpretation was discredited, and subjects were asked to interpret the event they had seen under the contrasting set. Some subjects were only provided with the alternate interpretation, while others were also given an opportunity to view the event a second time. Both the perceptual segmentation and the subjects' impressions of the participants in the event were assessed. Results disclosed that (1) the two sets produced both differing perceptual organization and differing impressions of the participants; (2) reversing the sets produced a reversal of the impressions of the participants only when accompanied by a second viewing; and (3) the reversal of the impressions was accompanied by a shift in the perceptual organization of the event. It was concluded that observers may differ in their initial perception of an event as the result of differences in prior expectations, and that the resulting biased sample of information they acquire may limit their retrospective reinterpretation of the event.     

Motion and edge sensitivity in perception of object unity

Although much evidence indicates that young infants perceive unitary objects by analyzing patterns of motion, infants' abilities to perceive object unity by analyzing Gestalt properties and by integrating distinct views of an object over time are in dispute. To address these controversies, four experiments investigated adults' and infants' perception of the unity of a center-occluded, moving rod with misaligned visible edges. Both alignment information and depth information affected adults' and infants' perception of object unity in similar ways, and infants perceived object unity by integrating information about object features over time. However, infants perceived a moving, misaligned, three-dimensional object as indeterminate in its connectedness, whereas adults perceived it as connected behind the occluder. These findings indicate that the effectiveness of common motion in specifying unified surfaces across an occluder is reduced by misalignment of edges. Alignment information enhances perception of object unity either by serving directly as information for unity or by optimizing the detectability of motion-carried information for unity. In addition, young infants are able to retain information about edge orientation over short intervals in determining connectedness via a process of spatiotemporal integration.     

Hemispheric asymmetries in the perception of musical intervals as a function of musical experience and family handedness background

This study examines the effect of musical experience and family handedness background on the categorization of musical intervals (two-note chords). Right-handed subjects, who were divided into four groups on the basis of musical training and presence (or absence) of left-handed family members, categorized musical intervals which were monaurally presented to left or right ear. The results, based on consistency and discreteness of categorization, showed: (1) Musicians' performance is superior to nonmusicians'; (2) musicians and nonmusicians differ significantly on their ear of preference; (3) family handedness background significantly affects ear of preference among musicians but not among nonmusicians.     

声调范畴感知和声调复杂度对音乐音高感知的跨领域影响

采用音高识别与区分任务, 以汉语母语者、越南语母语者和俄语母语者为研究对象, 考察了两个语言加工层面的因素, 即声调范畴感知模式以及不同语言声调系统的复杂度差异对跨领域音乐音高感知的影响。结果发现: (1)汉语和越南语两组声调语言母语者听辨结果符合范畴感知模式, 而俄语母语者是连续感知。在语言和音乐两种刺激条件下, 声调语言母语者在范畴边界宽度、范畴内区分率、范畴间区分率以及区分峰度等指标上不存在显著差异。(2)汉语和越南语两组声调语言母语者的音乐音高区分任务结果差异不显著。实验结果表明: 在行为层面, 母语声调范畴感知模式可以迁移到音乐音高感知中, 但复杂声调系统并不能促进跨领域的音乐音高精细感知。实验结果从语言对音乐音高加工影响的角度支持了“共享论”。     

Young infants' perception of unity and form in occlusion displays

Young infants have been reported to perceive the unity of a center-occluded object when the visible ends of the object are aligned and undergo common motion but not when the edges of the object are misaligned (Johnson & Aslin, 1996). Using a recognition-based paradigm, the authors investigated the possibility that past research failed to provide sufficiently sensitive assessments of infants' perception of the unity of misaligned edges in partial occlusion displays. Positive evidence was obtained in 4-month-olds for veridical perception of the motion and location of a hidden region but not its orientation, whereas 7-month-olds, in contrast to the younger infants, appeared to respond to the orientation of the hidden region. Overall, the results suggest that habituation designs tapping recognition processes may be particularly efficacious in revealing infants' perceptual organization. In addition, the findings provide corroborative evidence for the importance of both motion and orientation in young infants' object segregation and for the difficulty in achieving percepts of the global form of a partly occluded object.     

Infants' intermodal perception of events

Four-month-old infants viewed two sound motion picture films of simple, natural events. The films were projected side by side, as one of the two sound tracks was played through a centrally placed speaker. Infants' visual attention to the films was consistently influenced by what they heard: They looked primarily at the event specified by the sound track. The experiment demonstrates that infants are able to perceive relations between sights and sounds in the absence of spatial cues. They respond to a perceived intermodal invariance with increased attention to the event reaching them over two modalities.     

Exploring the association between visual perception abilities and reading of musical notation

In the reading of music, the acquisition of pitch information depends primarily upon the spatial position of notes as well as upon an individual's spatial processing ability. This study investigated the relationship between the ability to read single notes and visual-spatial ability. Participants with high and low single-note reading abilities were differentiated based upon differences in musical notation-reading abilities and their spatial processing; object recognition abilities were then assessed. It was found that the group with lower note-reading abilities made more errors than did the group with a higher note-reading abilities in the mental rotation task. In contrast, there was no apparent significant difference between the two groups in the object recognition task. These results suggest that note-reading may be related to visual spatial processing abilities, and not to an individual's ability with object recognition.     

Children's perception of certain musical properties: scale and contour

Children's perception of scale and contour in melodies was investigated in five studies. Experimental tasks included judging transposed renditions of melodies (Studies 1 and 3), discriminating between transposed renditions of a melody (Study 2), judging contour-preserving transformations of melodies (Study 4), and judging similarity to a familiar target melody of transformations preserving rhythm or rhythm and contour (Study 5). The first and second studies showed that young children detect key transposition changes even in familiar melodies and they perceive similarity over key transpositions even in unfamiliar melodies. Young children also are sensitive to melodic contour over transformations that preserve it (Study 5), yet they distinguish spontaneously between melodies with the same contour and different intervals (Study 4). The key distance effect reported in the literature did not occur in the tasks of this investigation (Studies 1 and 3), and it may be apparent only for melodies shorter or more impoverished than those used here.