The role of melodic and temporal cues in perceiving musical meter

A number of different cues allow listeners to perceive musical meter. Three experiments examined effects of melodic and temporal accents on perceived meter in excerpts from folk songs scored in 6/8 or 3/4 meter. Participants matched excerpts with 1 of 2 metrical drum accompaniments. Melodic accents included contour change, melodic leaps, registral extreme, melodic repetition, and harmonic rhythm. Two experiments with isochronous melodies showed that contour change and melodic repetition predicted judgments. For longer melodies in the 2nd experiment, variables predicted judgments best at the beginning of excerpts. The final experiment, with rhythmically varied melodies, showed that temporal accents, tempo, and contour change were the strongest predictors of meter. The authors' findings suggest that listeners combine multiple melodic and temporal features to perceive musical meter.     

Surface and structural effects of pitch and time on global melodic expectancies

Psychological Research - We investigated how the surface and structural information of pitch and time in melodies contribute to the perceived expectancy of melodic segments. The contour (pitch...     

Controlled attending as a function of melodic and temporal context

Melodic and rhythmic context were systematically varied in a pattern recognition task involving pairs (standard-comparison) of nine-tone auditory sequences. The experiment was designed to test the hypothesis that rhythmic context can direct attention toward or away from tones which instantiate higher order melodic rules. Three levels of melodic structure (one, two, no higher order rules) were crossed with four levels of rhythm [isochronous, dactyl (A U U), anapest (U U A), irregular]. Rhythms were designed to shift accent locations on three centrally embedded tones. Listeners were more accurate in detecting violations of higher order melodic rules when the rhythmic context induced accents on tones which instantiated these rules. Effects are discussed in terms of attentional rhythmicity.     

Auditory feedback in music performance: the role of melodic structure and musical skill

Five experiments explored whether fluency in musical sequence production relies on matches between the contents of auditory feedback and the planned outcomes of actions. Participants performed short melodies from memory on a keyboard while musical pitches that sounded in synchrony with each keypress (feedback contents) were altered. Results indicated that altering pitch contents can disrupt production, but only when altered pitches form a sequence that is structurally similar to the planned sequence. These experiments also addressed the role of musical skill: Experiments 1 and 3 included trained pianists; other experiments included participants with little or no musical training. Results were similar across both groups with respect to the disruptive effects of auditory feedback manipulations. These results support the idea that a common hierarchical representation guides sequences of actions and the perception of event sequences and that this coordination is not acquired from learned associations formed by musical skill acquisition.     

Syntactic structure building in the anterior temporal lobe during natural story listening

The neural basis of syntax is a matter of substantial debate. In particular, the inferior frontal gyrus (IFG), or Broca’s area, has been prominently linked to syntactic processing, but the anterior temporal lobe has been reported to be activated instead of IFG when manipulating the presence of syntactic structure. These findings are difficult to reconcile because they rely on different laboratory tasks which tap into distinct computations, and may only indirectly relate to natural sentence processing. Here we assessed neural correlates of syntactic structure building in natural language comprehension, free from artificial task demands. Subjects passively listened to Alice in Wonderland during functional magnetic resonance imaging and we correlated brain activity with a word-by-word measure of the amount syntactic structure analyzed. Syntactic structure building correlated with activity in the left anterior temporal lobe, but there was no evidence for a correlation between syntactic structure building and activity in inferior frontal areas. Our results suggest that the anterior temporal lobe computes syntactic structure under natural conditions.     

Conceptual blending of high-level features and data-driven salience computation in melodic generation

Conceptual Blending (CB) theory describes the cognitive mechanisms underlying the way humans process the emergence of new conceptual spaces by blending two input spaces. CB theory has been primarily used as a method for interpreting creative artefacts, while recently it has been utilised in the context of computational creativity for algorithmic invention of new concepts. Examples in the domain of music include the employment of CB interpretatively as a tool to explain musical semantic structures based on lyrics of songs or on the relations between body gestures and music structures. Recent work on generative applications of CB has shown that proper low-level representation of the input spaces allows the generation of consistent and sometimes surprising blends. However, blending high-level features (as discussed in the interpretative studies) of music explicitly, is hardly feasible with mere low-level representation of objects. Additionally, selecting features that are more salient in the context of two input spaces and relevant background knowledge and should, thus, be preserved and integrated in new interesting blends has not yet been tackled in a cognitively pertinent manner. The paper at hand proposes a novel approach to generating new material that allows blending high-level features by combining low-level structures, based on statistically computed salience values for each high-level feature extracted from data. The proposed framework is applied to a basic but, at the same time, complicated field of music, namely melodic generation. The examples presented herein allow an insightful examination of what the proposed approach does, revealing new possibilities and prospects.     

Independent temporal and pitch structures in determination of musical phrases

In two experiments we addressed the roles of temporal and pitch structures in judgments of melodic phrases. Musical excerpts were rated on how good or complete a phrase they made. In Experiment 1, trials in the temporal condition retained the original temporal pattern but were equitonal; trials in the pitch condition retained the original pitch pattern but were equitemporal; and trials in the melody condition contained both temporal and pitch patterns. In Experiment 2, one pattern (pitch or temporal) was shifted in phase and recombined with the other pattern to create the pitch and temporal conditions. In the melody condition, both patterns were shifted together. In both experiments, ratings in the temporal and pitch conditions were uncorrelated, and the melody condition ratings were accurately predicted by a linear combination of the pitch and temporal condition ratings. These results were consistent across musicians with varying levels of experience.     

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.     

The detection and tracing of melodic key changes

Adjusting to key changes in music is vital to a listener's understanding of it, although it is unclear when this adjustment occurs. In three experiments, participants heard obscure melodies that sometimes contained key changes. Both the number of notes after the change and the change distance were manipulated. For one task, the participants were explicitly asked to detect a change. For another task, the participants rated probe tones. These ratings allowed us to trace the listeners' multiple representations of keys. Results suggest that old keys were abruptly abandoned but that new keys were accepted gradually. More distant key changes (e.g., C-F#) were associated with more accurate detection of change, as well as with more time being required to adapt to the new key.     

The motivational value of listening during intimate and difficult conversations

Outcomes of conversations, including those dealing with controversial, deeply personal, or threatening disclosures, result not only from what is said but also from how listeners receive these messages. This article integrates the motivational framework of self-determination theory (SDT) and the expanding literature on interpersonal listening to explore the reasons why high-quality listening is so impactful during these conversations. We describe why high-quality listening is a specific and distinguishable autonomy-supportive motivational strategy, and argue that there is much to gain by considering that listening can satisfy basic psychological needs, in particular for autonomy and relatedness. We argue that SDT can help explain why high-quality listening is effective, especially in reducing defensiveness, bridging divides, and motivating change. The discussion focuses on ways motivation science can build more effective interventions for behavioral change by harnessing listening as an interpersonal strategy.     

Time judgments of musical endings: effects of expectancies on the "filled interval effect"

In two experiments, the influence of musical endings on duration judgments was examined. In Experiment 1, subjects were asked to compare the duration of paired folk tunes that could vary in their degree of resolution. Results showed that melodies ending on the leading tone interval were underestimated relative to songs ending on the conventional tonic. Experiment 2 further revealed that time estimates were influenced by a melody's preceding temporal accent structure. Melodies ending earlier than expected were judged significantly shorter, particularly when the tune ended on the leading-tone interval. Conversely, tonic endings were judged substantially longer when they appeared to occur "too late" in time. Results are discussed in terms of a contrast model which emphasizes the role of expectancies on duration judgments.     

Specialist musical training and the octave illusion: analytical listening and veridical perception by pipe organists

The octave illusion is a useful tool for investigation of the contribution of specialist training to auditory perception. The stimulus that induces the illusion involves two tones with a frequency ratio of 2:1, presented dichotically, and with ear of presentation reversed every 250 ms. Most listeners report hearing a single tone that alternates from high in the right ear to low in the left ear [Scientific American 233 (1975) 92-104]. The first experiment investigated the hypothesis that musical training contributes to veridical perception of an ambiguous stimulus. As hypothesized, participants with the highest level of musical training were more likely to perceive the stimulus veridically. Exploring the effects of specialist training, Experiment 2 contrasted expert pipe organists with other instrumentalists. As hypothesized, participants expert in playing pipe organ--an instrument with harmonic and spatial features similar to those of the octave illusion--were more likely to perceive the stimulus veridically. The results have implications for plasticity of the auditory system and the analytical listening that accompanies specialist, intensive training and rehearsal.     

Metrical congruency and kinematic familiarity facilitate temporal binding between musical and dance rhythms

Although music and dance are often experienced simultaneously, it is unclear what modulates their perceptual integration. This study investigated how two factors related to music–dance correspondences influenced audiovisual binding of their rhythms: the metrical match between the music and dance, and the kinematic familiarity of the dance movement. Participants watched a point-light figure dancing synchronously to a triple-meter rhythm that they heard in parallel, whereby the dance communicated a triple (congruent) or a duple (incongruent) visual meter. The movement was either the participant’s own or that of another participant. Participants attended to both streams while detecting a temporal perturbation in the auditory beat. The results showed lower sensitivity to the auditory deviant when the visual dance was metrically congruent to the auditory rhythm and when the movement was the participant’s own. This indicated stronger audiovisual binding and a more coherent bimodal rhythm in these conditions, thus making a slight auditory deviant less noticeable. Moreover, binding in the metrically incongruent condition involving self-generated visual stimuli was correlated with self-recognition of the movement, suggesting that action simulation mediates the perceived coherence between one’s own movement and a mismatching auditory rhythm. Overall, the mechanisms of rhythm perception and action simulation could inform the perceived compatibility between music and dance, thus modulating the temporal integration of these audiovisual stimuli.     

The influence of melodic context on pitch recognition judgment

Subjects made delayed pitch comparisons between tones that were each preceded by tones of lower pitch. The pitches of these preceding tones were so chosen that in some conditions the melodic intervals formed by the standard (S) and comparison (C) combinations were identical, and in others they differed. A strong effect of melodic relational context was demonstrated. When the S and C combinations formed identical melodic intervals, there was an increased tendency for the S and C tones to be judged as identical. And when the S and C combinations formed different melodic intervals, there was an increased tendency for the S and C tones to be judged as different. These effects occurred both when the S and C tones were identical in pitch and also when these differed, and they occurred despite instructions to attend only to the S and C tones.