Some influences of accent structure on melody recognition

Two experiments were carried out to investigate the roles of joint accent structure and familiarity in delayed recognition of relatively long tonal melodies. Melodic themes of target melodies were defined by correlating contour-related pitch accents with temporal accents (accent coupling) during an initial familiarization phase. Later, subjects gave recognition responses to key-transposed versions of the target melodies as well as to decoys with same and different contour accent patterns. In Experiment 1, all to-be-recognized melodies occurred both in an original rhythm, which preserved accent coupling, and in a new rhythm, which did not. Listeners were best at distinguishing targets from different decoys, especially in the original rhythm. In Experiment 2, the familiarity of target tunes and the rhythmic similarity in recognition were varied. Similar rhythms preserved accent coupling, whereas dissimilar rhythms did not. Listeners were most adept in distinguishing familiar targets from different decoys (Experiment 2A), particularly when they appeared in novel but similar rhythms. However, in similar rhythm conditions, listeners also frequently mistook same decoys for targets. With less familiar targets (Experiment 2B), these effects were attenuated, and performance showed general effects of pitch contour.     

The perception of interleaved melodies

If the notes of two melodies whose pitch ranges do not overlap are interleaved in time so that successive tones come from the different melodies, the resulting sequence of tones is perceptually divided into groups that correspond to the two melodies. Such “melodic fission” demonstrates perceptual grouping based on pitch alone, and has been used extensively in music.Experiment I showed that the identification of interleaved pairs of familiar melodies is possible if their pitch ranges do not overlap, but difficult otherwise. A short-term recognition-memory paradigm (Expt II) showed that interleaving a “background” melody with an unfamiliar melody interferes with same-different judgments regardless of the separation of their pitch ranges, but that range separation attenuates the interference effect. When pitch ranges overlap, listeners can overcome the interference effect and recognize a familiar target melody if the target is prespecified, thereby permitting them to search actively for it (Expt III). But familiarity or prespecification of the interleaved background melody appears not to reduce its interfering effects on same-different judgments concerning unfamiliar target melodies (Expt IV).     

Some effects of rhythmic context on melody recognition

The effects of rhythmic context on the ability of listeners to recognize slightly altered versions of 10-tone melodies were examined in three experiments. Listeners judged the melodic equivalence of two auditory patterns when their rhythms were either the same or different. Rhythmic variations produced large effects on a bias measure, indicating that listeners judged melodies to be alike if their rhythms were identical. However, neither rhythm nor pattern rate affected discriminability measures in the first study, in which rhythm was treated as a within subjects variable. The other two studies examined rhythmic context as a between subjects variable. In these, significant effects of temporal uncertainty due to the number and type of rhythms involved in a block of trials, as well as their assignment to standard and comparison melodies on a given trial, were apparent on both discriminability and bias measures. Results were interpreted in terms of the effect of temporal context on the rhythmic targeting of attention.     

Maximum key-profile correlation (MKC) as a measure of tonal structure in music

Tonal structure is musical organization on the basis of pitch, in which pitches vary in importance and rate of occurrence according to their relationship to a tonal center. Experiment 1 evaluated the maximum key-profile correlation (MKC), a product of Krumhansl and Schmuckler’s key-finding algorithm (Krumhansl, 1990), as a measure of tonal structure. The MKC is the maximum correlation coefficient between the pitch class distribution in a musical sample and key profiles,which indicate the stability of pitches with respect to particular tonal centers. The MKC values of melodies correlated strongly with listeners’ ratings of tonal structure. To measure the influence of the temporal order of pitches on perceived tonal structure, three measures (fifth span, semitone span, and pitch contour) taken from previous studies of melody perception were also correlated with tonal structure ratings. None of the temporal measures correlated as strongly or as consistently with tonal structure ratings as did the MKC, and nor did combining them with the MKC improve prediction of tonal structure ratings. In Experiment 2, the MKC did not correlate with recognition memory of melodies. However, melodies with very low MKC values were recognized less accurately than melodies with very high MKC values. Although it does not incorporate temporal, rhythmic, or harmonic factors that may influence perceived tonal structure, the MKC can be interpreted as a measure of tonal structure, at least for brief melodies.     

Effects of attentional set and rhythmic complexity on attending

In a target detection task involving sustained attentional monitoring, rhythmic properties of tone sequences were found to affect detection performance (area under receiver-operating characteristic curves) and reaction times. Alternating tone frequencies (high, low) formed three different recurrent rhythms (binary, trinary, mixed) which varied in complexity. Attentional set was also manipulated so that participants attended either to tones of both frequencies (divided) or to only the higher of the two tones (selective). The most interesting finding involved an interaction between attentional set and rhythm, indicating that selective attending is enhanced by the most complex (mixed) rhythm, whereas divided attending tends to be best with the simplest rhythm (binary). Results are discussed in terms of a theory of dynamic attending, in which it is assumed that listeners actively use attending oscillators to direct attending.     

Does rule recursion make melodies easier to reproduce? If not, what does?

Two experiments examined the effects of variations in melodic rule structure and rhythm upon the ability of musically sophisticated listeners to reproduce auditory patterns. These experiments were designed to evaluate different theoretical perspectives on auditory pattern perception and the role of rule structure in perceiving and remembering. Predictions of a coding model, which emphasizes the impact of rule recursion, were contrasted with those of an accent model, which emphasizes the relative timing of melodic and temporal accents. Effects of recursive (hierarchical) and nonrecursive (linear) rule arrangements were studied in contexts where pattern contour differences were controlled for. Rhythm was also varied. Measured pauses were inserted between certain tones to make a rhythm compatible or incompatible with melodic rule phrases. Experiment 1 showed that pattern simplicity was determined not by rule recursive codes, but by the number and timing of contour changes and melodic rule breaks. Experiment 2 examined additional effects of rhythm on listeners' response to rule recursion and melodic phrasing in melodies of equivalent contour. Although modest effects of rule recursion appeared, these effects were again outweighed by large performance differences due to the relative timing of changes in contour and melodic rule structure. Implications of the accent model for dynamic attending are discussed in the context of a new proposal involving temporal phasing of accents.     

Levels-of-processing effects on "remember" responses in recognition for familiar and unfamiliar tunes

We investigated the effect of level-of-processing manipulations on "remember" and "know" responses in episodic melody recognition (Experiments 1 and 2) and how this effect is modulated by item familiarity (Experiment 2). In Experiment 1, participants performed 2 conceptual and 2 perceptual orienting tasks while listening to familiar melodies: judging the mood, continuing the tune, tracing the pitch contour, and counting long notes. The conceptual mood task led to higher d' rates for "remember" but not "know" responses. In Experiment 2, participants either judged the mood or counted long notes of tunes with high and low familiarity. A level-of-processing effect emerged again in participants' "remember" d' rates regardless of melody familiarity. Results are discussed within the distinctive processing framework.     

Infants use meter to categorize rhythms and melodies: implications for musical structure learning

Little is known about whether infants perceive meter, the underlying temporal structure of music. We employed a habituation paradigm to examine whether 7-month-old infants could categorize rhythmic and melodic patterns on the basis of the underlying meter, which was implied from event and accent frequency of occurrence. In Experiment 1, infants discriminated duple and triple classes of rhythm on the basis of implied meter. Experiment 2 replicated this result while controlling for rhythmic grouping structure, confirming that infants perceived metrical structure despite occasional ambiguities and conflicting group structure. In Experiment 3, infants categorized melodies on the basis of contingencies between metrical position and pitch. Infants presented with metrical melodies detected reversals of pitch/meter contingencies, while infants presented with non-metrical melodies showed no preference. Results indicate that infants can infer meter from rhythmic patterns, and that they may use this metrical structure to bootstrap their knowledge acquisition in music learning.     

Tonal expectations influence pitch perception

In this study, we investigated the influence of tonal relatedness on pitch perception in melodies. Tonal expectations for target tones were manipulated in melodic contexts while controlling sensory expectations, thus allowing us to assess specifically the influence oftonal expectations on pitch perception. Three experimentsprovided converging evidence that tonal relatedness modulates pitch perception in nonmusician listeners. Experiment 1 showed, with a rating task, the influence of the tonal relatedness of a target tone on listeners' judgments of tuning/mistuning. Experiment 2 showed, with a priming task, that pitch processing of in-tune tones was faster for tonally related targets than for less related targets. Experiment 3 showed, with a comparison task, that discrimination performance for small mistunings was better when the to-be-compared tones were tonally related to the melodic context. Findings are discussed in relation to psychoacoustic research on contextual pitch perception and to studies showing facilitation of early processing steps via knowledge- and attention-related processes.     

Perceiving speech rhythm in music: Listeners classify instrumental songs according to language of origin

Recent evidence suggests that the musical rhythm of a particular culture may parallel the speech rhythm of that culture’s language (Patel, A. D., & Daniele, J. R. (2003). An empirical comparison of rhythm in language and music. Cognition, 87, B35-B45). The present experiments aimed to determine whether listeners actually perceive such rhythmic differences in a purely musical context (i.e., in instrumental music without words). In Experiment 1a, listeners successfully classified instrumental renditions of French and English songs having highly contrastive rhythmic differences. Experiment 1b replicated this result with the same songs containing rhythmic information only. In Experiments 2a and 2b, listeners successfully classified original and rhythm-only stimuli when language-specific rhythmic differences were less contrastive but more representative of differences found in actual music and speech. These findings indicate that listeners can use rhythmic similarities and differences to classify songs originally composed in two languages having contrasting rhythmic prosody.     

Dynamic melody recognition: Distinctiveness and the role of musical expertise

The hypothesis that melodies are recognized at moments when they exhibit a distinctive musical pattern was tested. In a melody recognition experiment, point-of-recognition (POR) data were gathered from 32 listeners (16 musicians and 16 nonmusicians) judging 120 melodies. A series of models of melody recognition were developed, resulting from a stepwise multiple regression of two classes of information relating to melodic familiarity and melodic distinctiveness. Melodic distinctiveness measures were assembled through statistical analyses of over 15,000 Western themes and melodies. A significant model, explaining 85% of the variance, entered measures primarily of timing distinctiveness and pitch distinctiveness, but excluding familiarity, as predictors of POR. Differences between nonmusician and musician models suggest a processing shift from momentary to accumulated information with increased exposure to music. Supplemental materials for this article may be downloaded from http://mc.psychonomic-journals.org/content/supplemental.     

Recognition of notated melodies by possessors and nonpossessors of absolute pitch

Musically trained listeners compared a notated melody presented visually and a comparison melody presented auditorily, and judged whether they were exactly the same or not, with respect to relative pitch. Listeners who had absolute pitch showed the poorest performance for melodies transposed to different pitch levels from the notated melodies, whereas they exhibited the highest performance for untransposed melodies. By comparison, the performance of melody recognition by listeners who did not have absolute pitch was not influenced by the actual pitch level at which melodies were played. These results suggest that absolute-pitch listeners tend to rely on absolute pitch even in recognizing transposed melodies, for which the absolute-pitch strategy is not useful.     

Recognition of notated melodies by possessors and nonpossessors of absolute pitch

Musically trained listeners compared a notated melody presented visually and a comparison melody presented auditorily, and judged whether they were exactly the same or not, with respect to relative pitch. Listeners who had absolute pitch showed the poorest performance for melodies transposed to different pitch levels from the notated melodies, whereas they exhibited the highest performance for untransposed melodies. By comparison, the performance of melody recognition by listeners who did not have absolute pitch was not influenced by the actual pitch level at which melodies were played. These results suggest that absolute-pitch listeners tend to rely on absolute pitch even in recognizing transposed melodies, for which the absolute-pitch strategy is not useful.     

Schema-based processing in auditory scene analysis

What is the involvement of what we know in what we perceive? In this article, the contribution of melodic schema-based processes to the perceptual organization of tone sequences is examined. Two unfamiliar six-tone melodies, one of which was interleaved with distractor tones, were presented successively to listeners who were required to decide whether the melodies were identical or different. In one condition, the comparison melody was presented after the mixed sequence: a target melody interleaved with distractor tones. In another condition, it was presented beforehand, so that the listeners had precise knowledge about the melody to be extracted from the mixture. In the latter condition, recognition performance was better and a bias toward same responses was reduced, as compared with the former condition. A third condition, in which the comparison melody presented beforehand was transposed up in frequency, revealed that whereas the performance improvement was explained in part by absolute pitch or frequency priming, relative pitch representation (interval and/or contour structure) may also have played a role. Differences in performance as a function of mean frequency separation between target and distractor sequences, when listeners did or did not have prior knowledge about the target melody, argue for a functional distinction between primitive and schema-based processes in auditory scene analysis.     

The time course of recognition of novel melodies

Seven experiments explored the time course of recognition of brief novel melodies. In a continuous-running-memory task, subjects recognized melodic transpositions following delays up to 2.0 min. The delays were either empty or filled with other melodies. Test items included exact transpositions (T), same-contour lures (SC) with altered pitch intervals, and different-contour lures (DC). DCs differed from Ts in the pattern of ups and downs of pitch. With this design, we assessed subjects’ discrimination of detailed changes in pitch intervals (T/SC discrimination) as well as their discrimination of contour changes (T/DC). We used both artificial and “real” melodies. Artificial melodies differed in conformity to a musical key, being tonal or atonal. After empty delays, T/DC discrimination was superior to T/SC discrimination. Surprisingly, after filled delays, T/SC discrimination was superior to T/DC. When only filled delays were tested, T/SC discrimination did not decline over the longest delays. T/DC performance declined more than did T/SC performance across both empty and filled delays. Tonality was an important factor only for T/SC discrimination after filled delays. T/DC performance was better with rhythmically intact folk melodies than with artificial isochronous melodies. Although T/SC performance improved over filled delays, it did not overtake T/DC performance. These results suggest that (1) contour and pitch-interval information make different contributions to recognition, with contour dominating performance after brief empty delays and pitch intervals dominating after longer filled delays; (2) a coherent tonality facilitates the encoding of pitch-interval patterns of melodies; and (3) the rich melodic—rhythmic contours of real melodies facilitate T/DC discrimination. These results are discussed in terms of automatic and controlled processing of melodic information.     

Memory for surface features of unfamiliar melodies: independent effects of changes in pitch and tempo

A melody’s identity is determined by relations between consecutive tones in terms of pitch and duration, whereas surface features (i.e., pitch level or key, tempo, and timbre) are irrelevant. Although surface features of highly familiar recordings are encoded into memory, little is known about listeners’ mental representations of melodies heard once or twice. It is also unknown whether musical pitch is represented additively or interactively with temporal information. In two experiments, listeners heard unfamiliar melodies twice in an initial exposure phase. In a subsequent test phase, they heard the same (old) melodies interspersed with new melodies. Some of the old melodies were shifted in key, tempo, or key and tempo. Listeners’ task was to rate how well they recognized each melody from the exposure phase while ignoring changes in key and tempo. Recognition ratings were higher for old melodies that stayed the same compared to those that were shifted in key or tempo, and detrimental effects of key and tempo changes were additive in between-subjects (Experiment 1) and within-subjects (Experiment 2) designs. The results confirm that surface features are remembered for melodies heard only twice. They also imply that key and tempo are processed and stored independently.     

The power of representation and interpretation: Doubling statistical reasoning performance with icons and frequentist interpretations of ambiguous numbers

Abstract

Six highly familiar melodies were submitted to three transformations: reduction and two rhythmic group transformations. These three transformations offered the opportunity to compare the role of various means of melody recognition: melodic contour, harmonic structure, local surface cues. If melody recognition relies on melodic contour, an original melody would be easier to recognise after rhythmic group transformation than after reduction; the rhythmic group transformation, but not the reduction, preserves the melodic contour. If melody recognition depends on the harmonic structure, an original melody would be easier to recognise after reduction than after a rhythmic group transformation; the reduction, but not the rhythmic group transformation, respects the underlying harmonic structure. The results of two experiments, one with children and one with adults, showed that recognition was better for rhythmic group transformation but only when local surface cues were preserved, a result that could neither be predicted by the melodic contour hypothesis nor by the harmonic structure hypothesis. The results give support to the cue abstraction hypothesis, which suggests that melody recognition relies on the recognition of certain surface cues abstracted while hearing and which are then memorised. Recognition performances and speed of recognition served as dependent variables.     

Perceiving the end: effects of tonal relationships on melodic completion

Two experiments examined listeners' sensitivity to the structural markers of melodic completion. In Experiment 1, both musicians and nonmusicians were asked to rate the ending of folk melodies for their degree of "completeness" and "tonal appropriateness." Results showed that melodies ending with the conventional leading tone-to-tonic progression were rated the most complete and tonally appropriate to the underlying key, more so than melodies ending with the submediant-to-tonic or the tonic-to-dominant progressions. Conversely, melodies ending on the leading tone seemed the most incomplete and tonally inappropriate. In Experiment 2, the perceptual salience of certain pitch functions was enhanced significantly by the pattern of rhythmic accentuation within a melody's context and the presence of the rare tritone interval. The results illustrate an interactive influence of pitch and temporal variables on musical perception and thereby highlight the need to incorporate dynamic pattern factors into internal representations of tonality.     

The role of timing deviations and target position uncertainty on temporal attending in a serial auditory pitch discrimination task

Listeners were presented with sequences of tones that ascended in semitone intervals. On each trial a single target tone in the sequence was displaced in pitch, and listeners were required to indicate whether the target tone was higher or lower than its normal pitch. Task constraints, specifically target serial position uncertainty and the probabilistic relationship between time deviations and target tones, were varied in order to determine the impact of task constraints on temporal attending strategy. When listeners had no advance knowledge of the serial position of the target, and early and late targets provided information regarding target serial position, performance was better for early and late target trials than for on-time target trials (Experiment 1). When listeners had no advance knowledge of the serial position of the target, and early and late temporal deviations provided no information regarding target serial position, performance for late target trials was superior to that for early and on-time target trials (Experiment 2). Finally, when target serial position uncertainty was eliminated, performance was equivalent across all three levels of target timing (early, on time, late). The results indicate that performance profiles based on stimulus timing properties are affected by various task constraints as well as by stimulus properties.     

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.