Using equivalence-based instruction to teach piano skills to children

The purpose of the current study was to evaluate the effects of equivalence-based instruction (EBI) on learning to play individual notes and simple songs on the piano. Participants were 4 typically developing children and 4 children with a diagnosis of autism spectrum disorder (ASD). They were exposed to a series of auditory–visual matching-to-sample procedures using musical stimuli. Following training, participants were tested on the emergence of novel untrained relations and generalization in the form of playing two songs on a keyboard. Results suggest that the EBI was effective in teaching piano playing skills with both typically developing children and children with ASD. The success of this procedure is indicative of the wide-ranging applications of EBI to novel and creative domains.     

Mapping musical thought to musical performance

Expressive timing methods are described that map pianists' musical thoughts to sounded performance. In Experiment 1, 6 pianists performed the same musical excerpt on a computer-monitored keyboard. Each performance contained 3 expressive timing patterns: chord asynchronies, rubato patterns, and overlaps (staccato and legato). Each pattern was strongest in experienced pianists' performances and decreased when pianists attempted to play unmusically. In Experiment 2 pianists performed another musical excerpt and notated their musical intentions on an unedited score. The notated interpretations correlated with the presence of the 3 methods: The notated melody preceded other events in chords (chord asynchrony); events notated as phase boundaries showed greatest tempo changes (rubato); and the notated melody showed most consistent amount of overlap between adjacent events (staccato and legato). These results suggest that the mapping of musical thought to musical action is rule-governed, and the same rules produce different interpretations.     

A grammar of action generates predictions in skilled musicians

The present study investigates shared representations of syntactic knowledge in music and action. We examined whether expectancy violations in musical harmonic sequences are also perceived as violations of the movement sequences necessary to produce them. Pianists imitated silent videos showing one hand playing chord sequences on a muted keyboard. Results indicate that, despite the absence of auditory feedback, imitation of a chord is fastest when it is congruent with the preceding harmonic context. This suggests that the harmonic rules implied by observed actions induce expectations that influence action execution. As evidence that these predictions are derived at a high representational level, imitation was more accurate for harmonically incongruent chords than for congruent chords executed with unconventional fingering. The magnitude of the effects of context and goal prioritization increased with musical training. Thus, musical training may lead to a domain-general representation of musical grammar, i.e., to a grammar of action.     

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.     

Laterality effects with visual perception of

Using the paradigm denoting a contralateral relationship between visual field and brain hemisphere, laterality effects with music notation and dots were investigated. Two groups of readers of advanced piano music were selected, one good, one poor. Each group participated in two visual half-field experiments, one using random dot patterns and the other using musical chords. Significant opposite field effects were found for the two kinds of stimuli across reading groups, the left field for dots and the right field for chords. With dots, a significant sex effect emerged, with males superior to females across groups. The only significant group difference appeared in the chord experiment, in which the good group was superior. A practice effect also was found only with chords. Results suggest that the left hemisphere is more important for recognition of music notation than the right.     

Children's implicit knowledge of harmony in Western music

Three experiments examined children's knowledge of harmony in Western music. The children heard a series of chords followed by a final, target chord. In Experiment 1, French 6- and 11-year-olds judged whether the target was sung with the vowel /i/ or /u/. In Experiment 2, Australian 8- and 11-year-olds judged whether the target was played on a piano or a trumpet. In Experiment 3, Canadian 8- and 11-year-olds judged whether the target sounded good (i.e. consonant) or bad (dissonant). The target was either the most stable chord in the established musical key (i.e. the tonic, based on do, the first note of the scale) or a less stable chord. Performance was faster (Experiments 1, 2 and 3) and more accurate (Experiment 3) when the target was the tonic chord. The findings confirm that children have implicit knowledge of syntactic functions that typify Western harmony.     

Harmonic and rhythmic influences on musical expectancy

The effects of harmony and rhythm on expectancy formation were studied in two experiments. In both studies, we generated musical passages consisting of a melodic line accompanied by four harmonic (chord) events. These sequences varied in their harmonic content, the rhythmic periodicity of the three context chords prior to the final chord, and the ending time of the final chord itself. In Experiment 1, listeners provided ratings for how well the final chord in a chord sequence fit their expectations for what was to come next; analyses revealed subtle changes in ratings as a function of both harmonic and rhythmic variation. Experiment 2 extended these results; listeners made a speeded reaction time judgment on whether the final chord of a sequence belonged with its set of context chords. Analysis of the reaction time data suggested that harmonic and rhythmic variation also influenced the speed of musical processing. These results are interpreted with reference to current models of music cognition, and they highlight the need for rhythmical weighting factors within the psychological representation of tonal/pitch information.     

Learning harmony: the role of serial statistics

How do listeners learn about the statistical regularities underlying musical harmony? In traditional Western music, certain chords predict the occurrence of other chords: Given a particular chord, not all chords are equally likely to follow. In Experiments 1 and 2, we investigated whether adults make use of statistical information when learning new musical structures. Listeners were exposed to a novel musical system containing phrases generated using an artificial grammar. This new system contained statistical structure quite different from Western tonal music. Our results suggest that learners take advantage of the statistical patterning of chords to acquire new musical structures, similar to learning processes previously observed for language learning.     

Improved motor sequence retention by motionless listening

This study examined the effect of listening to a newly learned musical piece on subsequent motor retention of the piece. Thirty-six non-musicians were trained to play an unfamiliar melody on a piano keyboard. Next, they were randomly assigned to participate in three follow-up listening sessions over 1 week. Subjects who, during their listening sessions, listened to the same initial piece showed significant improvements in motor memory and retention of the piece despite the absence of physical practice. These improvements included increased pitch accuracy, time accuracy, and dynamic intensity of key pressing. Similar improvements, though to a lesser degree, were observed in subjects who, during their listening sessions, were distracted by another task. Control subjects, who after learning the piece had listened to nonmusical sounds, showed impaired motoric retention of the piece at 1 week from the initial acquisition day. These results imply that motor sequences can be established in motor memory without direct access to motor-related information. In addition, the study revealed that the listening-induced improvements did not generalize to the learning of a new musical piece composed of the same notes as the initial piece learned, limiting the effects to musical motor sequences that are already part of the individual’s motor repertoire.     

Seeing what you hear: Visual feedback improves pitch recognition

The present study examined the effect of visual feedback on the ability to recognise and consolidate pitch information. We trained two groups of nonmusicians to play a piano piece by ear, having one group receiving uninterrupted audiovisual feedback, while allowing the other only to hear, but not see their hand on the keyboard. Results indicate that subjects for whom visual information was deprived showed significantly poorer ability to recognise pitches from the musical piece they had learned. These results are interesting since pitch recognition ability would not intuitively seem to rely on visual feedback. In addition, we show that subjects with previous experience in computer touch-typing made fewer errors during training when trained with no visual feedback, but did not show improved pitch recognition ability posttraining. Our results demonstrate how sensory redundancy increases robustness of learning, and further encourage the use of audiovisual training procedures for facilitating the learning of new skills.     

The tonal function of a task-irrelevant chord modulates speed of visual processing

Harmonic priming studies have provided evidence that musical expectations influence sung phoneme monitoring, with facilitated processing for phonemes sung on tonally related (expected) chords in comparison to less-related (less-expected) chords [Bigand, Tillmann, Poulin, D’Adamo, and Madurell (2001). The effect of harmonic context on phoneme monitoring in vocal music. Cognition, 81, B11–B20]. This tonal relatedness effect has suggested two interpretations: (a) processing of music and language interact at some level of processing; and (b) tonal functions of chords influence task performance via listeners’ attention. Our study investigated these hypotheses by exploring whether the effect of tonal relatedness extends to the processing of visually presented syllables (Experiments 1 and 2) and geometric forms (Experiments 3 and 4). For Experiments 1–4, visual target identification was faster when the musical background fulfilled listeners’ expectations (i.e., a related chord was played simultaneously). In Experiment 4, the addition of a baseline condition (i.e., without an established tonal center) further showed that the observed difference was due to a facilitation linked to the related chord and not to an inhibition or disruption caused by the less-related chord. This outcome suggests the influence of musical structures on attentional mechanisms and that these mechanisms are shared between auditory and visual modalities. The implications for research investigating neural correlates shared by music and language processing are discussed.     

The skill of recognizing musical structures

In three experiments, musicians and nonmusicians were compared in their ability to discriminate musical chords. Pairs of chords sharing all notes in common or having different notes were played in succession. Some pairs of chords differed in timbre independent of their musical structures because they were played on different instruments. Musicians outperformed nonmusicians only in recognizing the same chord played on different instruments. Both groups could discriminate between instrument timbres, although musicians did slightly better than nonmusicians. In contrast, with chord structures not conforming to the rules of tonal harmony, musicians and nonmusicians performed equally poorly in recognizing identical chords played on different instruments. Signal detection analysis showed that musicians and nonmusicians set similar criteria for these judgments. Musicians' superiority reflects greater sensitivity to familiar diatonic chords. These results are taken as evidence that musicians develop perceptual and cognitive skills specific to the lawful musical structures encountered in their culture's music. Nonmusicians who lack this knowledge based their judgments on the acoustical properties of the chords.     

Key distance effects on perceived harmonic structure in music

Two experiments provide convergent evidence for the hypothesis that listeners interpret chords in terms of their harmonic functions in a system of interrelated keys. The perceived associations between chords undergo significant changes depending on the broader tonal framework in which they are embedded. Three independent context effects are identified, and their magnitude is found to be a systematic function of the distance between the context key and the key lot keys) of which the chords are members. In the first experiment, listeners rate how musically related one chord is to a second chord; the chords are those that function within two maximally distant major keys (C major and F# major). All possible chord pairs from this set are presented in each of three context keys: G major which is close to C major and distant from F# major), A major (which is moderately distant from both C major and F# major), and B major (which is close to F# major and distant from C major). The second experiment measures recognition memory for the same chords embedded in tonal sequences in C, G, A, or B major keys, or random sequences. In the two experiments, the distance between the context key and the key of the chords on the circle-of-fifths affects: (1) the probability that a repeated chord is correctly recognized, (2) the strength of association between chords from the same key measured in terms of both confusion errors and direct relatedness judgments, and (3) asymmetries in confusion errors and relatedness judgments when the chords are in different keys. Perceived harmonic relations are thus found to be strongly context dependent, but the context effects are lawful functions of interkey distance. We conclude that listeners possess a highly articulated system of knowledge about the harmonic functions of chords in musical keys and an appreciation of musical structure at the level of abstract tonal centers.     

Action–effect congruence during observational learning leads to faster action sequence learning

Common coding theory suggests that any action (pressing a piano key) is intimately linked with its resultant sensory effect (an auditory musical tone). We conducted two experiments to explore the effect of varying auditory action–effect patterns during complex action learning. In Experiment 1, participants were assigned to 1 of 4 groups, watched a silent video of a hand playing a sequence on a piano keyboard with no auditory action effect (observation) and were asked to practise and perform the sequence on an identical keyboard with varying action effects (reproduction). During reproduction, Group 1 heard no auditory tones (identical to observed video), Group 2 heard typical scale-ascending piano tones with each key press, Group 3 heard fixed but out-of-sequence piano tones with each key press, and Group 4 heard random piano tones with each key press. In Experiment two, new participants were assigned to 1 of 2 groups and watched an identical video; however, the video in this experiment contained typical, scale-ascending piano sounds. During reproduction, Group 1 heard no auditory tones while Group 2 heard typical, scale-ascending piano tones with each key press (identical to observed video). Our results showed that participants whose action–effect patterns during reproduction matched those in the observed video learned the action sequence faster than participants whose action–effect patterns during reproduction differed from those in the observed video. Additionally, our results suggest that adding an effect during reproduction (when one is absent during observation) is somewhat more detrimental to action sequence learning than removing an effect during reproduction (when one is present during observation).     

Configural response learning: the acquisition of a nonpredictive motor skill

This study examined the representational nature of configural response learning using a task that required simultaneous keypresses with 2 or 3 fingers, similar to the production of chords on the piano. If the benefits of learning are related to the retrieval of individual stimulus-response mappings, performance should depend on the frequencies of the individual responses forming each chord. Alternatively, learning may involve the encoding of configural information concerning the relationship between the chord elements. In Experiment 1, training was restricted to a subset of the 120 possible 3-element chords. Probe blocks included the practiced chords, chords composed of novel configurations of practiced elements (reconfigured), and chords that contained a new element (new). Practiced chords were performed faster than reconfigured chords, indicating learning involves the encoding of configural information. Experiment 2 showed that learning was not restricted to configurations within each hand. Experiments 3 and 4 demonstrated that learning was largely response based.     

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.     

Further investigation of harmonic priming in long contexts using musical timbre as surface marker to control for temporal effects

Harmonic priming studies have reported facilitated processing for chords that are harmonically related to the prime context. Responses to the target (the last chord of an 8-chord sequence) were faster and more accurate when the target was strongly related, i.e., a tonic chord, to the preceding prime context than when it was less related, i.e., a subdominant chord. Results have been interpreted in terms of musical expectations and processing speed: the prime allows listeners to develop expectations for future events which lead to facilitated processing of the most strongly expected event. The present experiment investigated an alternative hypothesis suggesting that the harmonic structure of the prime context might create an ambiguity about "when" to respond that is stronger in contexts ending on less related targets than in contexts ending on strongly related targets. A change of musical timbre was used as surface marker indicating without ambiguity the temporal occurrence of the target. Participants made speeded intonation judgments of the target, i.e., judging whether targets are acoustically consonant or dissonant. The findings replicate the previously reported priming effect and rule out that processing differences are solely due to ambiguities about when in time the target will occur.     

Musical duplex perception: perception of figurally good chords with subliminal distinguishing tones.

In a variant of duplex perception with speech, phoneme perception is maintained when distinguishing components are presented below intensities required for separate detection, forming the basis for the claim that a phonetic module takes precedence over nonspeech processing. This finding is replicated with music chords (C major and minor) created by mixing a piano fifth with a sinusoidal distinguishing tone (E or E flat). Individual threshold intensities for detecting E or E flat in the context of the fixed piano tones are established. Chord discrimination thresholds defined by distinguishing tone intensity were determined. Experiment 2 verified masked detection thresholds and subliminal chord identification for experienced musicians. Accurate chord perception was maintained at distinguishing tone intensities nearly 20 dB below the threshold for separate detection. Speech and music findings are argued to demonstrate general perceptual principles.     

Recognizing the component tones of a major chord.

Listeners judged whether a target tone was contained within a previously or subsequently presented major chord, and targets consisted of either the root, third, fifth, or tritone of the scale based on the root of the chords. Chord position influenced the relative recognition of targets, but listeners exhibited greater recognition of the fifth regardless of chord position (root, first inversion, second inversion). The data were not consistent with notions of root tracking or melody tracking. The data were broadly consistent with the notion that different chord positions may be harmonically equivalent (i.e., that listeners may recognize components of a chord regardless of chord position), with notions of analytic set and the importance of an instantiation of musical context for chord processing, and with the importance of the fifth in harmonic progression.     

Shared musical knowledge in 11‐month‐old infants

Five‐month‐old infants selectively attend to novel people who sing melodies originally learned from a parent, but not melodies learned from a musical toy or from an unfamiliar singing adult, suggesting that music conveys social information to infant listeners. Here, we test this interpretation further in older infants with a more direct measure of social preferences. We randomly assigned 64 11‐month‐old infants to 1–2 weeks’ exposure to one of two novel play songs that a parent either sang or produced by activating a recording inside a toy. Infants then viewed videos of two new people, each singing one song. When the people, now silent, each presented the infant with an object, infants in both conditions preferentially chose the object endorsed by the singer of the familiar song. Nevertheless, infants’ visual attention to that object was predicted by the degree of song exposure only for infants who learned from the singing of a parent. Eleven‐month‐olds thus garner social information from songs, whether learned from singing people or from social play with musical toys, but parental singing has distinctive effects on infants’ responses to new singers. Both findings support the hypothesis that infants endow music with social meaning. These findings raise questions concerning the types of music and behavioral contexts that elicit infants’ social responses to those who share music with them, and they support suggestions concerning the psychological functions of music both in contemporary environments and in the environments in which humans evolved.