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.     

Music-to-language transfer effect: may melodic ability improve learning of tonal languages by native nontonal speakers?

In tonal languages, as Mandarin Chinese and Thai, word meaning is partially determined by lexical tones. Previous studies suggest that lexical tones are processed by native listeners as linguistic information and not as pure tonal information. This study aims at verifying if, in nontonal languages speakers, the discrimination of lexical Mandarin tones varies in function of the melodic ability. Forty-six students with no previous experience of Mandarin or any other tonal language were presented with two short lists of spoken monosyllabic Mandarin words and invited to perform a same–different task trying to identify whether the variation were phonological or tonal. Main results show that subjects perform significantly better in identifying phonological variations rather than tonal ones and interestingly, the group with a high melodic ability (assessed by Wing subtest 3) shows a better performance exclusively in detecting tonal variations.     

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.     

Influence of a tone’s tonal function on temporal change detection

Music cognition research has provided evidence that the tonal function of a musical event influences perception and memory. Our study investigated whether tonal function influences a basic temporal judgment, notably the detection of a temporal change disrupting a sequence’s regularity. The sequences consisted of six musical events presented in isochrony (or with the fifth event occurring earlier or later): Three chords (instilling a tonal context) were followed by a tone (repeated three times). The tones fulfilled one of two tonal functions in the tonal context. Participants had to detect whether the sequence contained a temporal change and were not informed about tonal manipulations. Discrimination performance (as measured by d’) showed an influence of tonal function on temporal change detection: Performance was better for the tonic tone (having the most important tonal function in the key) than for the unstable leading tone, the less stable mediant tone, and even than the stable dominant tone. The outcome shows the influence of listeners’ tonal knowledge on a perceptual time judgment and suggests that processing of tonal and temporal structures interact at some stage of processing.     

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.     

Influence of a tone's tonal function on temporal change detection

Music cognition research has provided evidence that the tonal function of a musical event influences perception and memory. Our study investigated whether tonal function influences a basic temporal judgment, notably the detection of a temporal change disrupting a sequence's regularity. The sequences consisted of six musical events presented in isochrony (or with the fifth event occurring earlier or later): Three chords (instilling a tonal context) were followed by a tone (repeated three times). The tones fulfilled one of two tonal functions in the tonal context. Participants had to detect whether the sequence contained a temporal change and were not informed about tonal manipulations. Discrimination performance (as measured by d') showed an influence of tonal function on temporal change detection: Performance was better for the tonic tone (having the most important tonal function in the key) than for the unstable leading tone, the less stable mediant tone, and even than the stable dominant tone. The outcome shows the influence of listeners' tonal knowledge on a perceptual time judgment and suggests that processing of tonal and temporal structures interact at some stage of processing.     

Possible influence of linguistic musical background on perceptual pitch-matching tasks: a pilot study

Linguistic background has been identified as important in the perception of pitch, particularly between tonal versus nontonal languages. In addition, a link between native language and the perception of musical pitch has also been established. This pilot study examined the perception of pitch between listeners from tonal and nontonal linguistic cultures where two different styles of music originate. Listeners were 10 individuals born in China who ranged in age from 25 to 37 years and had spent on the average 30 mo. in the USA and 10 individuals, born on the Indian subcontinent, who ranged in age from 22 to 31 years, and had spent an average of 13 mo. in the USA. Listeners from both groups participated in two conditions. One condition involved listening to a selection of music characteristic of the individual's culture (China, pentatonic scale; Indian subcontinent, microtones), and one condition involved no music. All listeners within each condition participated in two voice pitch-matching tasks. One task involved matching the lowest and highest pitch of tape-recorded voices to a note on an electronic keyboard. Another task involved matching the voice pitch of tape-recorded orally read words to a note on the keyboard. There were no differences between the two linguistic groups. Methodological limitations preclude generalization but provide the basis for further research.     

Exploring the elementary harmonic forces in the tonal system

To study the elementary expectations that arise in the perception of tonal music, an exploratory study was performed in which subjects heard a sequence of four chords (to induce a key or tonality) followed by one tone (1 of the 12 tones within an octave), and indicated which tone they expected to be the next tone. Responses were divided into three groups: a random, a fifth, and a tonal group. The expectations in the tonal group are of main interest, as they seem to originate from a tonal representation. In this representation the tonic attracts almost all tones, although to different degrees, while the dominant and the mediant function as centripetal centers that attract only nearby tones. A preliminary model for the formation of elementary expectations based on a 3-level mental representation of the tones in a key is proposed, The predictive capability of the model is compared to that of existing models.     

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.     

Relative power of harmonics in human frequency-following responses associated with voice pitch in American and Chinese adults

When the fundamental frequency (f0) is removed from a complex stimulus, the pitch of the f0 is still perceived by the listener. Through the use of the scalp-recorded frequency-following response, this study examined the relative contributions of thef0 and its harmonics in pitch processing by systematically manipulating the speech stimulus to remove component frequencies. 12 American and 12 Chinese adults were recruited. There were statistically significant effects of pitch strength and frequency error for the experimental-condition factor. There were significantly larger responses to the harmonics-only conditions than those obtained in the f0-only and control conditions. No statistically significant difference was observed between the two groups of participants. These findings indicate that neural responses associated with individual harmonics dominate the pitch processing in the human brainstem, irrespective of whether the listener's native language is nontonal or tonal.     

Tonal centers and expectancy: facilitation or inhibition of chords at the top of the harmonic hierarchy?

Harmonic priming studies have shown that a musical context with its tonal center influences target chord processing. In comparison with targets following baseline contexts, which do not establish a specific tonal center, processing is facilitated for a strongly related target functioning as the tonic, but inhibited for unrelated (out-of-key) and less related (subdominant) targets. This study investigated cost and benefit patterns for the processing of the 3 most important chords of the harmonic hierarchy. Response time patterns reflected the chords' ranking: Processing was fastest for the tonic, followed by the dominant, and then the subdominant. The comparison with baseline contexts replicated the benefit of processing for tonic targets (Experiments 1 and 3) and the cost of processing for subdominant targets (Experiment 3), while dominant targets were situated at baseline level (Experiments 1 to 3). Findings indicate that listeners implicitly understand fine differences in tonal stabilities and confirm the special status of the tonic being the most expected and solely facilitated chord at the end of a tonal context. Findings are discussed with references to sensory and cognitive approaches of music perception.     

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.     

2~4岁普通话儿童前注意阶段的声调感知机制

以MMN、p-MMR作为汉语词汇声调感知的神经关联物,探究2~4岁汉语普通话儿童前注意阶段对声调刺激的失匹配响应,关注范畴信息和偏差大小两个因素对儿童感知水平的影响。结果显示:在范畴间大偏差条件下(T1/T3),诱发明显的MMN;在范畴内或小偏差条件下(T3a/T3、T3b/T3、T2/T3),都未诱发显著的MMR。表明:2~4岁普通话儿童正处于声调感知能力的发展过程中,音位信息和声学信息共同影响其声调感知。     

奏鸣曲式中调性结构对紧张感的影响——以莫扎特与贝多芬钢琴奏鸣曲为例

音乐紧张感是音乐聆听的基础与重要环节。本研究选取莫扎特与贝多芬的音乐作品, 运用紧张感模型计算与行为实验两种方法, 探讨奏鸣曲式中的调性结构对紧张感的影响。研究发现, 奏鸣曲中呈示部、展开部与再现部三部分的紧张感变化具有差异, 展开部的紧张感高于呈示部与再现部, 再现部的紧张感高于呈示部, 这源于转调距离与转调频率的差异。本研究探讨了在大尺度的真实音乐作品中调性结构对紧张感的影响, 为音乐学领域的研究提供佐证和新的视角。     

The capacity for music: what is it, and what's special about it?

We explore the capacity for music in terms of five questions: (1) What cognitive structures are invoked by music? (2) What are the principles that create these structures? (3) How do listeners acquire these principles? (4) What pre-existing resources make such acquisition possible? (5) Which aspects of these resources are specific to music, and which are more general? We examine these issues by looking at the major components of musical organization: rhythm (an interaction of grouping and meter), tonal organization (the structure of melody and harmony), and affect (the interaction of music with emotion). Each domain reveals a combination of cognitively general phenomena, such as gestalt grouping principles, harmonic roughness, and stream segregation, with phenomena that appear special to music and language, such as metrical organization. These are subtly interwoven with a residue of components that are devoted specifically to music, such as the structure of tonal systems and the contours of melodic tension and relaxation that depend on tonality. In the domain of affect, these components are especially tangled, involving the interaction of such varied factors as general-purpose aesthetic framing, communication of affect by tone of voice, and the musically specific way that tonal pitch contours evoke patterns of posture and gesture.     

听觉线索与个体差异对音乐紧张感加工的影响

音乐无他, 张弛而已。音乐紧张感架起了客观音响与主观体验之间的桥梁, 是音乐情绪产生的前提和基础。音乐紧张感加工的影响因素主要来自客体与主体两方面。研究发现, 声学要素与调性结构是影响音乐紧张感诱发的声音线索, 而文化背景与音乐能力是影响听者对紧张感加工的个体因素。未来需要对时间结构与长时程调性结构诱发的紧张感及其机制进行深入探究, 这将有助于深化我们对音乐紧张感与情绪加工的认识。     

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.     

Influence of tonal and temporal expectations on chord processing and on completion judgments of chord sequences

Pitch and time are two principal form-bearing dimensions in Western tonal music. Research on melody perception has shown that listeners develop expectations about "What" note is coming next and "When" in time it will occur. Our study used sequences of chords (i.e., simultaneously sounding notes) to investigate the influence of these expectations on chord processing (Experiments 1 and 4) and subjective judgments of completion (Experiments 2 and 3). Both tasks showed an influence of tonal relations and temporal regularities: expected events occurring at the expected moment were processed faster and led to higher completion judgments. However, pitch and time dimensions interacted only for completion judgments. The present outcome suggests that for chord perception the influence of pitch and time might depend on the required processing: with a more global judgment favoring interactive influences in contrast to a task focusing on local chord processing.     

Dichotic competition of simultaneous tone bursts of different frequency: IV. Correlation with dichotic competition of speech signals

Presentation of dichotic chords to thirty subjects showed that 23% were right ear dominant, 40% were left ear dominant and 37% had no marked ear dominance. Presentation of dichotic consonant-vowel (CV) signals to the same subjects showed that 70% were right ear dominant and 30% were left ear dominant. Despite the fact that an ear dominance effect was present for both speech and non-speech sounds there was no significant correlation (either positive or negative) between an individual's performance on the two tasks. The performance of native speakers of tonal languages and of musicians was not significantly different from the experimental group of English speaking subjects. These results suggest that the two ear dominance effects are unrelated.