Zebra finches (Taeniopygia guttata) demonstrate cognitive flexibility in using phonology and sequence of syllables in auditory discrimination

Animal Cognition - Zebra finches rely mainly on syllable phonology rather than on syllable sequence when they discriminate between two songs. However, they can also learn to discriminate two...     

Evidence for tempo-specific timing in music using a web-based experimental setup

Perceptual invariance has been studied and found in several domains of cognition, including those of speech, motor behavior, and object motion. It has also been the topic of several studies in music perception. However, the existing perceptual studies present rather inconclusive evidence with regard to the perceptual invariance of expressive timing under tempo transformation in music performance. The current study used a novel experimental methodology that took advantage of new technologies, such as an online Internet setup, high-quality audio, and state-of-the-art tempo-transformation techniques. The results show that listeners could detect which was the original performance when asked to compare 2 recordings, 1 of which was tempo-transformed to make both similar in overall tempo. This result is taken as support for the tempo-specific timing hypothesis--which predicts that a tempo-transformed performance will sound less natural than an original performance--and as counterevidence for the relationally invariant timing hypothesis, which predicts that a tempo-transformed performance will sound equally natural.     

The formation of rhythmic categories and metric priming

Two experiments on categorical rhythm perception are reported, the object of which was to investigate how listeners perceive discrete rhythmic categories while listening to rhythms performed on a continuous time scale. This is studied by considering the space of all temporal patterns (all possible rhythms made up of three intervals) and how they, in perception, are partitioned into categories, ie where the boundaries of these categories are located. This process of categorisation is formalised as the mapping from the continuous space of a series of time intervals to a discrete, symbolic domain of integer-ratio sequences. The methodological framework uses concepts from mathematics and psychology (eg convexity and entropy) that allow precise characterisations of the empirical results. In the first experiment, twenty-nine participants performed an identification task with 66 rhythmic stimuli (a systematic sampling of the performance space). The results show that listeners do not just perceive the time intervals between onsets of sounds as placed in a homogeneous continuum. Instead, they can reliably identify rhythmic categories, as a chronotopic time clumping map reveals. In a second experiment, the effect of metric priming was studied by presenting the same stimuli but preceded with a duple or triple metre subdivision. It is shown that presenting patterns in the context of a metre has a large effect on rhythmic categorisation: the presence of a specific musical metre primes the perception of specific rhythmic patterns.     

Does expressive timing in music performance scale proportionally with tempo?

Summary Evidence is presented that expressive timing in music is not relationally invariant with global tempo. Our results stem from an analysis of repeated performances of Beethoven's variations on a Paisiello theme. Recordings were made of two pianists playing the pieces at three tempi. In contrast with the relational-invariance hypothesis (see Repp, 1994), between-tempo correlations were in general lower than within-tempo correlations. Analyses of variance of log-transformed inter-onset intervals (IOIs) showed significant interactions between tempo and IOI, i. e., evidence against a proportional relation between timing and tempo. Complex, but consistent, nonproportional patterns were shown in the analyses of the timing of the grace notes in the piece. The analysis suggests that timing aspects of music are closely linked to the musical structure and can be studied and manipulated only respecting this relation — not as a global timing pattern or tempo curve. Finally, it is shown that methodological issues of data collection and analysis had a significant influence on the results.