Articulation effects in melody recognition memory

Various surface features—timbre, tempo, and pitch—influence melody recognition memory, but articulation format effects, if any, remain unknown. For the first time, these effects were examined. In Experiment 1, melodies that remained in the same, or appeared in a different but similar, articulation format from study to test were recognized better than were melodies that were presented in a distinct format at test. A similar articulation format adequately induced matching processes to enhance recognition. Experiment 2 revealed that melodies rated as perceptually dissimilar on the basis of the location of the articulation mismatch did not impair recognition performance, suggesting an important boundary condition for articulation format effects on memory recognition—the matching of the memory trace and recognition probe may depend more on the overall proportion, rather than the temporal location, of the mismatch. The present findings are discussed in terms of a global matching advantage hypothesis.     

Signature tunes in mothers' speech to infants

The purpose of the present investigation was to determine whether mothers use discernible tunes (i.e., specific interval sequences) in their speech to infants and whether such tunes are individually distinctive. Mothers were recorded speaking with their infants on two occasions separated by 1 week or more. Examination of the tunes of each mother revealed discernible tunes and frequent repetitions of tunes within and across sessions. Comparisons of utterances with the most common pitch contour (i.e., rising), both within and across mothers, revealed interval patterns that were individually distinctive, or unique. The findings confirm the prominence of tunes and the presence of signature tunes in maternal speech to infants.     

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.     

Activation of premotor vocal areas during musical discrimination

Two same/different discrimination tasks were performed by amateur-musician subjects in this functional magnetic resonance imaging study: Melody Discrimination and Harmony Discrimination. Both tasks led to activations not only in classic working memory areas--such as the cingulate gyrus and dorsolateral prefrontal cortex--but in a series of premotor areas involved in vocal-motor planning and production, namely the somatotopic mouth region of the primary and lateral premotor cortices, Broca's area, the supplementary motor area, and the anterior insula. A perceptual control task involving passive listening alone to monophonic melodies led to activations exclusively in temporal-lobe auditory areas. These results show that, compared to passive listening tasks, discrimination tasks elicit activation in vocal-motor planning areas.     

Incidental Learning of Melodic Structure of North Indian Music

Musical knowledge is largely implicit. It is acquired without awareness of its complex rules, through interaction with a large number of samples during musical enculturation. Whereas several studies explored implicit learning of mostly abstract and less ecologically valid features of Western music, very little work has been done with respect to ecologically valid stimuli as well as non‐Western music. The present study investigated implicit learning of modal melodic features in North Indian classical music in a realistic and ecologically valid way. It employed a cross‐grammar design, using melodic materials from two modes (rāgas) that use the same scale. Findings indicated that Western participants unfamiliar with Indian music incidentally learned to identify distinctive features of each mode. Confidence ratings suggest that participants' performance was consistently correlated with confidence, indicating that they became aware of whether they were right in their responses; that is, they possessed explicit judgment knowledge. Altogether our findings show incidental learning in a realistic ecologically valid context during only a very short exposure, they provide evidence that incidental learning constitutes a powerful mechanism that plays a fundamental role in musical acquisition.     

Sing that tune: Infants’ perception of melody and lyrics and the facilitation of phonetic recognition in songs

To better understand how infants process complex auditory input, this study investigated whether 11-month-old infants perceive the pitch (melodic) or the phonetic (lyric) components within songs as more salient, and whether melody facilitates phonetic recognition. Using a preferential looking paradigm, uni-dimensional and multi-dimensional songs were tested; either the pitch or syllable order of the stimuli varied. As a group, infants detected a change in pitch order in a 4-note sequence when the syllables were redundant (experiment 1), but did not detect the identical pitch change with variegated syllables (experiment 2). Infants were better able to detect a change in syllable order in a sung sequence (experiment 2) than the identical syllable change in a spoken sequence (experiment 1). These results suggest that by 11 months, infants cannot “ignore” phonetic information in the context of perceptually salient pitch variation. Moreover, the increased phonetic recognition in song contexts mirrors findings that demonstrate advantages of infant-directed speech. Findings are discussed in terms of how stimulus complexity interacts with the perception of sung speech in infancy.     

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.     

Pitches that Wire Together Fire Together: Scale Degree Associations Across Time Predict Melodic Expectations

The ongoing generation of expectations is fundamental to listeners’ experience of music, but research into types of statistical information that listeners extract from musical melodies has tended to emphasize transition probabilities and n-grams, with limited consideration given to other types of statistical learning that may be relevant. Temporal associations between scale degrees represent a different type of information present in musical melodies that can be learned from musical corpora using expectation networks, a computationally simple method based on activation and decay. Expectation networks infer the expectation of encountering one scale degree followed in the near (but not necessarily immediate) future by another given scale degree, with previous work suggesting that scale degree associations learned by expectation networks better predict listener ratings of pitch similarity than transition probabilities. The current work outlines how these learned scale degree associations can be combined to predict melodic continuations and tests the resulting predictions on a dataset of listener responses to a musical cloze task previously used to compare two other models of melodic expectation, a variable-order Markov model (IDyOM) and Temperley's music-theoretically motivated model. Under multinomial logistic regression, all three models explain significant unique variance in human melodic expectations, with coefficient estimates highest for expectation networks. These results suggest that generalized scale degree associations informed by both adjacent and nonadjacent relationships between melodic notes influence listeners’ melodic predictions above and beyond n-gram context, highlighting the need to consider a broader range of statistical learning processes that may underlie listeners’ expectations for upcoming musical events.     

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.