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Neurocognition of Major-Minor and Consonance-Dissonance

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Neurocognition of Major-Minor and Consonance-Dissonance Processing Major-Minor and Consonance-Dissonance 387 NEUROCOGNITION OF MAJOR-MINOR AND CONSONANCE-DISSONANCE PAULA VIRTALA &MARI TERVANIEMI even widened to infancy, and behavioral and brain stud- University of Helsinki, Helsinki, Finland ies have demonstrated many music-related auditory skills during the first months of life (Hannon, & Trainor MAJOR-MINOR AND CONSONANCE-DISSONANCE ARE 2007; Trainor & Corrigall, 2010; Trehub, 2010). Infants two profound elements of Western tonal music, and with limited exposure to music of their culture offer an have strong affective connotations for Western listeners. opportunity to study the earliest skills for music proces- This review summarizes recent evidence on the neu- sing, serving as candidates for innate universal abilities rocognitive basis of major-minor and consonance- which all music cultures build on. dissonance by presenting studies on their processing According to present understanding, the develop- and how it is affected by maturation, musical encul- ment of music processing is based on, first, early audi- turation, and music training. Based on recent findings tory skills that serve as building blocks for music in the field, it is proposed that both classifications, processing, and second, the process of musical encul- particularly consonance-dissonance, have partly turation that leads to facilitated processing of music of innate, biologically hard-wired properties. These prop- one’s own culture due to exposure without explicit erties can make them discriminable even for newborn training (Hannon & Trainor, 2007). This development infants and individuals living outside the Western is modified by several individual factors such as musical music culture and, to a small extent, reflect their affec- aptitude, cognitive abilities, and motivation, extending tive connotations in Western music. Still, musical far beyond the scope of the present review. Understand- enculturation and active music training drastically ing the relative contributions of biologically hard-wired modify the sensory/acoustical as well as affective pro- auditory skills, brain maturation, enculturation, and cessing of major-minor and consonance-dissonance. explicit training in emotional and cognitive aspects of This leads to considerable variance in psychophysio- music processing is a future challenge in the field. logical and behavioral responses to these musical Various aspects of music have been studied in neu- classifications. rosciences of music, ranging from rhythm, beat, and tempo to pitch, timbre, melody, harmony, and syntax Received: March 14, 2016, accepted August 16, 2016. (for reviews, see Koelsch, 2011; Peretz & Zatorre, 2005). Recently, experimental paradigms enabling the Key words: music, learning, plasticity, enculturation, investigation of various acoustic and musical features development at once have been introduced and used with child and adult participants (Putkinen, Tervaniemi, Saarikivi, de Vent, & Huotilainen, 2014; Tervaniemi, Huotilainen, & USIC IS A UNIVERSAL PHENOMENON Brattico, 2014; Vuust, Brattico, Seppa¨nen, Na¨a¨ta¨nen, & among human cultures, carrying emotional Tervaniemi, 2012). Additionally, music emotions and M meaning to the majority of listeners. While aesthetics have received considerable interest (Brattico almost all of us become experts in our mother tongue, & Pearce, 2013; Eerola & Vuoskoski, 2012; Koelsch, not all individuals become highly proficient in produc- 2010, 2014). Many of these studies concern develop- ing and perceiving music. Thus, unlike language, music ment of music processing or effects of musical exper- enables comparisons between experts and laymen to tise on the brain, but they often also can relate to the study neural plasticity and learning. The last decades question of the origins of music. While cross-cultural in the neuroscience of music have demonstrated that and cross-species studies offer another view to these music training is associated with considerable plasticity questions, evidence in this field is still sparse (for in the brain structure and function related to music a recent review, see Patel & Demorest, 2013; for processing (see; Moreno & Bidelman, 2014; Pantev & a review on cross-cultural studies on music emotions Herholz, 2011), visible already in young children after see Thompson & Balkwill, 2010). short periods of training (Kraus & Chandrasekaran, The present review will upgrade these approaches by 2010). The scope of research on music processing has focusing on the essential classifications of major-minor Music Perception, VOLUME 34, ISSUE 4, PP. 387–404, ISSN 0730-7829, ELECTRONIC ISSN 1533-8312. © 2017 BY THE REGENTS OF THE UNIVERSITY OF CALIFORNIA ALL RIGHTS RESERVED. PLEASE DIRECT ALL REQUESTS FOR PERMISSION TO PHOTOCOPY OR REPRODUCE ARTICLE CONTENT THROUGH THE UNIVERSITY OF CALIFORNIA PRESS’S REPRINTS AND PERMISSIONS WEB PAGE, HTTP://WWW.UCPRESS.EDU/JOURNALS.PHP?P¼REPRINTS. DOI: https://doi.org/10.1525/MP.2017.34.4.387 388 Paula Virtala & Mari Tervaniemi and consonance-dissonance in the context of Western music. Defined by mutual pitch relationships between simultaneous or consecutive tones, they are at the heart of the spectral dimension of Western music. They are low-level acoustic phenomena that can be studied in controlled experiments even in infants. Still, these clas- sifications have cultural relevance and affective mean- ing to Western listeners. Novel findings in music neuroscience and psychology on the universal aspects of music-evoked emotions, earliest auditory skills for music processing, and the neural basis of dissonance have shed light on the origins and development of FIGURE 1. Examples of major, minor, and dissonant interval structures illustrated on a piano keyboard and in musical notation: C major triad, C major-minor and consonance-dissonance. Brain minor triad, and a highly dissonant triad chord constructed of two research and behavioral findings, reaching across differ- dissonant intervals, minor second and tritone. Modified from Virtala ent age groups, cultures and species are reviewed in (2015). order to discuss the roles of biology, brain maturation, musical enculturation, and music training in major- emotion processing; for example parts of cingulate cor- minor and consonance-dissonance processing. The tex and left medial and frontal gyri (Green et al., 2008; main questions in the scope of this review are: (1) Khalfa et al., 2005), left parahippocampal gyrus (Green what is the neurobiological basis and psychoacoustic et al., 2008), as well as amygdala, retrosplenial cortex, origin of major-minor and consonance-dissonance, brain stem, and cerebellum (Pallesen et al., 2005; for and (2) how do development, musical enculturation, recent reviews on the neural basis of music-evoked and music training/expertise modify their affective emotions, see Koelsch, 2010, 2014). Compared to neu- and cognitive processing? tral music, major and minor music both have elicited activation in the inferior frontal gyri as well as anterior Major-Minor Dichotomy in Western Music cingulate cortex and medial thalamus (Mizuno & Sugishita, 2007). Experimental stimuli in the study con- The dichotomy of major vs. minor is the basis of West- sisted of piano chord sequences with only major chords ern tonal music, present in scales, keys, intervals and (rated by the participants as ‘‘cheerful’’), only minor chords. The difference between major and minor mode chords (rated as ‘‘sad’’), or various chord types (major, is rooted in the interval structures (i.e., mutual pitch minor, augmented, and diminished; rated as ‘‘neutral’’). relationships between simultaneous or consecutive Other studies presented melodies played on a piano notes in the diatonic scale), particularly the position (Green et al., 2008; Khalfa et al., 2005) or individual of two semitones of the diatonic scale in the two modes. piano chords (Pallesen et al., 2005). Importantly, in all For instance, in the major mode, there is a semitone of the aforementioned studies, tempo was kept constant between steps 3 to 4 vs. steps 2 to 3 in the minor mode. between major and minor stimuli and thus cannot Thus, the interval from the tonic to the third step is larger explain the obtained results. Various other musical fea- in major mode than in minor mode. Consequently, the tures and the surrounding music context are highly chord structures differ as well: a major third interval in likely to influence the affective responses to major and major chords is replaced by a minor third interval in minor music in natural listening situations. For example minor chords (Helmholtz, 1887/1954; Rossing, Moore, intensity and rhythmic elements of music make it & Wheeler, 2002). Examples of major and minor triad dynamic by accenting certain events and dampening chords are presented in Figure 1. Western listeners asso- others. In order to understand their contributions for ciate affective connotations of brightness and joy with affective major-minor processing, more research is major mode, and sadness or calmness with minor mode needed, where these features are not only controlled for, (Crowder, 1984, 1985; Hunter, Schellenberg, & Schim- but experimentally manipulated. mack, 2010; Khalfa, Scho¨n, Anton, & Liegeois-Chauvel, In an fMRI study, where minor, major, and highly 2005). dissonant (chromatic scale of uniformly distributed dis- sonant intervals) melodies were presented to Western AFFECTIVE PROCESSING OF MAJOR VS. MINOR nonmusicians, emotion-related limbic activation elicited In Western
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