DOCSLIB.ORG

The Processing of Pitch and Temporal Information in Relational Memory for Melodies

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Processing of Pitch and Temporal Information in Relational Memory for Melodies The Processing of Pitch and Temporal Information in Relational Memory for Melodies Timothy Patrick Byron Bachelor of Arts (Psychology) (Honours) A thesis submitted for the degree of Doctor of Philosophy University of estern Sydney March 2008 i I hereby declare that this submission is my own work and, to the best of my knowledge, it contains no material previously published or written by another person, nor material which has been accepted for the award of any other degree or diploma at the University of estern Sydney, or any other educational institution, e)cept where due acknowledgement is made in the thesis. I also declare that the intellectual content of this thesis is the product of my own work, e)cept to the e)tent that assistance from others in the project,s design and conception is acknowledged. _____________________ Tim Byron . ii Acknowledgements .ou would not currently be reading this thesis without the assistance of the following people, who provided wisdom, encouragement, generosity, insight, and motivation. Thanks are very much due to my primary supervisor, Assistant Professor Catherine Stevens, has been unfailing in her dedication and commitment as a supervisor for close to four years, from the first days in which I was able to begin researching this thesis in earnest, to 0 especially 1 those dying days when the world seems surreal. The ways in which 2ate has contributed to this thesis are boundless, but her patience, encouragement, motivational skills, intellectual curiosity, critical insight, good humour, astute observations, and her belief in me all come to mind. This thesis does not resemble the thesis proposal I submitted in late 2003, and I am eternally grateful to 2ate for the knowledge, insight, patience and guidance she gave me as my initially incoherent ideas and fancies eventually got pruned away, leaving the shape of a coherent thesis. I honestly don,t believe that a better supervisor than 2ate e)ists. Secondarily, thanks are due to my associate supervisors, Doctor Agnes Petoc4, and Doctor Barbara Tillmann, each of whom has provided me with much wisdom, insight, and encouragement. Agnes, commitment to the importance of theory within psychology has not only had a positive effect on me and this thesis, but on many of her former students and colleagues who have been part of the environment at U S and MARCS Auditory 6aboratories. The combination of Agnes, knowledge and sharp logical thinking has made this thesis theoretically tighter, more coherent and logical, even in the sections she did not actively contribute to, as the thought 7what if Agnes reads this89 often led to better writing, theory, and logical flow. Barbara, despite usually not residing in the same country, has made several theoretical and empirical contributions to this thesis which have made this a stronger document: her sharp eye for e)perimental detail and e)perimental manipulations has increased the worth of the e)periments conducted within this thesis, and has helped immensely with the interpretation of those e)periments. iii The support staff at MARCS have been e)traordinarily gracious and helpful: their ability to make things run smoothly is a large and possibly underestimated part of what makes MARCS such a stimulating, rewarding, and pleasant environment. The support with lab set1up given to me by Colin Schoknecht and Johnson Chen has been tremendously helpful, as has the efforts of 2aren McConachie, Mel Gallagher, Darlene illiams and Gail Charlton to keep things running smoothly in all manner of ways, and I would like to sincerely thank them for their time and effort. Mel Gallagher helped tremendously getting things organised at the end. It is hard to thank an entire research institute, but I would like to thank MARCS Auditory 6aboratories, in general, for e)isting. MARCS has provided an ama4ingly stimulating, rewarding, and pleasant environment for me, and their help with resources, equipment and travel funding has been very beneficial for me, and has enabled me to fly to conferences in Brisbane, Australia and Bologna, Italy in 2006 and in Cambridge, England in 2007: I received invaluable comments, suggestions and criticisms at these conferences which contributed to the thesis. Thanks go especially to those with whom I,ve shared postgraduate rooms over the years 0 Aan Bu, Jess Hartcher1C,Brien, 6idija 2rebs16a4endic, Benjawan 2asisopa, Shaun Halovic, Paul Mason, Graham Howard, Arman Abrahamyan, Aicole 6ees, Jennifer 6e, Aatalie Hughes, Ben Morrison, and Robert Sa4dov 1 for putting up with me. The Music, Sound, and Action readingDwriting group at MARCS has seen many early drafts of chapters in this thesis, and I would like to sincerely thank members of the MSA group 0 especially Doctor David Brennan, Professor Roger Dean, Doctor Ereya Bailes, Arman Abrahamyan, and Doctor Stephen Malloch 1 for their time and effort in reading those early drafts, for the penetrating insight and eye for details that have improved this thesis, and for the hours of stimulating discussion I have been witnessed and been a part of over the years. I would like to thank my proofreading squad, who have graciously given up some of their time over the Easter long weekend to detect the more pernicious typographical errors and departures from the APA manual that escaped my hopelessly1too1close1to1 iv it eyes. So cheers to Bronson FParticipant BBH, Harry, Jadey C,Regan, Erin Cvejic, Aatalie Hughes, Dogu Erdener, and Arman Abrahamyan. Thanks also go to the many participants in my e)periments. This is doubly so for the musically trained participants who didn,t have to do the e)periment to obtain course credit, and who were very generous with their time and effort. I would also like to thank the other members of The Reservations, 6a4y Susan, Sliced Bread, the Sharkalarms, and Tom Stone and the Soldiers of Eortune for playing music with me over the course of this thesis, and being understanding about the last 6 months. I would also like to thank the following for employing me as a tutor or as a research assistant, after my APA scholarship came to e)pire, thus enabling me to eat while finishing the PhD: David Brennan, 2ate Stevens, Agnes Petoc4, and (sadly departed and much missed) Professor Jim Mc2night. I would sincerely like to thank Hictoria illiamson from the University of .ork, in England, for many reasons: firstly, for being one of the few people who studies a topic which vaguely resembles mine, and the several interesting conversations and discussions which resulted from this: secondly, for the insight, advice and help she gave to me in reading chapters of this thesis: and thirdly, I would like to thank Hictoria and her husband Ben for their graciousness and kindness as hosts when I visited the University of .ork. I would also like to thank Doctor Steven Roodenrys of the University of ollongong, with whom I completed my honours thesis in 2003. ithout Steve, you would not be reading this thesis, as he introduced me to the delights of e)periments in cognitive psychology and told me that 2ate and MARCS e)isted when I showed a fascination with music cognition. I had originally not intended to study the interaction of verbal short term memory and long term memory (my honours topic) in this thesis, but somehow it ended up being a major part of this thesis, and I am grateful to Steve for the knowledge and insight I received from him at the University of ollongong, as it v helped immensely in writing parts of this thesis which even vaguely echo my honours topic. I would like to thank researchers who have visited MARCS Auditory 6aboratories, such as Professors Caroline Palmer and 6aurel Trainor, who have graciously given their time and provided stimulating intellectual discussions, and would also like to thank Professors Eric Clarke, Aicola Dibben, Alan Baddeley, and Graham Hitch for generously allowing me to present my work at their laboratories in .ork and Sheffield, and for the enjoyable and useful discussions of my work that resulted. Much love to my family 0 Mum, ayne, Dad, Gina, Brendan and Colum œ who have been supportive and understanding. Einally, all of my love and appreciation goes to Jadey C,Regan, who I met in the first year of this thesis. As our lives have become progressively more intertwined in that time, her unfailing belief in me and help and understanding has gotten me through rough patches, hard problems, low points: knowing her has made me a better person. I only hope to help her as she has helped me in the last few months when the dying days of her PhD roll around in 2010D2011. vi Abstract A series of e)periments investigate the roles of relational coding and e)pectancy in memory for melodies. The focus on memory for melodies was motivated by an argument that research on the evolutionary psychology of music cognition would be improved by further research in this area. Melody length and the use of transposition were identified in a literature review as e)perimental variables with the potential to shed light on the cognitive mechanisms in memory for melodies: similarly, pitch interval magnitude (PIM), melodic contour, metre, and pulse were identified as musical attributes that appear to be processed by memory for melodies. It was concluded that neither previous models of verbal short term memory (vSTM) nor previous models of memory for melodies are unable to satisfactorily e)plain current findings on memory for melodies. The model of relational memory for melodies that is developed here aims to e)plain findings from the memory for melodies literature. This model emphasises the relationship between: a) perceptual processes œ specifically, a relational coding mechanism which encodes pitch and temporal information in a relational form: b) a short term store: and c) the redintegration of memory traces using schematic and veridical e)pectancies.
Load more

Recommended publications
  • Expectancy and Musical Emotion Effects of Pitch and Timing
    Manuscript Expectancy and musical emotion Effects of pitch and timing expectancy on musical emotion Sauvé, S. A.1, Sayed, A.1, Dean, R. T.2, Pearce, M. T.1 1Queen Mary, University of London 2Western Sydney University Author Note Correspondence can be addressed to Sarah Sauvé at [email protected] School of Electronic Engineering and Computer Science Queen Mary University of London, Mile End Road London E1 4NS United Kingdom +447733661107 Biographies S Sauve: Originally a pianist, Sarah is now a PhD candidate in the Electronic Engineering and Computer Science department at Queen Mary University of London studying expectancy and stream segregation, supported by a college studentship. EXPECTANCY AND MUSICAL EMOTION 2 A Sayed: Aminah completed her MSc in Computer Science at Queen Mary University of London, specializing in multimedia. R.T. Dean: Roger is a composer/improviser and researcher at the MARCS Institute for Brain, Behaviour and Development. His research focuses on music cognition and music computation, both analytic and generative. M.T. Pearce: Marcus is Senior Lecturer at Queen Mary University of London, director of the Music Cognition and EEG Labs and co-director of the Centre for Mind in Society. His research interests cover computational, psychological and neuroscientific aspects of music cognition, with a particular focus on dynamic, predictive processing of melodic, rhythmic and harmonic structure, and its impact on emotional and aesthetic experience. He is the author of the IDyOM model of auditory expectation based on statistical learning and probabilistic prediction. EXPECTANCY AND MUSICAL EMOTION 3 Abstract Pitch and timing information work hand in hand to create a coherent piece of music; but what happens when this information goes against the norm? Relationships between musical expectancy and emotional responses were investigated in a study conducted with 40 participants: 20 musicians and 20 non-musicians.
    [Show full text]
  • A New Illusion in the Perception of Relative Pitch Intervals
    A new illusion in the perception of relative pitch intervals by Maartje Koning A thesis submitted to the Faculty of Humanities of the University of Amsterdam in partial fulfilment of the requirements for the degree of Master of Arts Department of Musicology 2015 Dr. M. Sadakata University of Amsterdam Dr. J.A. Burgoyne University of Amsterdam 2 Abstract This study is about the perception of relative pitch intervals. An earlier study of Sadakata & Ohgushi ‘Comparative judgments pitch intervals and an illusion’ (2000) showed that when when people listened to two tone intervals, their perception of relative pitch distance between the two tones depended on the direction and size of the intervals. In this follow-up study the participants had to listen to two tone intervals and indicate whether the size of the second interval was smaller, the same or larger than the first. The conditions were the same as in the study of Sadakata & Ohgushi. These four different conditions were illustrating the relationship between those two intervals. There were ascending and descending intervals and the starting tone of the second interval differed with respect to the starting tone of the first interval. The study made use of small and large intervals and hypothesized that the starting tone of the second interval with respect to the starting tone of the first interval had an effect on the melodic expectancy of the listener and because of that they over- or underestimate the size of the second tone interval. Furthermore, it was predicted that this tendency would be stronger for larger tone intervals compared to smaller tone intervals and that there would be no difference found between musicians and non-musicians.
    [Show full text]
  • Prediction in Polyphony: Modelling Musical Auditory Scene Analysis
    Prediction in polyphony: modelling musical auditory scene analysis by Sarah A. Sauvé A thesis submitted to the University of London for the degree of Doctor of Philosophy School of Electronic Engineering & Computer Science Queen Mary University of London United Kingdom September 2017 Statement of Originality I, Sarah A Sauvé, confirm that the research included within this thesis is my own work or that where it has been carried out in collaboration with, or supported by others, that this is duly acknowledged below and my contribution indicated. Previously published material is also acknowledged below. I attest that I have exercised reasonable care to ensure that the work is original, and does not to the best of my knowledge break any UK law, infringe any third party's copyright or other Intellectual Property Right, or contain any confidential material. I accept that the College has the right to use plagiarism detection software to check the electronic version of the thesis. I confirm that this thesis has not been previously submitted for the award of a degree by this or any other university. The copyright of this thesis rests with the author and no quotation from it or information derived from it may be published without the prior written consent of the author. Signature: Sarah A Sauvé Date: 1 September 2017 2 Details of collaboration and publication One journal article currently in review and one paper uploaded to the ArXiv database contain work presented in this thesis. Two conference proceedings papers contain work highly related to, and fundamental to the development of the work presented in Chapters 5 and 7.
    [Show full text]
  • Probabilistic Models of Expectation Violation Predict Psychophysiological Emotional Responses to Live Concert Music
    Probabilistic models of expectation violation predict psychophysiological emotional responses to live concert music Hauke Egermann, Marcus T. Pearce, Geraint A. Wiggins & Stephen McAdams Cognitive, Affective, & Behavioral Neuroscience ISSN 1530-7026 Cogn Affect Behav Neurosci DOI 10.3758/s13415-013-0161-y 1 23 Your article is protected by copyright and all rights are held exclusively by Psychonomic Society, Inc.. This e-offprint is for personal use only and shall not be self-archived in electronic repositories. If you wish to self-archive your article, please use the accepted manuscript version for posting on your own website. You may further deposit the accepted manuscript version in any repository, provided it is only made publicly available 12 months after official publication or later and provided acknowledgement is given to the original source of publication and a link is inserted to the published article on Springer's website. The link must be accompanied by the following text: "The final publication is available at link.springer.com”. 1 23 Author's personal copy Cogn Affect Behav Neurosci DOI 10.3758/s13415-013-0161-y Probabilistic models of expectation violation predict psychophysiological emotional responses to live concert music Hauke Egermann & Marcus T. Pearce & Geraint A. Wiggins & Stephen McAdams # Psychonomic Society, Inc. 2013 Abstract We present the results of a study testing the often- emotion induction, leading to a further understanding of the theorized role of musical expectations in inducing listeners’ frequently experienced emotional effects of music. emotions in a live flute concert experiment with 50 participants. Using an audience response system developed for this purpose, Keywords Emotion .
    [Show full text]
  • When the Leading Tone Doesn't Lead: Musical Qualia in Context
    When the Leading Tone Doesn't Lead: Musical Qualia in Context Dissertation Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Claire Arthur, B.Mus., M.A. Graduate Program in Music The Ohio State University 2016 Dissertation Committee: David Huron, Advisor David Clampitt Anna Gawboy c Copyright by Claire Arthur 2016 Abstract An empirical investigation is made of musical qualia in context. Specifically, scale-degree qualia are evaluated in relation to a local harmonic context, and rhythm qualia are evaluated in relation to a metrical context. After reviewing some of the philosophical background on qualia, and briefly reviewing some theories of musical qualia, three studies are presented. The first builds on Huron's (2006) theory of statistical or implicit learning and melodic probability as significant contributors to musical qualia. Prior statistical models of melodic expectation have focused on the distribution of pitches in melodies, or on their first-order likelihoods as predictors of melodic continuation. Since most Western music is non-monophonic, this first study investigates whether melodic probabilities are altered when the underlying harmonic accompaniment is taken into consideration. This project was carried out by building and analyzing a corpus of classical music containing harmonic analyses. Analysis of the data found that harmony was a significant predictor of scale-degree continuation. In addition, two experiments were carried out to test the perceptual effects of context on musical qualia. In the first experiment participants rated the perceived qualia of individual scale-degrees following various common four-chord progressions that each ended with a different harmony.
    [Show full text]
  • Auditory Expectation: the Information Dynamics of Music Perception and Cognition
    Topics in Cognitive Science 4 (2012) 625–652 Copyright Ó 2012 Cognitive Science Society, Inc. All rights reserved. ISSN: 1756-8757 print / 1756-8765 online DOI: 10.1111/j.1756-8765.2012.01214.x Auditory Expectation: The Information Dynamics of Music Perception and Cognition Marcus T. Pearce and Geraint A. Wiggins Centre for Cognition, Computation and Culture, Goldsmiths, University of London Centre for Digital Music, Queen Mary, University of London Received 30 September 2010; received in revision form 23 June 2011; accepted 25 July 2011 Abstract Following in a psychological and musicological tradition beginning with Leonard Meyer, and continuing through David Huron, we present a functional, cognitive account of the phenomenon of expectation in music, grounded in computational, probabilistic modeling. We summarize a range of evidence for this approach, from psychology, neuroscience, musicology, linguistics, and creativity studies, and argue that simulating expectation is an important part of understanding a broad range of human faculties, in music and beyond. Keywords: Expectation; Probabilistic modeling; Prediction; Musical melody; Pitch; Segmentation; Aesthetics; Creativity 1. Introduction Once a musical style has become part of the habit responses of composers, performers, and practiced listeners, it may be regarded as a complex system of probabilities … Out of such internalized probability systems arise the expectations—the tendencies—upon which musical meaning is built. (Meyer, 1957, p. 414) The ability to anticipate the future is a fundamental property of the human brain (Dennett, 1991). Expectations play a role in a multitude of cognitive processes from sensory percep- tion, through learning and memory, to motor responses and emotion generation. Accurate expectations allow organisms to respond to environmental events faster and more appropri- ately and to identify incomplete or ambiguous perceptual input.
    [Show full text]
  • Overcoming Variability in Consumer Response to Advertising Music
    Results May Vary: Overcoming Variability in Consumer Response to Advertising Music Lincoln G. Craton and Geoffrey P. Lantos Stonehill College Richard C. Leventhal Ashford University ABSTRACT Although listening to music seems effortless, it actually involves many separate psychological mechanisms. This article describes and extends the multimechanism framework proposed by Juslin and colleagues, highlighting how the operation of psychological mechanisms leads to two general types of variability in consumer response to advertising music. First, the risk of between-consumer variability (individual differences) in musical response is moderate or high for most mechanisms, and it often depends on each individual’s particular history of exposure to music (listening biography). Second, within-consumer variability occurs when different mechanisms have contrasting effects, so that an individual consumer’s musical response is often mixed (e.g., guilty pleasures, bittersweet feelings, pleasurable sadness). Both types of variability can negatively impact advertising objectives (message reception, recall, acceptance, brand attitudes, etc.). The article offers preliminary suggestions for how marketers can use a multimechanism approach to successfully incorporate music in commercials and reduce the risk of unanticipated consumer responses. It ends with proposals for further research. © 2016 Wiley Periodicals, Inc. Business is booming in the field of music percep- Scope and Goals of the Article tion and cognition (hereafter, music cognition). Re- search activity is surging (Levitin, 2010), member- According to Levitin and Tirovolas (2010, p. 599), ship in the Society for Music Perception and Cognition (SMPC) is rising, and “after a long drought” (Ashley, Music cognition . is the scientific study of those 2010, p. 205) new introductory textbooks are emerg- mental and neural operations underlying music lis- ing (e.g., Honing, 2009; Tan, Pfordrescher, & Harre´ tening, music making, dancing (moving to music), 2010; Thompson, 2015).
    [Show full text]
  • Cortical Encoding of Melodic Expectations in Human
    RESEARCH ARTICLE Cortical encoding of melodic expectations in human temporal cortex Giovanni M Di Liberto1*, Claire Pelofi2,3†, Roberta Bianco4†, Prachi Patel5,6, Ashesh D Mehta7,8, Jose L Herrero7,8, Alain de Cheveigne´ 1,4, Shihab Shamma1,9*, Nima Mesgarani5,6* 1Laboratoire des syste`mes perceptifs, De´partement d’e´tudes cognitives, E´ cole normale supe´rieure, PSL University, CNRS, 75005 Paris, France; 2Department of Psychology, New York University, New York, United States; 3Institut de Neurosciences des Syste`me, UMR S 1106, INSERM, Aix Marseille Universite´, Marseille, France; 4UCL Ear Institute, London, United Kingdom; 5Department of Electrical Engineering, Columbia University, New York, United States; 6Mortimer B Zuckerman Mind Brain Behavior Institute, Columbia University, New York, United States; 7Department of Neurosurgery, Zucker School of Medicine at Hofstra/ Northwell, Manhasset, United States; 8Feinstein Institute of Medical Research, Northwell Health, Manhasset, United States; 9Institute for Systems Research, Electrical and Computer Engineering, University of Maryland, College Park, United States Abstract Humans engagement in music rests on underlying elements such as the listeners’ cultural background and interest in music. These factors modulate how listeners anticipate musical events, a process inducing instantaneous neural responses as the music confronts these *For correspondence: expectations. Measuring such neural correlates would represent a direct window into high-level [email protected] (GMDL); brain processing. Here we recorded cortical signals as participants listened to Bach melodies. We [email protected] (SS); [email protected] (NM) assessed the relative contributions of acoustic versus melodic components of the music to the neural signal. Melodic features included information on pitch progressions and their tempo, which † These authors contributed were extracted from a predictive model of musical structure based on Markov chains.
    [Show full text]
  • The Cognitive Neuroscience of Music
    THE COGNITIVE NEUROSCIENCE OF MUSIC Isabelle Peretz Robert J. Zatorre Editors OXFORD UNIVERSITY PRESS Zat-fm.qxd 6/5/03 11:16 PM Page i THE COGNITIVE NEUROSCIENCE OF MUSIC This page intentionally left blank THE COGNITIVE NEUROSCIENCE OF MUSIC Edited by ISABELLE PERETZ Départment de Psychologie, Université de Montréal, C.P. 6128, Succ. Centre-Ville, Montréal, Québec, H3C 3J7, Canada and ROBERT J. ZATORRE Montreal Neurological Institute, McGill University, Montreal, Quebec, H3A 2B4, Canada 1 Zat-fm.qxd 6/5/03 11:16 PM Page iv 1 Great Clarendon Street, Oxford Oxford University Press is a department of the University of Oxford. It furthers the University’s objective of excellence in research, scholarship, and education by publishing worldwide in Oxford New York Auckland Bangkok Buenos Aires Cape Town Chennai Dar es Salaam Delhi Hong Kong Istanbul Karachi Kolkata Kuala Lumpur Madrid Melbourne Mexico City Mumbai Nairobi São Paulo Shanghai Taipei Tokyo Toronto Oxford is a registered trade mark of Oxford University Press in the UK and in certain other countries Published in the United States by Oxford University Press Inc., New York © The New York Academy of Sciences, Chapters 1–7, 9–20, and 22–8, and Oxford University Press, Chapters 8 and 21. Most of the materials in this book originally appeared in The Biological Foundations of Music, published as Volume 930 of the Annals of the New York Academy of Sciences, June 2001 (ISBN 1-57331-306-8). This book is an expanded version of the original Annals volume. The moral rights of the author have been asserted Database right Oxford University Press (maker) First published 2003 All rights reserved.
    [Show full text]
  • Taking Harmony Into Account: the Effect of Harmony on Melodic Probability
    The Effect of Harmony on Melodic Probability 405 TAKING HARMONY INTO ACCOUNT: THE EFFECT OF HARMONY ON MELODIC PROBABILITY CLAIRE ARTHUR musical examples, as well as acute musical intuitions. Ohio State University A testament to the influence of these theories is the large body of work that has attempted to simplify, quantify, PROBABILISTIC MODELS HAVE PROVED REMARKABLY test, or otherwise expand upon them, most notably: successful in modeling melodic organization (e.g., Cuddy and Lunney (1995), Krumhansl (1995), Larson Huron, 2006a; Pearce, 2005; Temperley, 2008). However, (2004), Lerdahl (2001), Margulis (2005), Pearce and the majority of these models rely on pitch information Wiggins (2006), and Schellenberg (1996, 1997). (For takenfrommelodyalone.Giventheprevalenceof a review of expectation literature, see Pearce & Wiggins, homophonic music in Western culture, however, sur- 2006; Temperley, 2012.) The majority of these models prisingly little attention has been directed at exploring focus on the evaluation of pitch information taken from the predictive power of harmonic accompaniment in the melody alone (e.g., pitch height, interval size, con- models of melodic organization. The research presented tour, etc.). However, while the pitch domain has here uses a combination of the three main approaches received the greatest attention, research has also estab- to empirical musicology—exploratory analysis, model- lished the importance of rhythm and phrasing in con- ing, and hypothesis testing—to investigate the influence tributing to melodic expectation. For example, rhythmic of harmony on melodic behavior. In this study a com- information can help predict the location of phrase end- parison is made between models that use only melodic ings (Jusczyk & Krumhanl, 1993, Krumhansl, 2000; information and models that consider the melodic Krumhansl & Jusczyk, 1990; Palmer & Krumhansl, information along with the underlying harmonic 1987), and pitches located near phrase endings will have accompaniment to predict melodic continuations.
    [Show full text]
  • Semiótica, Semiótica De La Música Y Semiótica Cognitivo- Enactiva De La Música Notas Para Un Manual De Usuario
    Semiótica, semiótica de la música y semiótica cognitivo- enactiva de la música Notas para un manual de usuario. Rubén López Cano [email protected], www.lopezcano.net Escola Superior de Música de Catalunya Rubén López Cano 2007 Los contenidos de este texto están bajo una licencia Creative Commons. Consúltela antes de usarlo. The content on this text is under a Creative Commons license. Consult it before using this article. Cómo citar este artículo: How to cite this article: López Cano, Rubén. 2007. “Semiótica, semiótica de la música y semiótica cognitivo-enactiva de la música. Notas para un manual de usuario”. Texto didáctico (actualizado junio 2007). www.lopezcano.net (Consultado o descargado [día, mes y año]) (Accessed [Day Month Year of access]) Semiótica de la música Rubén López Cano Índice: • Advertencia • Semiótica de la Música • El Signo • ¿Qué es significado en música? • Fundamentos • Saussure y Peirce • Semiótica cognitiva de la música • ¿Semiología o semiótica? • Persuasiones y disuasiones: oferta y problemas de la semiótica de la música • Las ciencias cognitivas • La musicología cognitiva • La cognición enactiva • Como introducirse en el estudio de esto… o Semiótica de la música Algunos autores importantes en el ámbito de la semiótica de la música: Primer encontronazo con la semiótica Introducción a la semiótica general Semiótica de Peirce Semióticas particulares: Eco y Greimas Historia de la semiótica musical Introducción a la semiótica de la música Bibliografia fundamental de algunos maestros de la semiótica musical
    [Show full text]
  • Dynamic Melodic Expectancy
    DYNAMIC MELODIC EXPECTANCY DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Bret J. Aarden, M.A. The Ohio State University 2003 Dissertation Committee: Approved by Professor David Huron, Adviser Professor Patricia Flowers Adviser Professor Mari Riess Jones School of Music Professor Lee Potter ABSTRACT The most common method for measuring melodic expectancy is the “probe-tone” design, which relies on a retrospective report of expectancy. Here a direct measure of expectancy is introduced, one that uses a speeded, serial categorization task. An analysis of the reaction time data showed that “Implication-Realization” contour models of melodic expectancy provide a good fit. Further analysis suggests that some assumptions of these contour models may not be valid. The traditional “key profile” model of tonality was not found to contribute significantly to the model. Following Krumhansl’s (1990) argument that tonality is learned from the statistical distribution of scale degrees, a tonality model based on the actual probability of scale degrees did significantly improve the fit of the model. It is proposed that the probe-tone method for measuring key profiles encourages listeners to treat the probe tone as being in phrase-final position. Indeed, the key profile was found to be much more similar to the distribution of phrase-final notes than to the distribution of all melodic notes. A second experiment measured reaction times to notes that subjects expected to be phrase-final. In this experiment the key profile contributed significantly to the fit of the model.
    [Show full text]