Music Perception

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10/26/2020 Music Perception Perception of Complex Tones • Experience is important in discrimination of complex tones Different Same Detection threshold getting better (smaller) over time Music Stimulus • Each musical note has a name and a pitch • Fundamental frequency determines name (A – G) • C4 (Middle C) • A5 (Concert / Tuning A) 1 10/26/2020 Music Stimulus • Tone chroma (pitch class) is the similarity of notes with same name • Tone height is difference in tonal quality of notes Music Stimulus • No instrument can accommodate the full the range of audible frequencies Perceiving Music • Some are able to judge absolute (perfect) pitch, whereas other can judge relative pitch 2 10/26/2020 Perceiving Music Perceiving Music Middle C on Guitar 70 60 50 • Harmonics 40 30 • Give notes bonal quality (timbre) 20 Response (dB) Response • Integer multiples of the fundamental 10 0 0 • Missing fundamental does not affect 262 524 786 1048 1310 1572 1834 2096 2358 2620 2882 3144 3406 3668 3930 4192 pitch perception Frequency (hz) Middle C on Flute 60 50 40 30 20 Response (dB) Response 10 0 0 262 524 786 1048 1310 1572 1834 2096 2358 2620 2882 3144 3406 3668 3930 4192 Frequency (hz) Perceiving Music • Chords are combinations of three or more notes played simultaneously • Major Chord = Major 3rd + Minor 3rd • Minor Chord = Minor 3rd + Major 3rd Fifth b # Third b Root (gives name) C Major E Major G Major C Minor E Minor G Minor (Cm) (Em) (Gm) 3 10/26/2020 Perceiving Music • Consonant Chords are pleasing and clean-sounding b • Minor chords C Minor • Major chords (Cm) • Dissonant Chords are tense and dirty- sounding • Diminished chords • Augmented chords b b C Minor Dim. 5th (Cm dim5) Perceiving Music • Different chords and scales elicit different emotional responses • Major = happy • Minor = sad • Different chords can “prime” different emotional constructs • Consonant = Positive • Dissonant = Negative Perceiving Music • Results from an affective priming task • Prime Chord Identify Target Word • Faster RTs when prime and word shared valance 4 10/26/2020 Making and Perceiving Music • Rhythm is the sequences of accented and unaccented notes • People create rhythm naturally (Wundt and Bolton) • Syncopation is perceiving two distinct rhythms grouped together AaaAaaAaaAaaAaaAaaAaaAaaAaaAaaAaaAaa BbbbBbbbBbbbBbbbBbbbBbbbBbbbBbbbBbbb Making and Perceiving Music • Deutsch’s Speech to Song Illusion, occurs when a spoken (not sung) phrase is heard as a melody • Speech – music link • We do this ‘naturally’ Making and Perceiving Music • The octave illusion is the perceived grouping together of notes that differ in octaves 5 10/26/2020 Perceiving Music • Tritones are a pair of Shepard tones on opposite sides of the pitch class circle • Semitones are not opposites • Tritone Paradox (Diana Deutsch) 100 80 Tritone 60 40 20 Pattern Heard Descending (%) HeardDescending Pattern 0 C-F# C#-G D-G# D#-A E-A# F-B F#-C G-C# G#-D A-D# A#-E B-F Perceiving Music • Tritone Paradox varies across people • Experience seems to be a big factor 6.

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Memory and Production of Standard Frequencies in College-Level Musicians Sarah E
University of Massachusetts Amherst ScholarWorks@UMass Amherst Masters Theses 1911 - February 2014 2013 Memory and Production of Standard Frequencies in College-Level Musicians Sarah E. Weber University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/theses Part of the Cognition and Perception Commons, Fine Arts Commons, Music Education Commons, and the Music Theory Commons Weber, Sarah E., "Memory and Production of Standard Frequencies in College-Level Musicians" (2013). Masters Theses 1911 - February 2014. 1162. Retrieved from https://scholarworks.umass.edu/theses/1162 This thesis is brought to you for free and open access by ScholarWorks@UMass Amherst. It has been accepted for inclusion in Masters Theses 1911 - February 2014 by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. Memory and Production of Standard Frequencies in College-Level Musicians A Thesis Presented by SARAH WEBER Submitted to the Graduate School of the University of Massachusetts Amherst in partial fulfillment of the requirements for the degree of MASTER OF MUSIC September 2013 Music Theory © Copyright by Sarah E. Weber 2013 All Rights Reserved Memory and Production of Standard Frequencies in College-Level Musicians A Thesis Presented by SARAH WEBER _____________________________ Gary S. Karpinski, Chair _____________________________ Andrew Cohen, Member _____________________________ Brent Auerbach, Member _____________________________ Jeff Cox, Department Head Department of Music and Dance DEDICATION For my parents and Grandma. ACKNOWLEDGEMENTS I would like to thank Kristen Wallentinsen for her help with experimental logistics, Renée Morgan for giving me her speakers, and Nathaniel Liberty for his unwavering support, problem-solving skills, and voice-over help.
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Speaking in Tones Music and Language Are Partners in the Brain
Speaking in Tones Music and language are partners in the brain. Our sense of song helps us learn to talk, read and even make friends By Diana Deutsch 36 SCIENTIFIC AMERICAN MIND July/August 2010 © 2010 Scientific American ne afternoon in the summer of opera resembling sung ordinary speech), the cries 1995, a curious incident occurred. of street vendors and some rap music. I was fi ne-tuning my spoken com- And yet for decades the experience of musicians mentary on a CD I was preparing and the casual observer has clashed with scientifi c ) about music and the brain. To de- opinion, which has held that separate areas of the music tect glitches in the recording, I was looping phrases brain govern speech and music. Psychologists, lin- O so that I could hear them over and over. At one point, guists and neuroscientists have recently changed their sheet ( when I was alone in the room, I put one of the phras- tune, however, as sophisticated neuroimaging tech- es, “sometimes behave so strangely,” on a loop, be- niques have helped amass evidence that the brain ar- gan working on something else and forgot about it. eas governing music and language overlap. The latest iStockphoto Suddenly it seemed to me that a strange woman was data show that the two are in fact so intertwined that singing! After glancing around and fi nding nobody an awareness of music is critical to a baby’s language there, I realized that I was hearing my own voice re- development and even helps to cement the bond be- petitively producing this phrase—but now, instead tween infant and mother.
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Music Perception 13
Music Perception 13 LEARNING OBJECTIVES ISLE EXERCISES 13.1 Kurdish Music Example 13.1 Explain how frequency is related to pitch, chroma, and the octave. 13.2 Javanese Gamelan Music Example 13.2 Summarize the basic neuroscience of music, including how training and experience can affect the representation of music in the brain. 13.3 Ancient Greek Music 13.4 35,000-Year-Old Flute 13.3 Discuss how learning and culture affect music perception. distribute 13.5 Is This Music? 13.6 The Octave and or Tone Similarity INTRODUCTION 13.7 Pentatonic Music 13.8 Meter and Beat Wherever you travel, you will find music. It may sound very different from the music you are accustomed to hearing, but you will recognize it instantly as music. In Kurdistan, we 13.9 Bolero Clip find a unique culture of music featuring such instrumentspost, as the tanbur (a fretted string 13.10 Attack and Decay instrument), the qernête (a double-reed wind instrument), and the şimşal (a flutelike 13.11 Examples of Melody instrument) (Figure 13.1). Although most of you may never have heard of these instru- ments and may never have heard Kurdish music before, you would instantly recognize 13.12 Types of Scales them as musical instruments, and you might even like Kurdish music (see ISLE 13.1 for 13.13 Gestalt Principles an example of Kurdish music). Review copy, © Aurora Photos/Alamy 13.14 Gestalt Principle: Proximity: Bach’s Partita No. 3 in E major not 13.15 A Shave and a Haircut 13.16 Cross-Modal Matchings as a Simulation of Synesthesia Do 13.17.
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1353 Syllabus Final
Music and Language (Psychology 1353), Fall 2010 Mondays & Wednesdays, 4:00 – 5:30 pm Location: WJH 4 Website: http://my.harvard.edu/icb/icb.do?keyword=k72181 (please check often for updates and changes) Instructor: L. Robert (Bob) Slevc, PhD. Email: [email protected] Office hours by appointment Overview Music and language are among the skills and activities that most uniquely define us as human. As far as we know, every human culture uses some form of music and of language and has done so for a very long time: bone flutes have been discovered dating from about 40,000 years ago and singing probably emerged even earlier, along with spoken language, sometime in the Paleolithic era. In contrast, there seem to be no non-human animals that make use of music and language to anywhere near the extent that we do. This means that the processing of music and language are unlike many other impressive aspects of perception and cognition (e.g., vision or memory) in that we can learn only a limited amount from studies of other species. But processing music and language are, in a sense, similar feats–both involve the conversion of complex auditory sequences into meaningful units and structures–and so much can be learned from comparative work on these two complex abilities. Importantly, we can learn both from aspects that are shared in the processing of music and language and from aspects that are distinct. This idea that there might be a relationship between music and language is not a new one, but goes back at least as far as Plato.
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Music Notation, but Not Action on a Keyboard, Influences
No Effect of Action on the Tritone Paradox 315 MUSIC NOTATION , BUT NOT ACTION ON A KEYBOARD , INFLUENCES PIANISTS’ JUDGMENTS OF AMBIGUOUS MELODIES BRUNO H. REPP Hommel, Müsseler, Aschersleben, & Prinz, 2001; Proffitt, Haskins Laboratories 2006; Schütz-Bosbach & Prinz, 2007; Wilson & Knoblich, 2005). Almost all of these studies have been concerned ROBERT M. GOEHR K E with visual perception. However, Repp and Knoblich Yale University (2007, 2009) recently claimed to have found effects of action on auditory perception. PITCH INCREASES FROM LEFT TO RIGHT ON PIANO Their research was based on the fact that on a piano key- keyboards. When pianists press keys on a keyboard to board, the pitch of produced tones increases from left to hear two successive octave-ambiguous tones spanning a right. Pianists are continuously exposed to this relationship, tritone (half-octave interval), they tend to report hear- whereas other musicians and some nonmusicians merely ing the tritone go in the direction consistent with their know it but do not have sensorimotor experience with it. key presses (Repp & Knoblich, 2009). This finding has On each trial of their experiment, Repp and Knoblich been interpreted as an effect of action on perceptual (2009) showed participants a pair of two-digit numbers judgment. Using a modified design, the present study that corresponded to two keys on a labeled piano keyboard separated the effect of the action itself from that of the (a silent MIDI controller). The keys always spanned the visual stimuli that prompt the action. Twelve expert pia- musical interval of a tritone (half an octave), with the sec- nists reported their perception of octave-ambiguous ond key being either higher (i.e., to the right of) or lower three-note melodies ending with tritones in two condi- than (to the left of) the first key.
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UMBC UGC New Course Request: MUSC 328 – Music and the Mind [email protected] X52026 Music Joseph Siu [email protected] X58043 Music
UMBC UGC New Course Request: MUSC 328 – Music and the Mind Date Submitted: 10/31/2019 Proposed Effective Date: Summer 2019 Name Email Phone Dept Dept Chair Linda Dusman [email protected] x52026 Music UPD Joseph Siu [email protected] x58043 Music COURSE INFORMATION: Course Number(s) MUSC 328 Formal Title Music and the Mind Transcript Title (≤30c) Music and the Mind Recommended Course Preparation MUSC 101 OR MUSC 102 OR MUSC 125 Prerequisite NOTE: Unless otherwise indicated, a prerequisite is (blank) assumed to be passed with a “D” or better. # of Credits Must adhere to the UMBC Credit Hour 3.0 Policy Repeatable for Yes No additional credit? Max. Total Credits 3.0 This should be equal to the number of credits for courses that cannot be repeated for credit. For courses that may be repeated for credit, enter the maximum total number of credits a student can receive from this course. E.g., enter 6 credits for a 3 credit course that may be taken a second time for credit, but not for a third time. Please note that this does NOT refer to how many times a class may be retaken for a higher grade. Grading Method(s) Reg (A-F) Audit Pass-Fail PROPOSED CATALOG DESCRIPTION (Approximately 75 words in length. Please use full sentences.): In this course, we will explore major topics in the interdisciplinary field of music cognition and perception, with a focus on how people perceive, remember, enjoy, and interact with music. This course will present topics on the primary aspects of the musical experience (pitch, rhythm, meter, and timbre), the mental synthesis of these elements into meaningful musical sound, aspects of musical development in children, music and language, individual differences between musicians and nonmusicians, and studies on musical memory, expectation, and emotion.
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Relative Pitch and L2 Lexical Tone Perception/Tone Language Comprehension by Adult Tone
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The Tritone Paradox: an Influence of Language on Music Perception Author(S): Diana Deutsch Source: Music Perception: an Interdisciplinary Journal, Vol
The Tritone Paradox: An Influence of Language on Music Perception Author(s): Diana Deutsch Source: Music Perception: An Interdisciplinary Journal, Vol. 8, No. 4 (Summer, 1991), pp. 335- 347 Published by: University of California Press Stable URL: http://www.jstor.org/stable/40285517 . Accessed: 01/10/2013 08:21 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. University of California Press is collaborating with JSTOR to digitize, preserve and extend access to Music Perception: An Interdisciplinary Journal. http://www.jstor.org This content downloaded from 128.114.163.7 on Tue, 1 Oct 2013 08:21:18 AM All use subject to JSTOR Terms and Conditions Music Perception © 1991 by the regents of the Summer 1991, Vol. 8, No. 4, 335-347 university of California The Tritone Paradox: An Influenceof Language on Music Perception DIANA DEUTSCH Universityof California,San Diego The tritoneparadox is producedwhen two tones that are relatedby a half-octave(or tritone)are presentedin succession.Each tone is com- posed of a set of octave-relatedharmonics, whose amplitudesare de- terminedby a bell-shapedspectral envelope; thus the tones are clearly definedin terms of pitch class, but poorly definedin terms of height.
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ACOUST V2 4 Ebook:ECHOES Fall 04 Final
THE ENIGMA OF ABSOLUTE PITCH Diana Deutsch Department of Psychology, University of California, San Diego La Jolla, California 92093 Introduction well-known melodies when they hear them; yet the amount n the summer of 1763, the Mozart family embarked on of information required to do this is vastly greater than is the famous tour of Europe that established the young required to name a single note. A lack of absolute pitch, Icomposer’s reputation as a musical prodigy (front cover). viewed from this perspective, appears akin to the syndrome Just before they left, an anonymous letter appeared in the of color anomia, in which the person can recognize and dis- Augsburgischer Intelligenz-Zettel describing seven year old criminate between colors, yet cannot associate them with Wolfgang’s extraordinary abilities. The letter included the verbal labels.3 So the real mystery of absolute pitch is not following: why some people possess this ability, but instead why it is so “Furthermore, I saw and heard how, when he was made rare. to listen in another room, they would give him notes, now high, now low, not only on the pianoforte but on every other Background imaginable instrument as well, and he came out with the let- Although absolute pitch is most prevalent among highly ter of the name of the note in an instant. Indeed, on hearing accomplished musicians, it is not necessarily associated with a bell toll, or a clock or even a pocket watch strike, he was able superior performance on other musical processing tasks. For at the same moment to name the note of the bell or time example, people with absolute pitch do not necessarily out- piece.1” perform others in judging the octave in which a note occurs,4 This passage provides a good characterization of or in judging musical intervals,5,6 or on tasks involving short absolute pitch—the ability to name or produce a note of a term memory for pitch when verbal labels cannot be used as given pitch in the absence of a reference note.
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Chapter 8 the Perception of Auditory Patterns Diana Deutsch University of California, San Diego
Chapter 8 The Perception of Auditory Patterns Diana Deutsch University of California, San Diego 1 INTRODUCTION Over the last half-century a considerable body of knowledge has accumulated concerning visual shape perception, based on findings in experimental psychology, neurophysiology, artificial intelligence and related fields. These developments have not, however, been paralleled by analogous developments in audition. It is inter- esting, therefore, that the foundations of pattern perception were laid by scientists who were as much concerned with auditory and musical phenomena as they were with visual ones. Wertheimer (1924/1938) described the beginnings of Gestalt theory thus: 'Historically, the most important impulse came from von Ehrenfels who raised the following problem. Psychology has said that experience is a compound of elements; we hear a melody and then, upon hearing it again, memory enables us to recognize it. But what is it that enables us to recognize the melody when it is played in a new key? The sum of its elements is different, yet the melody is the same; indeed, one is often not even aware that a transposition has been made.' (p. 4) In another paper in which he proposed the Gestalt principles of perceptual organization, Wertheimer (1923/1955) frequently presented musical illustrations along with visual ones. For example, in order to illustrate that 'more or less dissimilarity operates to determine experienced arrangement' he wrote: 'With tones, for example, C, C~, E, F, G~, A, C, C~... will be heard in the grouping ab/cd... ; and C, C~, D, E, F, F~, G~, A, A~, C, C~, D ... in the grouping abc/def' (1923/1955, p.
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Essay Deutsch D
1 Essay Deutsch D National Hearing Conservation Association Annual Conference , 2003, February, Dallas. Invited lecture. Invited Lay language paper presented at the 156th meeting of the Acoustical Society of America. Absolute pitch is associated with a large auditory digit span A clue to its genesis. Mozart Festival, Kennedy Center for the Performing Arts , 1998, Washington, D. 1983, November. Schiﬀman, Sensation and Perception. Heller and W. , and Dooley, K. Auditory Perception, Cognition and Action Meeting , 2002, November, Kansas City. Stereo TV, Invited presentation. Marks, The Unity of the Senses. Journal of the Acoustical Society of America , 1996, 99, 2482,. The pitch levels of female speech in two Chinese villages. , Sensation and Perception. Physics Today , 2010, February, 40-45,. Ear Club , 2004, May, Department of Psychology, University of California, Berkeley. Invited Lay language paper presented at the 148th meeting of the Acoustical Society of America, San Diego, November,. New York Oxford University Press. Mozart Festival, Kennedy Center for the Performing Arts , 1998, Washington, D. Basic Structure and Function in the Central Nervous System , 1974, New York MacMillan Co. Representation of pitch and pitch combinations. Invited Lay Language paper presented at the 149th Meeting of the Acoustical Society of America. and Deutsch, D. Musical space. Two issues at the interface between speech and music. Paper presented at the. Winter Conference on Brain Research , 1986, Keystone. International conference on Psychology and the Arts , 1983, Cardiﬀ, Wales. Psychonomic Society Meeting , 1984, El Paso. Encyclopedia of Perception , 2009, 1, 160-164, Sage. Invited Presentation, Annual meeting of the. , Psychological Foundations of Musical Behavior. , and Dooley, K.
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Prohibition Versus Apotheosis of a Tritone: Rhetorical Aspects
GESJ: Musicology and Cultural Science 2019|No.2(20) ISSN 1512-2018 UDC 78 PROHIBITION VERSUS APOTHEOSIS OF A TRITONE: RHETORICAL ASPECTS Božena Čiurlionienė Lithuanian Academy of Music and Theatre Abstract: This paper explores the change of the concept of a tritone – from its prohibition to tritonic apotheosis as well as draws attention to the acoustic peculiarities of the „Devil‘s interval“ (Diabolus in musica1). The tritone is a very small object but features a portentous and unique sound as well as problematic intensity. The peculiarity of the discussed interval has evoked multifarious creative expressions and has also provoked controversial theoretical speculations throughout the music history. This paper aims to draw a historical perspective providing a comprehensive representation of both theoretical and practical approach to the tritone in relation to its acoustic intensity and rhetorical aspects. Critical consideration of the most remarkable theoretical declarations as well as analytical inquiry of particular musical examples reveal the significance and functionality of a tritone in different historical contexts. The paper reveals the constant change of conceptions, canons of usage, composition techniques and harmonic systems although referring to the same object on discourse. Keywords: tritone, dissonance, diabolus in musica, compositional process, musical symmetry, contemporary music. INTRODUCTION: PSYCHOACOUSTIC PECULIARITIES OF THE TRITONE AND ITS MUSICAL PERCEPTION The uniqueness of a tritone, in terms of both theory and practice of composition, can be explained by its physical acoustic features. Such descriptions as rough, harsh, etc. can be easily explained by the results of cognitive music psychology of the 20th century. Tritone’s physical parameters vary in different harmonies: in the Pythagorean theory, increased fourth is 729:512, reduced fifth is 1024:729, and in the tempered combination is √2 = 1.414.
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