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Philosophy of Mind and Music Theory: Describe How Evolution of Human Thought About Body and Mind Problem Was Related to Our Understanding of Music

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Philosophy of Mind and Music Theory: Describe How Evolution of Human Thought About Body and Mind Problem Was Related to Our Understanding of Music Philosophy of Mind and Music Theory: Describe how evolution of human thought about body and mind problem was related to our understanding of music. Discuss how psychological theories and music theory are related. Answer: Ancient Greek philosophers described differente relationship between sound and sense. Pythagoras mainly addressed the physical aspects by considering a mathematical order underlying harmonic pitch relationships. Aristoxenos addressed perception and musical experience. Plato and Aristotle understood the relationship between sound and sense in terms of a mimesis theory that stated that rhythms and melodies contain similarities with the true nature of qualities in human character, such as anger, gentleness, courage, temperance and the contrary qualities. Descartesʼ approach distinguished sound and sense. In Descartesʼ opinion, the soul and the human body are two entirely different things. The soul can think and does not need extension, whereas the body cannot think and needs extension. Knowledge of the soul requires introspection, whereas knowledge of the body requires scientific methods and descriptions that focus on moving objects. According to Descartes, the link between “I” and the world is due to an organ in the brain that connects the parallel worlds of the subjective mind and the objective body.His focus on moving objects opened the way for scientific investigations in acoustics and psychoacoustics, and it pushed matters related to sense and meaning a bit further away towards a disembodied mental phenomenon. In music this dualism resulted in development of rule-based accounts of musical practices such as Zarlinoʼs, and later Rameauʼs and Matthesonʼs. Sound became the subject of a scientific theory, while sense was still considered to be the by- product of something subjective that is done with sound. Cognitive approaches: Through the disciplines of psychophysics and psychology, the idea was launched that between sound and sense there is the human brain, whose principles could also be understood in terms of psychic principles and later on, as principles of information processing. In 1863 of psychoacoustics was established by von Helmholtz. This led to experimental psychology and later for Gestalt psychology in the first half of the 20th century, and the cognitive sciences approach of the second half of the 20th century. Embodied cognition claims that the link between sound and sense is based on the role of action as mediator between physical energy and meaning. In the cognitive approach the sound/sense relationship was mainly conceived from the point of view of mental processing. The embodied approach diers from the Gestalt approach in that it puts more emphasis on action and is based on action-relevant perception as reflected in the ecological psychology of Gibson The embodiment hypothesis entails that meaningful activities of humans proceed in terms of goals, values, intentions and interpretations, while the physical world in which these activities are embedded can be described from the point of view of physical energy, signal processing, features and descriptors. Mediation concerns the intermediary processes that bridge the semantic gap between the human approach (subject-centered) and the physical approach (object or sound- centered). Tonal Acculturation and Implicit Learning. Explain the levels of tonal Acculturation based on implicit learning of Western pitch regularities - tones, chords and keys. How does co-occurance of tones and chords relates to within-key hierarchies? Discuss the difference between rule-based and implicit learning. Answer: Implicit learning of language grammar: Reber (1967), Implicit learning is the process through which we become sensitive to certain regularities in the environment (1) in the absence of intention to learn about those regularities (2) in the absence of awareness that one is learning, and (3) in such a way that the resulting knowledge is difficult to express. In Western Muisc functions of tones and chords depend on the established key. Within-key hierarchies are strongly correlated with the frequency of occurrence of tones and chords in Western musical pieces. More frequent = more important When listening to music in everyday life, listeners become sensitive to the regularities of the tonal system without being necessarily able to verbalise them. Connectionist models: Discuss how Connectionist models address issues of acoustic (perceptual) versus cultural (cognitive) learning of Western Tonal System. Explain how three levels of Western Tonal System can be described by a connectionist model. Answer: Connectionist models have two principal advantages over traditional rule-based models: (a) The rules governing the domain are not explicit but rather emerge from the simultaneous satisfaction of multiple constraints represented by individual connections, and (b) these constraints themselves can be learned through passive exposure. MUSACT highlights a crucial issue of Western music: whether the relations between chords are driven by similarities based on acoustic properties of tones or by implicit knowledge of cultural conventions and usage. MUSACT disentangles these two factors by charting the time course of bottom-up and top-down influences. It predicts that the activation pattern reflects bottom-up influences at early activation cycles, whereas top-down influences are predominant when the model has enough time to reach equilibrium. Draw the graph of tones, chords and keys to show how a pattern of connections constitutes a knowledge representation of Western harmony and discuss how it is related to human perception of tonality. Priming experiments: Support for the MUSACT model has come from empirical studies using a harmonic priming paradigm. The rationale of these studies is that a previous chord primes harmonically related chords so that their processing is speeded up. Participants heard a prime chord followed by a harmonically closely or distantly related target chord.The priming effect created (a) a bias to judge targets to be in tune when related to the prime and out of tune when unrelated, and (b) shorter response times for in-tune targets when related and for out-of-tune targets when unrelated. Summary: A previous musical context (a single chord in these experiments) thus generates expectancies for related chords to follow, resulting in greater consonance and faster processing for expected chords. This is consistent with MUSACT simulations. Bharucha vs. Tillman: Describe the difference between Bharucha's MUSACT and Tillman SOM and how it relates to implicit learning of the tonal system. Answer: MUSACT as originally conceived, was based on music theoretic constraints; neither the connections nor their weights resulted from a learning process. Tillman used SOM to simulate learning by mere exposure. SOM is based on competitive learning, an algorithm for datadriven self-organized learning. With this algorithm, the neural net units gradually become sensitive to different input stimuli or categories. The learned connections and the activation patterns after reverberation mirror the outcome of the hardwired network MUSACT. Acoustical versus Statistical Regularities: Discuss the relations between acoustic and statistical regularities for the case of tonal and non-tonal music. Are these relations necessary for learning musical concepts by listeners? Give examples. Answer: In Tonal Acculturation frequent music events also share harmonics (acoustically related). Arab and Serial Music lacks convergence between acoustical and statistical features Ayari and McAdams show acculturation in Arab music: Arabic modes involve not just a tuning system, but also essential melodico- rhythmic configurations that are emblematic of the maqam. Arab listeners make segmentations that are defined by subtle modal changes that often go unnoticed by the Europeans Conflicting evidence for serial Music: Frances, Delannoy, and Diennes and Longuet-Higgins show that listeners could not differentiate “grammatical” versus “non-grammatical” serial music Krumhansel and Sandell show that previous exposure is critical for perception of rules in serial music. Bigand et al. show that musicians and non-musicians can discriminate above chance (~60%) between serial compositions that belong or do not belong to a certain row or its retrograde inversion. TPST: Show how the idea of modeling cognitive musical tension by TSPT generalizes perceptual dissonance and consonance relation to cognitive level. Describe the levels of TPST and discuss how it can be used for design of multimedia learning tools. Answer: In TPST tonal hierarchy is represented in three levels: 1: pitch class level the describes distances between 12 pitches 2: distances between chords within-key 3: regional level for distances between keys TPST considers tension as a combination of the number of changes in pitch-class level created by the second chord, the number of steps that separate the roots of the chords along the circle of fifths, and regional distance that combines the circle of fifth and the parallel / relative major-minor. TPST generates quantitative predictions of tension and attraction for the sequence of events in any passage of tonal music. “Tension,” as employed here, refers both to sensory dissonance and to cognitive dissonance or instability; similarly,“relaxation” refers to sensory consonance and to cognitive consonance or stability. To sum up so far, psychoacoustics provides explanation for aspects of tonality and pitch structure, such
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