DOCSLIB.ORG

Music-Listening Systems

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

See discussions, stats, and author profiles for this publication at: https://www.researchgate.net/publication/2646946 Music-Listening Systems Article · May 2000 Source: CiteSeer CITATIONS READS 94 321 4 authors, including: Barry Lloyd Vercoe Massachusetts Institute of Technology 55 PUBLICATIONS 1,512 CITATIONS SEE PROFILE Some of the authors of this publication are also working on these related projects: MIT Media Lab View project All content following this page was uploaded by Barry Lloyd Vercoe on 03 October 2014. The user has requested enhancement of the downloaded file. Music-Listening Systems Eric D. Scheirer B.A. Linguistics, Cornell University, 1993 B.A. Computer Science, Cornell University, 1993 (cum laude) S.M. Media Arts and Sciences, Massachusetts Institute of Technology, 1995 Submitted to the Program in Media Arts and Sciences, School of Architecture and Planning, in partial fulfillment of the requirements of the degree of Doctor of Philosophy at the Massachusetts Institute of Technology June, 2000 Copyright © 2000, Massachusetts Institute of Technology. All rights reserved. Author Program in Media Arts and Sciences April 28, 2000 Certified By Barry L. Vercoe Professor of Media Arts and Sciences Massachusetts Institute of Technology Accepted By Stephen A. Benton Chair, Departmental Committee on Graduate Students Program in Media Arts and Sciences Massachusetts Institute of Technology Music-Listening Systems Eric D. Scheirer Submitted to the Program in Media Arts and Sciences, School of Architecture and Planning, on April 28, 2000, in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy Abstract When human listeners are confronted with musical sounds, they rapidly and automatically orient themselves in the music. Even musically untrained listeners have an exceptional ability to make rapid judgments about music from very short examples, such as determining the music’s style, performer, beat, complexity, and emotional impact. However, there are presently no theories of music perception that can explain this behavior, and it has proven very difficult to build computer music-analysis tools with similar capabilities. This dissertation examines the psychoacoustic origins of the early stages of music listening in humans, using both experimental and computer-modeling approaches. The results of this research enable the construction of automatic machine-listening systems that can make human-like judgments about short musical stimuli. New models are presented that explain the perception of musical tempo, the perceived segmentation of sound scenes into multiple auditory images, and the extraction of musical features from complex musical sounds. These models are implemented as signal-processing and pattern-recognition computer programs, using the principle of understanding without separation. Two experiments with human listeners study the rapid assignment of high-level judgments to musical stimuli, and it is demonstrated that many of the experimental results can be explained with a multiple-regression model on the extracted musical features. From a theoretical standpoint, the thesis shows how theories of music perception can be grounded in a principled way upon psychoacoustic models in a computational-auditory-scene- analysis framework. Further, the perceptual theory presented is more relevant to everyday listeners and situations than are previous cognitive-structuralist approaches to music perception and cognition. From a practical standpoint, the various models form a set of computer signal-processing and pattern-recognition tools that can mimic human perceptual abilities on a variety of musical tasks such as tapping along with the beat, parsing music into sections, making semantic judgments about musical examples, and estimating the similarity of two pieces of music. Thesis Supervisor: Barry L. Vercoe, D.M.A. Professor of Media Arts and Sciences This research was performed at the MIT Media Laboratory. Primary support was provided by the Digital Life consortium of the Media Laboratory, with additional support from Interval Research Corporation. The views expressed within do not necessarily reflect the views of supporting sponsors. Doctoral Dissertation Committee Thesis Advisor Barry L. Vercoe Professor of Media Arts and Sciences Massachusetts Institute of Technology Thesis Reader Rosalind W. Picard Associate Professor of Media Arts and Sciences Massachusetts Institute of Technology Thesis Reader Perry R. Cook Assistant Professor of Computer Science Assistant Professor of Music Princeton University Thesis Reader Malcolm Slaney Member of the Technical Staff Interval Research Corporation Palo Alto, CA Acknowledgments It goes without saying, or it should, that the process of doing the research and writing a dissertation is really a collaborative effort. While there may be only one name on the title page, that name stands in for a huge network of colleagues and confidants, without whom the work would be impossible or unbearable. So I would forthwith like to thank everyone who has made this thesis possible, bearable, or both. I have been lucky to reside in the Machine Listening Group of the Media Laboratory over a time period that allowed me to collaborate with so many brilliant young researchers. Dan Ellis and Keith Martin deserve special mention for their role in my research life. Dan took control of the former “Music and Cognition” group and showed us how we could lead the way into the bright future of Machine Listening. Keith and I arrived at the Lab at the same time, and have maintained a valuable dialogue even though he escaped a year earlier than I. I feel Dan’s influence is most strongly in the depth of background that he encouraged me, by example, to develop. Many of the new ideas here were developed in collaboration with Keith, and the stamp of his critical thinking is on every page. The rest of the Machine Listening Group students past and present were no less critical to my research, whether through discussion, dissension, or distraction. In alphabetical order, I acknowledge Jeff Bilmes, Michael Casey, Wei Chai, Jonathan Feldman, Ricardo García, Bill Gardner, Adam Lindsay, Youngmoo Kim, Nyssim Lefford, Joe Pompei, Nicolas Saint- Arnaud, and Paris Smaragdis. During the final year of my stay here, I had the good fortune to be exiled from the main Machine Listening office space—this is good fortune because I landed in an office with Push Singh. Push’s remarkable insight into the human cognitive system, and his willingness to speculate, discuss, and blue-sky with me, have enriched both my academic life and my thesis. Barry Vercoe, of course, deserves the credit for organizing and managing this wonderful group of people. Further, he has given us the greatest gift that an advisor can give his students—the freedom to pursue our own interests and ideas. Barry’s willingness to shelter us from the cold winds of Media Lab demo pressure has been the catalyst for the group’s academic development. Connie van Rheenen deserves special credit for the three years that she has been our administrator, resource, and den mother. I don’t recall how it was that we managed our lives before Connie joined us. The other members of my committee, Roz Picard, Perry Cook, and Malcolm Slaney, have been exemplary in their continuous support and encouragement. From the earliest stages of my proposal to the last comments on this thesis, they have been a bountiful source of inspiration, encouragement, and suggestions. I would also like to specially mention Prof. Carol Krumhansl of Cornell University. My first exposure to music psychology and the other auditory sciences came in her class. The two years that I spent as her undergraduate assistant impressed on me the difficulty and reward of a long-term experimental research program, and her analytic focus is unparalleled. Carol also encouraged me to apply to the Media Lab, a decision that I have never regretted for a second. My parents have been uniquely unflagging in their ability to make me feel free to do exactly as I pleased, while still demanding that I live up to my ability. From the earliest time I can remember, they have instilled in me a love of learning that has only grown over the years. Finally, there is no way to express the love and gratitude that I feel for my wife Jocelyn every moment of every day. Of all the people I have ever met, she is the most caring, most supportive, and most loving. I owe everything I have done and will do to her. Music-Listening Systems Eric D. Scheirer Contents CHAPTER 1 INTRODUCTION .......................................................................................................... 13 1.1. ORGANIZATION ............................................................................................................................. 15 CHAPTER 2 BACKGROUND .............................................................................................................17 2.1. PSYCHOACOUSTICS........................................................................................................................ 17 2.1.1. Pitch theory and models........................................................................................................ 18 2.1.2. Computational auditory scene analysis................................................................................. 22 2.1.3. Spectral-temporal pattern analysis........................................................................................25 2.2. MUSIC PSYCHOLOGY....................................................................................................................
Recommended publications
  • Research on the History of Modern Acoustics François Ribac, Viktoria Tkaczyk

    Research on the History of Modern Acoustics François Ribac, Viktoria Tkaczyk

    Research on the history of modern acoustics François Ribac, Viktoria Tkaczyk To cite this version: François Ribac, Viktoria Tkaczyk. Research on the history of modern acoustics. Revue d’Anthropologie des Connaissances, Société d’Anthropologie des Connaissances, 2019, Musical knowl- edge, science studies, and resonances, 13 (3), pp.707-720. 10.3917/rac.044.0707. hal-02423917 HAL Id: hal-02423917 https://hal.archives-ouvertes.fr/hal-02423917 Submitted on 26 Dec 2019 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. RESEARCH ON THE HISTORY OF MODERN ACOUSTICS Interview with Viktoria Tkaczyk, director of the Epistemes of Modern Acoustics research group at the Max Planck Institute for the History of Science, Berlin François Ribac S.A.C. | « Revue d'anthropologie des connaissances » 2019/3 Vol. 13, No 3 | pages 707 - 720 This document is the English version of: -------------------------------------------------------------------------------------------------------------------- François Ribac, « Recherche en histoire de l’acoustique moderne », Revue d'anthropologie
  • The Race of Sound: Listening, Timbre, and Vocality in African American Music

    The Race of Sound: Listening, Timbre, and Vocality in African American Music

    UCLA Recent Work Title The Race of Sound: Listening, Timbre, and Vocality in African American Music Permalink https://escholarship.org/uc/item/9sn4k8dr ISBN 9780822372646 Author Eidsheim, Nina Sun Publication Date 2018-01-11 License https://creativecommons.org/licenses/by-nc-nd/4.0/ 4.0 Peer reviewed eScholarship.org Powered by the California Digital Library University of California The Race of Sound Refiguring American Music A series edited by Ronald Radano, Josh Kun, and Nina Sun Eidsheim Charles McGovern, contributing editor The Race of Sound Listening, Timbre, and Vocality in African American Music Nina Sun Eidsheim Duke University Press Durham and London 2019 © 2019 Nina Sun Eidsheim All rights reserved Printed in the United States of America on acid-free paper ∞ Designed by Courtney Leigh Baker and typeset in Garamond Premier Pro by Copperline Book Services Library of Congress Cataloging-in-Publication Data Title: The race of sound : listening, timbre, and vocality in African American music / Nina Sun Eidsheim. Description: Durham : Duke University Press, 2018. | Series: Refiguring American music | Includes bibliographical references and index. Identifiers:lccn 2018022952 (print) | lccn 2018035119 (ebook) | isbn 9780822372646 (ebook) | isbn 9780822368564 (hardcover : alk. paper) | isbn 9780822368687 (pbk. : alk. paper) Subjects: lcsh: African Americans—Music—Social aspects. | Music and race—United States. | Voice culture—Social aspects— United States. | Tone color (Music)—Social aspects—United States. | Music—Social aspects—United States. | Singing—Social aspects— United States. | Anderson, Marian, 1897–1993. | Holiday, Billie, 1915–1959. | Scott, Jimmy, 1925–2014. | Vocaloid (Computer file) Classification:lcc ml3917.u6 (ebook) | lcc ml3917.u6 e35 2018 (print) | ddc 781.2/308996073—dc23 lc record available at https://lccn.loc.gov/2018022952 Cover art: Nick Cave, Soundsuit, 2017.
  • The Perceptual Attraction of Pre-Dominant Chords 1

    The Perceptual Attraction of Pre-Dominant Chords 1

    Running Head: THE PERCEPTUAL ATTRACTION OF PRE-DOMINANT CHORDS 1 The Perceptual Attraction of Pre-Dominant Chords Jenine Brown1, Daphne Tan2, David John Baker3 1Peabody Institute of The Johns Hopkins University 2University of Toronto 3Goldsmiths, University of London [ACCEPTED AT MUSIC PERCEPTION IN APRIL 2021] Author Note Jenine Brown, Department of Music Theory, Peabody Institute of the Johns Hopkins University, Baltimore, MD, USA; Daphne Tan, Faculty of Music, University of Toronto, Toronto, ON, Canada; David John Baker, Department of Computing, Goldsmiths, University of London, London, United Kingdom. Corresponding Author: Jenine Brown, Peabody Institute of The John Hopkins University, 1 E. Mt. Vernon Pl., Baltimore, MD, 21202, [email protected] 1 THE PERCEPTUAL ATTRACTION OF PRE-DOMINANT CHORDS 2 Abstract Among the three primary tonal functions described in modern theory textbooks, the pre-dominant has the highest number of representative chords. We posit that one unifying feature of the pre-dominant function is its attraction to V, and the experiment reported here investigates factors that may contribute to this perception. Participants were junior/senior music majors, freshman music majors, and people from the general population recruited on Prolific.co. In each trial four Shepard-tone sounds in the key of C were presented: 1) the tonic note, 2) one of 31 different chords, 3) the dominant triad, and 4) the tonic note. Participants rated the strength of attraction between the second and third chords. Across all individuals, diatonic and chromatic pre-dominant chords were rated significantly higher than non-pre-dominant chords and bridge chords. Further, music theory training moderated this relationship, with individuals with more theory training rating pre-dominant chords as being more attracted to the dominant.
  • Large Scale Sound Installation Design: Psychoacoustic Stimulation

    Large Scale Sound Installation Design: Psychoacoustic Stimulation

    LARGE SCALE SOUND INSTALLATION DESIGN: PSYCHOACOUSTIC STIMULATION An Interactive Qualifying Project Report submitted to the Faculty of the WORCESTER POLYTECHNIC INSTITUTE in partial fulfillment of the requirements for the Degree of Bachelor of Science by Taylor H. Andrews, CS 2012 Mark E. Hayden, ECE 2012 Date: 16 December 2010 Professor Frederick W. Bianchi, Advisor Abstract The brain performs a vast amount of processing to translate the raw frequency content of incoming acoustic stimuli into the perceptual equivalent. Psychoacoustic processing can result in pitches and beats being “heard” that do not physically exist in the medium. These psychoac- oustic effects were researched and then applied in a large scale sound design. The constructed installations and acoustic stimuli were designed specifically to combat sensory atrophy by exer- cising and reinforcing the listeners’ perceptual skills. i Table of Contents Abstract ............................................................................................................................................ i Table of Contents ............................................................................................................................ ii Table of Figures ............................................................................................................................. iii Table of Tables .............................................................................................................................. iv Chapter 1: Introduction .................................................................................................................
  • Octave Theory Was Hand Crafted in Oregon

    Octave Theory Was Hand Crafted in Oregon

    Introduction: Your Octave Theory was hand crafted in Oregon. Thank you for purchasing Subdecay pedals. Inspired by the Korg MS-20 & 8 bit video game sounds. Eleven modes provide a plethora of options. Topology: The Octave Theory’s filter is similar to the MS-20. Envelopes, control voltages, octaves and cross-fading are generated by an ARM Cortex M4 digital processor. Notes: -This pedal’s peak detection circuit self calibrates when the effect is bypassed. When first powered up the effect may act strangely until it is bypassed for about five seconds. -For best pitch tracking use the neck pickup of your guitar. Avoid using other effects before the Octave Theory. Getting started: The Octave Theory is the world’s first octave shift pedal. So what is octave shifting? At its core the Octave Theory seamlessly cross-fades between octaves. Paired with an awesome filter this creates a multitude of possibilities, like 8 bit chiptune sounds, classic guitar synth, super sub bass tones and the world’s first shepard tone guitar synthesizer. The Octave theory is monophonic. It can only detect a single note at a time. The pedal should be placed early in your effects chain. The only effect that might be worthwhile placing prior would be a compressor for added sustain. Place any sort of time based effect (echo, flanger, chorus, etc.) after the Octave Theory. Controls: Mode: There are eleven modes broken up into four groups- LFO, Envelope, Shepard Tone & Manual. Each mode has either a green or Subdecay Studios, Inc. - Hand made in Oregon. white marker.
  • SMPC 2011 Attendees

    SMPC 2011 Attendees

    Society for Music Perception and Cognition August 11­14, 2011 Eastman School of Music of the University of Rochester Rochester, NY Welcome Dear SMPC 2011 attendees, It is my great pleasure to welcome you to the 2011 meeting of the Society for Music Perception and Cognition. It is a great honor for Eastman to host this important gathering of researchers and students, from all over North America and beyond. At Eastman, we take great pride in the importance that we accord to the research aspects of a musical education. We recognize that music perception/cognition is an increasingly important part of musical scholarship‐‐and it has become a priority for us, both at Eastman and at the University of Rochester as a whole. This is reflected, for example, in our stewardship of the ESM/UR/Cornell Music Cognition Symposium, in the development of several new courses devoted to aspects of music perception/cognition, in the allocation of space and resources for a music cognition lab, and in the research activities of numerous faculty and students. We are thrilled, also, that the new Eastman East Wing of the school was completed in time to serve as the SMPC 2011 conference site. We trust you will enjoy these exceptional facilities, and will take pleasure in the superb musical entertainment provided by Eastman students during your stay. Welcome to Rochester, welcome to Eastman, welcome to SMPC 2011‐‐we're delighted to have you here! Sincerely, Douglas Lowry Dean Eastman School of Music SMPC 2011 Program and abstracts, Page: 2 Acknowledgements Monetary
  • Do Androids Dream of Computer Music? Proceedings of the Australasian Computer Music Conference 2017

    Do Androids Dream of Computer Music? Proceedings of the Australasian Computer Music Conference 2017

    Do Androids Dream of Computer Music? Proceedings of the Australasian Computer Music Conference 2017 Hosted by Elder Conservatorium of Music, The University of Adelaide. September 28th to October 1st, 2017 Proceedings of the Australasian Computer Music Conference 2017, Adelaide, South Australia Keynote Speaker: Professor Takashi Ikegami Published by The Australasian University of Tokyo Computer Music Association Paper & Performances Jury: http://acma.asn.au Stephen Barrass September 2017 Warren Burt Paul Doornbusch ISSN 1448-7780 Luke Dollman Luke Harrald Christian Haines All copyright remains with the authors. Cat Hope Robert Sazdov Sebastian Tomczak Proceedings edited by Luke Harrald & Lindsay Vickery Barnabas Smith. Ian Whalley Stephen Whittington All correspondence with authors should be Organising Committee: sent directly to the authors. Stephen Whittington (chair) General correspondence for ACMA should Michael Ellingford be sent to [email protected] Christian Haines Luke Harrald Sue Hawksley The paper refereeing process is conducted Daniel Pitman according to the specifications of the Sebastian Tomczak Australian Government for the collection of Higher Education research data, and fully refereed papers therefore meet Concert / Technical Support Australian Government requirements for fully-refereed research papers. Daniel Pitman Michael Ellingford Martin Victory With special thanks to: Elder Conservatorium of Music; Elder Hall; Sud de Frank; & OzAsia Festival. DO ANDROIDS DREAM OF COMPUTER MUSIC? COMPUTER MUSIC IN THE AGE OF MACHINE
  • The Shepard–Risset Glissando: Music That Moves

    The Shepard–Risset Glissando: Music That Moves

    University of Wollongong Research Online Faculty of Social Sciences - Papers Faculty of Social Sciences 2017 The hepS ard–Risset glissando: music that moves you Rebecca Mursic University of Wollongong, [email protected] B Riecke Simon Fraser University Deborah M. Apthorp Australian National University, [email protected] Stephen Palmisano University of Wollongong, [email protected] Publication Details Mursic, R., Riecke, B., Apthorp, D. & Palmisano, S. (2017). The heS pard–Risset glissando: music that moves you. Experimental Brain Research, 235 (10), 3111-3127. Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] The hepS ard–Risset glissando: music that moves you Abstract Sounds are thought to contribute to the perceptions of self-motion, often via higher-level, cognitive mechanisms. This study examined whether illusory self-motion (i.e. vection) could be induced by auditory metaphorical motion stimulation (without providing any spatialized or low-level sensory information consistent with self-motion). Five different types of auditory stimuli were presented in mono to our 20 blindfolded, stationary participants (via a loud speaker array): (1) an ascending Shepard–Risset glissando; (2) a descending Shepard–Risset glissando; (3) a combined Shepard–Risset glissando; (4) a combined-adjusted (loudness-controlled) Shepard–Risset glissando; and (5) a white-noise control stimulus. We found that auditory vection was consistently induced by all four Shepard–Risset glissandi compared to the white-noise control. This metaphorical auditory vection appeared similar in strength to the vection induced by the visual reference stimulus simulating vertical self-motion.
  • Involuntary Musical Imagery, As Conditioned by Everyday Music

    Involuntary Musical Imagery, As Conditioned by Everyday Music

    Involuntary Musical Imagery, as conditioned by everyday music listening Ioanna Filippidi Submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy. Department of Music The University of Sheffield. September 2018 Abstract Music in one’s head is a very prevalent phenomenon in everyday life, but the aetiology behind it is still unclear. This thesis aimed to investigate the phenomenon of involuntary musical imagery (INMI), and particularly, under the hypothesis that it is a conditioned response from everyday music listening. Music listening can be a highly rewarding experience, and people use it more than ever to accompany their everyday lives: such systematic habits can create a process similar to classical conditioning, where, when two stimuli systematically pair, one will evoke the response that is usually elicited by the other. This premise has been investigated in three studies, designed specifically for this hypothesis: two laboratory-based behavioural experiments and an Experience Sampling (ES) study. The first experiment explored whether the conditioning process could be recreated in a laboratory context, by repeatedly pairing music with an activity. The second experiment explored the already established conditioning by investigating whether INMI would occur in the place of music: a stress induction experiment was designed to assess if individuals who use music to regulate their stress would experience INMI, in the place of music, as a coping mechanism. The third study explored INMI’s relationship to music listening in the everyday lives of individuals in order to assess this premise in a real-life setting. Overall, the findings of this research were encouraging to the hypothesis, suggesting that there is a relationship between uses of music and INMI in the aspects of activities, mood regulation, genre, and valence, and some evidence that INMI can indeed be a conditioned response.
  • Second-Order Ambiances. Background Music Transforming Public Spaces Heikki Uimonen

    Second-Order Ambiances. Background Music Transforming Public Spaces Heikki Uimonen

    Second-Order Ambiances. Background Music Transforming Public Spaces Heikki Uimonen To cite this version: Heikki Uimonen. Second-Order Ambiances. Background Music Transforming Public Spaces. Pro- ceedings of the 4th International Congress on Ambiances, Alloaesthesia: Senses, Inventions, Worlds, Réseau International Ambiances, Dec 2020, e-conference, France. pp. 232-237, 10.48537/hal- 03220327. hal-03220327 HAL Id: hal-03220327 https://hal.archives-ouvertes.fr/hal-03220327 Submitted on 14 May 2021 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. 232 Second-Order Ambiances Abstract. Background music is affected by so- Second-Order cial, legal, economic and technological factors. Ambiances It is intended to be listened to inattentively and is predominantly selected by someone other than those who encounter it. The ACMESOCS Background (2019-2022) research project examines urban auditory cultures, particularly how they are Music Transforming articulated, experienced and reclaimed within Public Spaces the acoustic environments of different-sized cities, thus contributing to policy-makers’ awareness of the æsthetic design of acoustic spaces and the defining of urban sonic identity. This paper presents the preliminary results of a case study carried out in selected enterprises located in an individual shopping mall.
  • Automatic Responses to Musical Intervals: Contrasts in Acoustic Roughness Predict

    Automatic Responses to Musical Intervals: Contrasts in Acoustic Roughness Predict

    Automatic Responses to Musical Intervals: Contrasts in Acoustic Roughness Predict Affective Priming in Western Listeners James Armitage, Imre Lahdelma, and Tuomas Eerola Department of Music, Durham University, Durham, DH1 3RL, UK (Dated: 30 March 2021) 1 1 ABSTRACT 2 The aim of the present study is to determine which acoustic components of harmonic con- 3 sonance and dissonance influence automatic responses in a simple cognitive task. In a series 4 of affective priming experiments, eight pairs of musical interval were used to measure the 5 influence of acoustic roughness and harmonicity on response times in a word-classification 6 task conducted online. Interval pairs that contrasted in roughness induced a greater degree 7 of affective priming than pairs that did not contrast in terms of their roughness. Contrasts 8 in harmonicity did not induce affective priming. A follow-up experiment used detuned in- 9 tervals to create higher levels of roughness contrasts. However, the detuning did not lead to 10 any further increase in the size of the priming effect. More detailed analysis suggests that 11 the presence of priming in intervals is binary: in the negative primes that create congru- 12 ency effects the intervals' fundamentals and overtones coincide within the same equivalent 13 rectangular bandwidth (i.e. the minor and major seconds). Intervals that fall outside this 14 equivalent rectangular bandwidth do not elicit priming effects, regardless of their disso- 15 nance or negative affect. The results are discussed in the context of recent developments in 16 consonance/dissonance research and vocal similarity. 2 17 I. INTRODUCTION 18 The contrast between consonance and dissonance is a vital feature of Western music.
  • The Effect of Background Music and Song Texts on the Emotional Understanding of Children with Autism June Katagiri

    The Effect of Background Music and Song Texts on the Emotional Understanding of Children with Autism June Katagiri

    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2007 The Effect of Background Music and Song Texts on the Emotional Understanding of Children with Autism June Katagiri Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC THE EFFECT OF BACKGROUND MUSIC AND SONG TEXTS ON THE EMOTIONAL UNDERSTANDING OF CHILDREN WITH AUTISM By JUNE KATAGIRI A Thesis submitted to the College of Music in partial fulfillment of the requirements for the degree of Master of Music Therapy Degree Awarded: Fall Semester, 2007 The members of the Committee approve the Thesis of June Katagiri defended on September 28, 2007. ________________________________ Alice-Ann Darrow Professor Directing Thesis ________________________________ Clifford K. Madsen Committee Member _______________________________ Jayne M. Standley Committee Member Approved: ______________________________ Don Gibson, Dean, College of Music The Office of Graduate Studies has verified and approved the above named committee members. ACKNOWLEDGEMENTS There are many individuals who assisted me throughout my thesis process. First of all, I would like to thank my advisor, Dr. Alice-Ann Darrow for her continual guidance and support throughout the thesis process. The amount of time she devoted to assisting me with editing and providing helpful suggestions was greatly appreciated. I have been inspired and encouraged with her great passion for music therapy and research. I would also like to thank Dr. Clifford Madsen and Dr. Jayne Standley for giving valuable lectures and serving on my thesis committee. My thanks also go to my friends who offered help for research, Lilya Shimabukuro for creating schematic drawings, Melita Belgrave, Yuka Fujioka, Tomoko Ikeda, and Mari Mifune for improvising on the piano, and Satoko Inoue for suggesting session materials.