Worlds of Musics: Cognitive Ethnomusicological Inquiries On
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Worlds of Musics: Cognitive Ethnomusicological Inquiries on Experience of Time and Space in Human Music-making Dissertation Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Yong Jeon Cheong Graduate Program in Music The Ohio State University 2019 Dissertation Committee Udo Will, Advisor Georgia Bishop Graeme Boone Copyrighted by Yong Jeon Cheong 2019 2 Abstract This dissertation is a cognitive ethnomusicological investigation regarding how each individual creates his or her own world via different musical behaviors. The goal of this thesis is to contribute to a model of our sense of time and space from an interdisciplinary perspective. There is a long tradition that we use two cognitive constructs, ‘time’ and ‘space’, when talking about the world. In order to understand how we humans construct our own worlds cognitively via music-making, I first distinguished two behaviors in music performance (singing vs. instrument playing). I looked at how the different modes of music-making shape our body in a distinctive way and modifies our perception of time and space. For the cognitive sections (chapters 2 & 3), I discussed not only building blocks of temporal experience but also features of space pertaining to the body. In order to build a comparative perspective (chapter 4), I examined various ancient understandings of time and space in different cultures. In terms of music evolution (chapter 5), I looked at the transformative power of music-making and speculated about potentially different modulatory processes between singing and instrument playing. The discussion in the cognitive sections provided the basic ideas for my ‘Hear Your Touch’ project consisting of two behavioral experiments (chapter 6). I focused not only on two elements of temporal experience: 1) event detection, and 2) perception of temporal order, but also on several ii elements of spatial experience: 1) body space, 2) audio-tactile integration, and 3) space pertaining to hands. Both simple reaction time and temporal order judgment experiments provide supporting evidence for differences in spatiotemporal processing between musicians and non-musicians as well as between vocalists and instrumentalists. The simple reaction time experiment suggests that instrumental musical training contributes to enhanced multisensory integration through co-activation. The temporal order judgment experiment indicates not only that musical training changes response to audio-tactile stimuli but also that instrumental training modifies the perception of temporal order. Compared to non-musicians and vocalists, instrumentalists showed significantly lower absolute and difference thresholds. These demonstrate different effects of specific musical training on our perceptions of time and space. My experimental findings support that, although they are often considered as distinctive cognitive constructs (chapter 4), time and space are established together through our bodily experiences. In connection with music evolution (chapter 5), it is highly likely that the use of both vocal and non-vocal sounds in a communication system might have had significant influence on the development of human cognition by transforming our bodies, our perception of, and our action toward the world. This work suggests that there are many musics that allow us to have different worlds. iii Dedication To my family iv Acknowledgments I would like to express my sincere gratitude to my Cognitive Ethnomusicology guru, Dr. Dr. Udo Will who has been patiently helping me to find my own path. Without his guidance and supports, I would not have completed my studies here at The Ohio State University. I thank my committee member, Dr. Georgia Bishop, for giving me have my foundation in neuroscience. I thank my committee member, Dr. Graeme Boone, for broadening my understanding of music and emotion. I thank sincerely Dr. Hyun Kyung Chae for being always supportive of my academic journey. I thank profoundly Seymour Fink and his wife Beth Owen for having me and my Miss Daisy as part of their family. v I thank my friend, Darrell Joseph who has enriched my Columbus life with his help, humor, and kindness. I thank my djembe master, Mr. Balla Sy, who initiated me into a new world of music- making. I thank all of my programmer friends, Stephan Wolf, Tim Vets, Qianli Feng, Gopi Tummala, Jessie Zhao, Leon Durrenberger, and Jack McHugh. Without them, I could not run my experiments. I thank people who were willing to be my guinea pigs for tedious experiments. I thank Dr. McCoy, the director of OSU Voice Teaching and Research Lab, who helped me to have my singer participants. I thank Nancy McDonald-Kenworthy for her insightful editorial advice. I thank Steven Brown, Daniel Everett, Lara Pearson, and Sundeep Teki for the quick reprint permission. vi I thank the Musicology department, the School of Music, and the College of Arts and Science for the financial supports and all the opportunities for me. I thank my Miss Daisy to be my perfect lab mate. Above all, I thank my family who love and support me unconditionally throughout my life. vii Vita 2014 – 2018 Graduate Research & Teaching Associate, The Ohio State University 2013 M.A in Musicology & M.M in Composition, The Ohio State University 2006 M.M in Composition, Ewha Womans University 2003 B.M in Composition, Ewha Womans University Publications Cheong, Y. J., & Will, U. (2018). Music, space and body: the evolutionary history of vocal and instrumental music. Proceedings of 15th International Conference on Music Perception and Cognition 10th triennial conference of the European Society for the Cognitive Sciences of Music. Montréal, Canada: University Cheong, Y. J., Will, U., & Lin, Y-Y. (2017). Do vocal and instrumental primes affect word processing differently: An fMRI study on the influence of melodic primes on word processing in Chinese musicians and non-musicians. Proceedings of 25th Anniversary Conference of the European Society for the Cognitive Sciences of Music, 35-39. Ghent, Belgium: University of Ghent Klyn, N. A., Will, U., Cheong, Y. J., & Allen, E. T. (2015). Differential short-term memorisation for vocal and instrumental rhythms. Memory, 24(6). 766-791.doi: 10.1080/09658211.2015.1050400 Fields of Study Major Field: Music Area of Emphasis: Cognitive Ethnomusicology viii Table of Contents Abstract ............................................................................................................................... ii Dedication .......................................................................................................................... iv Acknowledgments ............................................................................................................... v Vita ................................................................................................................................... viii List of Tables .................................................................................................................... xii List of Figures .................................................................................................................. xiii Chapter 1. Introduction ....................................................................................................... 1 Chapter 2. Concerning time ................................................................................................ 7 Time in cognitive sciences .............................................................................................. 9 Psychological building blocks of time .......................................................................... 11 Event detection .......................................................................................................... 11 Perception of temporal order: simultaneity vs. succession ....................................... 13 Duration perception .................................................................................................. 17 Duration estimation ................................................................................................... 21 Psychological present ................................................................................................ 22 Rhythm perception .................................................................................................... 24 Conclusion .................................................................................................................... 26 Chapter 3. Space and music-making bodies ..................................................................... 28 Body space .................................................................................................................... 30 Postural schema ........................................................................................................ 32 Superficial schema .................................................................................................... 33 Body schema vs. Body image ....................................................................................... 35 Peripersonal space ......................................................................................................... 37 Multisensory integration ........................................................................................... 40 Body-part centered specificity .................................................................................. 41 ix Sensorimotor