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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. -
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. -
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. -
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 . -
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. -
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. -
Incongruent Pitch Cues Are Associated with Increased Activation And
www.nature.com/scientificreports OPEN Incongruent pitch cues are associated with increased activation and functional Received: 29 August 2017 Accepted: 8 March 2018 connectivity in the frontal areas Published: xx xx xxxx Jo-Fu Lotus Lin1, Toshiaki Imada2,3, Patricia K. Kuhl2,3 & Fa-Hsuan Lin 1 Pitch plays a crucial role in music and speech perception. Pitch perception is characterized by multiple perceptual dimensions, such as pitch height and chroma. Information provided by auditory signals that are related to these perceptual dimensions can be either congruent or incongruent. To create conficting cues for pitch perception, we modifed Shepard tones by varying the pitch height and pitch chroma dimensions in either the same or opposite directions. Our behavioral data showed that most listeners judged pitch changes based on pitch chroma, instead of pitch height, when incongruent information was provided. The reliance on pitch chroma resulted in a stable percept of upward or downward pitch shift, rather than alternating between two diferent percepts. Across the incongruent and congruent conditions, consistent activation was found in the bilateral superior temporal and inferior frontal areas. In addition, signifcantly stronger activation was observed in the inferior frontal areas during the incongruent compared to congruent conditions. Enhanced functional connectivity was found between the left temporal and bilateral frontal areas in the incongruent than congruent conditions. Increased intra-hemispheric and inter-hemispheric connectivity was also observed in the frontal areas. Our results suggest the involvement of the frontal lobe in top-down and bottom-up processes to generate a stable percept of pitch change with conficting perceptual cues. -
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. -
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. -
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. -
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). -
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.