Transcript MusNmind - University of Kentucky

Music and the Mind
Cognitive Elements of Music Listening
Kevin D. Donohue
Databeam Associate Professor
Electrical and Computer Engineering
University of Kentucky
Is it Music?
Identify which sounds are Music:
A
B
C
D
E
F
G
What is Music?
1 a : the science or art of ordering tones or
sounds in succession, in combination, and
in temporal relationships to produce a
composition having unity and continuity b :
vocal, instrumental, or mechanical sounds
having rhythm, melody, or harmony
Merrian-Webster Online Dictionary:
http://www.m-w.com/dictionary/music
Auditory Scene: Input
 Sensory organs (ears) separate acoustic energy into
frequency bands and convert band energy into neural
firings
 The auditory cortex receives the neural responses and
abstracts an auditory scene.
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http://hyperphysics.phy-astr.gsu.edu/hbase/sound/hearcon.html
Frequency
Auditory Scene: Perception
 Perception derives a useful representation of reality
from sensory input.
 Auditory Stream refers to a perceptual unit associated
with a single happening (A.S. Bregman, 1990) .
Acoustic to
Neural
Conversion
Organize into
Auditory
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Representation
of Reality
Auditory Stream Experiment
Bergman & Campbell (1971)
 Streams tend to form by grouping notes close in time and
frequency (similarity and proximity).
http://www.psych.mcgill.ca/labs/auditory/demo3.html
http://www.psych.mcgill.ca/labs/auditory/demo2.html
Circularity in Pitch Judgement
 Shepard’s Scale (1964)
(Auditory Demonstrations CD, from the Acoustical Society of America)
Perceptual Organization
Organization properties:
 Belongingness – a sensory element belongs to an
organization (or stream) of which is a part.
 Exclusive allocation – a sensory element cannot
belong to more than one organization at a time.
 Bregman & Rudnicky (1975)
Perceptual Organization
Organization properties:
 Closure – perceived continuity, a tendency to
close strong perceptual forms, response to
missing evidence.
Sequential and Spectral Integration
Sequential Integration
 Grouping sensory elements over time or events at
different times considered to be from the same source.
Melody, rhythm
Spectral Integration
 Fusing simultaneous sensory elements over frequency
into one
Timbre, harmony
Timbre and Spectral Integration
 The time envelope and harmonic structure give rise the
timbre of the sound.
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Timbre and Spectral Integration
Simultaneous tones grouped by timbre
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Auditory Scene Organization
 Primitive Stream Segregation
 Inherent constraints in auditory scene analysis (perceptual organization
demonstrated by infants/children)
 Music: Organization of musical sensory units
 Schema-based segregation
 Learned constraints in auditory scene analysis (differences in perceptual
organization resulting from training and culture)
 Music: Differences between musicians and non-musicians
 Music: Differences resulting from acculturation
(A.S. Bregman, Auditory Scene Analysis, MIT Press 1990, pp. 1-45)
Music Related Terms
 Pitch – Perceived frequency/fundamental tone (20Hz20kHz Range)
 Melody – Pattern of tones identified by the intervals
between consecutive pitches
 Contour – Shape of the melody without regard to
intervals
 Loudness – Perceived intensity of sound (0dB to 120dB)
 Timbre – Nature of a sound defined mostly by its
harmonic structure and time envelope
 Rhythm – Repeated pattern of strong and weak sounds
 Tempo – Rate of the rhythm
Melody Invariance
 A melody can typically be recognized over changes in
pitch, loudness, timbre, tempo, spatial location, and
reverberations.
 Contours are typically recalled better than actual melodies
(intervals) for unfamiliar tunes. (Massaro, Kallman, and
Kelly 1980).
(Daniel J. Levitin, Memory for Musical Attributes, in Music
Cognition and Computerized Sound, ed. P.R. Cook, MIT Press, 1999,
pp. 209-227)
Primitive Musical Perception
 Distinguish between cognitive components present
at an early age and those resulting from
acculturation.
 Infant: Grasp of musical structures
 Adult: Develop cognitive strategies for applying
musical structures
(W. Jay Dowling, The Development of Music Perception and Cognition,
The Psychology of Music Academic Press, 1999, pp 603-625)
Infant Perception
 Group rules for tones similar to that of adults (Bregman and Campbell
1971, and Demany 1982)
 Pitch octave equivalence and pitch constancy similar to that of adults
(Kessen, Levine, and Wendrich 1979, Demany and Armand 1984)
 Contour changes mostly noticed. Adults are more perceptive to
changes in melodies based on the tonal scale of the culture.
 Key constraints over different cultures:
 Octave equivalence 2:1 (Burns and Ward 1978)
 Perfect 5th 3:2 (most consonant interval, fundamental building block of
multi-cultural scales)
 A limit of pitch classes within the octave (Miller 1956, argues 7 is the
limit)
 Acculturation can be observed by 6 months and by 1 year different
responses to non-diatonic and diatonic scales can be observed.
Infant Perception
 Infants discriminate between different rhythmic patterns
(Chang and Trehub 1977, Demany, McKenzie, and
Vurpillot 1977)
 Melodies retain identity over transposition, likewise
rhythm retains identity over changes in tempo (Monahan
and Carterette 1985) and can notice changes in rhythm
(Trehub and Thorpe 1989).
 Infants are sensitive to similar cues (pitch contour and note
duration) as adults when identifying musical phrases
(Jusczyk and Krumhansl 1993).
Childhood Perception
 9 to 18 months singing recognizable and repeatable
songs.
 Within phrase accents and timing of phrases follow a regular
beat (Dowling and Harwood 1986).
 Songs lack tonal stability with repeatable contours (Ostwald
1973).
 By 5 years holding a stable tonality over duration of
song.
 Absolute pitch is rare in the general population of adults
or children. Early learning hypothesis (Takeuchi and
Hulse 1993).
Childhood Perception
 Contour remains an important basis for melodic
organization (Andrews and Dowling, 1991).
 5-6 years recognize familiar version of tonal and atonal
imitations.
 9-10 distinguish familiar versions and same contour imitations.
 5 years can distinguish near and far keys but not tonal
imitations.
 7 years can detect out-of-key and out-of-harmony
changes like adults. 5 years can detect out-of-key
changes (Trainor and Trehub, 1994).
Childhood Perception
 Aspects of Musical Rhythm:
 Control attention in temporal sequence of events
 Remember and reproduce rhythm
 Hidden melodies in same pitch range can be
identified by adults though following rhythms.
 9-10 years regularly detect hidden melodies if
distracter notes in different pitch range.
 5-6 year olds can reproduce rhythms at 2 levelsof-organization (Drake 1993)
Childhood Perception
 Rhythm Hierarchies:
 Beat or Meter are accents at regular time intervals
 Rhythmic accents can subdivide or extend over several beats
 Melodic changes can also create another level of rhythm
 5 years can respond to more than one level of rhythmic
hierarchy and integrate it with melody (Drake, Dowling,
and Palmer, 1991)
 Little difference between 7 years and adult nonmusicians in rhythmic organization (Drake 1993)
Childhood Perception
 Emotional states of music
 4 years perform well in assigning affective labels to music:
happy, sad, angry, afraid (Cunningham and Stearling, 1988,
Dolgin and Adelson 1990)
Summary
 Innate organization for separating sounds from different sources.
Grouping by pitch, contour, rhythm (phrasing), and timbre are
exhibited by infants.
 Acculturation refines melody distinctions and its relationship to
harmonies and rhythms based on cultural scales and patterns.
 Melodic memory is enhanced for melodies following note of a
known scale.
 Auditory scene analysis operations apply broadly to all sounds
(speech, noise, music). Why some auditory streams become
pleasurable/stimulating/interesting (music), and others are simply
used to form a perception of reality is still not clear.