Cognitive Components of Regularity Processing in the Auditory Domain

BACKGROUND: Music-syntactic irregularities often co-occur with the processing of physical irregularities. In this study we constructed chord-sequences such that perceived differences in the cognitive processing between regular and irregular chords could not be due to the sensory processing of acoustic factors like pitch repetition or pitch commonality (the major component of 'sensory dissonance'). METHODOLOGY/PRINCIPAL FINDINGS: Two groups of subjects (musicians and nonmusicians) were investigated with electroencephalography (EEG). Irregular chords elicited an early right anterior negativity (ERAN) in the event-related brain potentials (ERPs). The ERAN had a latency of around 180 ms after the onset of the music-syntactically irregular chords, and had maximum amplitude values over right anterior electrode sites. CONCLUSIONS/SIGNIFICANCE: Because irregular chords were hardly detectable based on acoustical factors (such as pitch repetition and sensory dissonance), this ERAN effect reflects for the most part cognitive (not sensory) components of regularity-based, music-syntactic processing. Our study represents a methodological advance compared to previous ERP-studies investigating the neural processing of music-syntactically irregular chords

A multidimensional study of preference judgments for excerpts of music

Subjects evaluated how well they liked each one of 38 short excerpts of Western music and also judged how well each excerpt was described by 23 adjectives. How well an excerpt was liked was negatively correlated with the use of the adjectives 'unpleasant,' 'complex,' 'tense,' and 'dissonant.' The use of the adjectives 'melodic,' 'pleasant,' 'sentimenral,' and 'familiar' was positively related to how well an excerpt was liked. The correlations between the preference judgments of different excerpts were taken as a measure of similarity between the excerpts. This measure of similarity was used in a multidimensional scaling analysis with the purpose of identifying dimension that may determine preferences for music. in the six-dimensional space generated (stress value was .255) coordinates on three of the dimensions could be predicted, in part, by the use of the adjectives 'sentimental,' 'fast,' and a combination of 'high pitched,' 'calm,' and 'sad,' respectively. Thus, some clues to the factors underlying musical preferences were obtained. Although a large number of dimensions were necessary and all of them could not be interpreted meaningfully here, this method may be developed as a way of conceptualizing musical preferences with a more careful selection of excerpts and more detailed assessment of their qualities

Accenting and detection of timing variations in tone sequences: Different kinds of accents have different effects

The effect of intensity and pitch accents on the perception of timing was examined in two experiments using a signal detection procedure. Analyses of sensitivity and response bias revealed opposite effects of intensity and pitch accents under similar conditions. Time intervals preceding intensity accents were perceived as longer, but time intervals preceding pitch accents were perceived as shorter. These results showed that listeners found it easier to detect timing variations that were contrary to expectations, as compared with variations that were consistent with expectations. In the present case, listeners should have expected shorter time intervals before intensity accents and longer intervals before pitch accents. The fact that the effects were observed with stimuli that had minimal musical structure demonstrated the contribution of psychoacoustic factors to such phenomena

Interactions of perceived intensity, duration, and pitch in pure tone sequences

If one dimension of sound is manipulated in a way that suggests a particular rhythmic organization, does perception of other dimensions change in ways that are consistent with the same rhythmic organization? When subjects were asked to judge or adjust intensities of tones, rhythmic manipulations of pitch structure changed the perception of intensity. When subjects were asked to judge timing, rhythmic manipulations of intensity had a similar effect. Timing manipulations did not have an effect on judgments of pitch. The results indicate that temporal structure as a whole is more accessible than the individual physical manipulations that give rise to that structure. It may be concluded that the temporal structure itself, rather than pitches, intensities, and durations in isolation, is a perceptual object

Effects of accenting and regularity on the detection of temporal deviations: Does regularity facilitate performance?

In an experiment on the effect of intensity accents on the perception of time intervals between tones, H. G. Tekman (2001) found that the regular placement of deviant time intervals in short sequences of tones reduced detection, especially if intensity accents marked the deviant time intervals. That was the opposite of what one would have expected on the basis of the dynamic attending theory of M. R. Jones (1976). The effect might have occurred because temporally deviant tones create cumulative onset shifts that affect all the subsequent tones. If the deviations were randomly placed, then they could follow each other in close succession and change the local tempo. In the present study, the changes of local tempo, which might have acted as a cue for the detection of temporal deviations in the random sequences, were eliminated by compensating for deviant time intervals with equal deviations in the opposite direction in the interval that followed. That change in the stimuli eliminated the negative main effect of regularity, and the accenting interacted with regularity in favor of detection in the regular sequences. However, a simple advantage of regular over random sequences was not observed. The author discusses possible reasons for the lack of a facilitatory effect of regularity

Effects of melodic accents on perception of intensity

Melodically accented tones are perceived as having higher intensity. Subjects judged whether or not all of the tones in a sequence were of equal intensity. Melodic accents were created by pitch skips, and the intensity of the tones that followed the skips was manipulated. Introduction of the melodic accents reduced detection of lower intensity tones more than it reduced the detection of higher intensity tones. This effect did not change as a result of regular or irregular timing of the tones whose intensity was manipulated. Contrary to results from an earlier experiment in which listeners tried to detect variations in timing, placement of the melodic accents at regular intervals did not lead to poorer detection than did irregular placement of the melodic accents. It is concluded that perception of the gaps that separate rhythmic groups may have a different nature different from the perception of elements within groups

Implicit knowledge versus psychoacoustic similarity in priming of chords

A chord-priming paradigm was used to test predictions of a neural net model (MUSACT). The model makes a nonintuitive prediction: Following a prime chord, expectations for the target chord are based on psychoacoustic similarity al short stimulus onset asynchronies (SOAs) but on implicit knowledge of conventional relationships at longer SOAs. In a critical rest, 2 targets were selected for each prime. One was more psychoacoustically similar to the prime, and the other was more closely related on the basis of convention. With an SOP, of 50 ms, priming favored the psychoacoustically similar target; with SOAs of 500 ms and longer, the effect reversed, and priming favored conventional relatedness. The results underscore the limitations of models or harmony based on psychoacoustic factors alone. These studies demonstrate how neural net learning models that are appropriately constrained can be subject to strong empirical verification

Music and social identity: Stylistic identification as a response to musical style

One function of music is considered to be defining social identity for oneself and for others. This aspect of musical styles was investigated in the light of Social Identity Theory by examining how a college student population described fans of different musical styles. Respondents were questioned about their perception of listeners of six musical styles, two of which were indigenous to Turkey. Three basic dimensions that described the listeners of these styles emerged as the result of factor and scale reliability analyses. These dimensions were labelled the sophisticated, the sprightly, and the loser. Respondents associated these features with fans of different styles to different extents. The sprightly dimension characterized listeners of pop, rock, and rap best. The sophisticated dimension was most closely associated with listeners of classical and Turkish folk music. Listening to Arabesk, which is a style that is specific to Turkey, was most closely associated with the loser dimension. Consistent with the predictions of Social Identity Theory, evaluations by a person were affected by the attitude of that person towards a style in the cases of rock and Turkish folk music. Especially on the sophisticated dimension, respondents who liked rock or Turkish folk music rated the listeners of these styles closer to the ideal than respondents who disliked them. However, the self-evaluations of these groups were similar. Furthermore, respondents typically described themselves as being closer to the ideal value on the three dimensions than the listeners of musical styles they liked. These results provide considerable support for the idea that liking a musical style shows characteristics of group membership according to Social Identity Theory