Tracking the emergence of a pitch hierarchy using an artificial grammar requires extended exposure

Introduction: The tonal hierarchy is a perceived musical structure implicitly learned through exposure. Previous studies have demonstrated that new grammars, for example based on the Bohlen-Pierce scale, can be learned in as little as 20 minutes. Methods: In this study, we created two grammars derived from the Bohlen-Pierce scale similar in complexity to the western tonal hierarchy. Participants rated the goodness-of-fit of all Bohlen-Pierce scale notes in a probe tone paradigm before and after 30 minutes of exposure to one of the two grammars. Participants were then asked about their experience in a short interview. Results: Results do not support the learning of the artificial grammar: correlations between goodness-of-fit ratings and pitch frequency distribution of a grammar were no different before and after exposure to a grammar. Interviews suggest that participants are bad at identifying the strategy they used to complete the task. Testing the strategies reported on the data revealed that ratings decreased with increasing distance of the probe tone from the tonic. Discussion: This is consistent with early brain responses to chromatic pitches of the tonal hierarchy. We suggest that longer exposure time is necessary to learn more complex grammars

Validation of the Body Concealment Scale for Scleroderma (BCSS): Replication in the Scleroderma Patient-centered Intervention Network (SPIN) Cohort

© 2016 Elsevier Ltd Body concealment is an important component of appearance distress for individuals with disfiguring conditions, including scleroderma. The objective was to replicate the validation study of the Body Concealment Scale for Scleroderma (BCSS) among 897 scleroderma patients. The factor structure of the BCSS was evaluated using confirmatory factor analysis and the Multiple-Indicator Multiple-Cause model examined differential item functioning of SWAP items for sex and age. Internal consistency reliability was assessed via Cronbach's alpha. Construct validity was assessed by comparing the BCSS with a measure of body image distress and measures of mental health and pain intensity. Results replicated the original validation study, where a bifactor model provided the best fit. The BCSS demonstrated strong internal consistency reliability and construct validity. Findings further support the BCSS as a valid measure of body concealment in scleroderma and provide new evidence that scores can be compared and combined across sexes and ages

Investigating Melodic Annotation Disagreements in String Quartets

The article presents an analysis of melody annotation disagreements in a novel dataset containing annotations of a selection of Haydn and Mozart string quartet movements. For this purpose the following definition of melody from the music information retrieval (MIR) community is applied: the sequence of monophonic pitches that a listener might sing or hum when asked to reproduce a polyphonic piece of music, and encompasses the core identity of the piece. The resulting collection of annotations makes up the new Melody Annotated String Quartets (MASQ) dataset, available online. The rates and types of disagreements between annotators are discussed, as well as the influence of musical form and style on melody perception and the suitability of the given definition of melody

Information-theoretic Modeling of Perceived Musical Complexity

What makes a piece of music appear complex to a listener? This research extends previous work by Eerola (2016), examining information content generated by a computational model of auditory expectation (IDyOM) based on statistical learning and probabilistic prediction as an empirical definition of perceived musical complexity. We systematically manipulated the melody, rhythm, and harmony of short polyphonic musical excerpts using the model to ensure that these manipulations systematically varied information content in the intended direction. Complexity ratings collected from 28 participants were found to positively correlate most strongly with melodic and harmonic information content, which corresponded to descriptive musical features such as the proportion of out-of-key notes and tonal ambiguity. When individual differences were considered, these explained more variance than the manipulated predictors. Musical background was not a significant predictor of complexity ratings. The results support information content, as implemented by IDyOM, as an information-theoretic measure of complexity as well as extending IDyOM's range of applications to perceived complexity

The effects of aging and musicianship on the use of auditory streaming cues

Auditory stream segregation, or separating sounds into their respective sources and tracking them over time, is a fundamental auditory ability. Previous research has separately explored the impacts of aging and musicianship on the ability to separate and follow auditory streams. The current study evaluated the simultaneous effects of age and musicianship on auditory streaming induced by three physical features: intensity, spectral envelope and temporal envelope. In the first study, older and younger musicians and non-musicians with normal hearing identified deviants in a four-note melody interleaved with distractors that were more or less similar to the melody in terms of intensity, spectral envelope and temporal envelope. In the second study, older and younger musicians and non-musicians participated in a dissimilarity rating paradigm with pairs of melodies that differed along the same three features. Results suggested that auditory streaming skills are maintained in older adults but that older adults rely on intensity more than younger adults while musicianship is associated with increased sensitivity to spectral and temporal envelope, acoustic features that are typically less effective for stream segregation, particularly in older adults

Mapping Tonal Hierarchy in the Brain

In Western tonal music, pitches are organized hierarchically based on their perceived fit in a specific tonal context. This hierarchy forms scales that are commonly used in Western tonal music. The hierarchical nature of tonal structure is well established behaviourally; however, the neural underpinnings are largely unknown. In this study, EEG data and goodness-of-fit ratings were collected from 34 participants who listened to an arpeggio followed by a probe tone, where the probe tone could be any chromatic scale degree and the context any of the major keys. Goodness-of-fit ratings corresponded to the classic tonal hierarchy. N1, P2 and the Early Right Anterior Negativity (ERAN) were significantly modulated by scale degree. Furthermore, neural marker amplitudes and latencies were significantly correlated with similar magnitude to both pitch height and goodness-of-fit ratings. This is different from the clearer divide between pitch height correlating with early neural markers (100–200 ms) and tonal hierarchy correlating with late neural markers (200–1000 ms) reported by Sankaran et al. (2020) and Quiroga-Martinez et al. (2019). Finally, individual differences were greater than any main effects detected when pooling participants and brain-behavior correlations vary widely (i.e. r = −0.8 to 0.8)

Effects of pitch and timing expectancy on musical emotion.

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 nonmusicians. Participants took part in one of two behavioral paradigms measuring continuous expectancy or emotional responses (arousal and valence) while listening to folk melodies that exhibited either high or low pitch predictability and high- or low- onset predictability. The causal influence of pitch predictability was investigated in an additional condition in which pitch was artificially manipulated and a comparison was conducted between original and manipulated forms; the dynamic correlative influence of pitch and timing information and its perception on emotional change during listening was evaluated using cross-sectional time series analysis. The results indicate that pitch and onset predictability are consistent predictors of perceived expectancy and emotional response, with onset carrying more weight than pitch. In addition, musicians and nonmusicians do not differ in their responses possibly due to shared cultural background and knowledge. The results demonstrate in a controlled lab-based setting a precise, quantitative relationship between the predictability of musical structure, expectation, and emotional response

The impact of aging on neurophysiological entrainment to a metronome

In music, entrainment to the beat allows listeners to make predictions about upcoming events. Previous work has shown that neural oscillations will entrain to the beat of the music or rhythmic stimuli. Despite the fact that aging is known to impact both auditory and cognitive processing, little is known about how aging affects neural entrainment to rhythmic stimuli. In this study, younger and older participants listened to isochronous sequences at a slower and faster rate while EEG data was recorded. Steady-state evoked potentials had amplitude peaks at the stimulus rate and its harmonics. Steady-state evoked potentials at the stimulus rate and the first harmonic was attenuated in older adults compared to younger adults. Additionally, no amplitude difference was found for the second and third harmonics in older adults, while there was a decrease in amplitude in younger adults. This age-related decline in the entrainment specificity of the brain responses to the stimulus rate, suggests that aging may decrease the ability to entrain to stimuli in the environment, and further suggests that older adults may be less able to inhibit neural entrainment that is not directly related to the incoming stimulus