It has long been debated which aspects of music perception are universal and which are developed only after exposure to a specific musical culture. Here, we report a crosscultural study with participants from a native African population (Mafa) and Western participants, with both groups being naive to the music of the other respective culture. Experiment 1 investigated the ability to recognize three basic emotions (happy, sad, scared/fearful) expressed in Western music. Results show that the Mafas recognized happy, sad, and scared/fearful Western music excerpts above chance, indicating that the expression of these basic emotions in Western music can be recognized universally. Experiment 2 examined how a spectral manipulation of original, naturalistic music affects the perceived pleasantness of music in Western as well as in Mafa listeners. The spectral manipulation modified, among other factors, the sensory dissonance of the music. The data show that both groups preferred original Western music and also original Mafa music over their spectrally manipulated versions. It is likely that the sensory dissonance produced by the spectral manipulation was at least partly responsible for this effect, suggesting that consonance and permanent sensory dissonance universally influence the perceived pleasantness of music.
The present study investigated music-syntactic processing with chord sequences that ended on either regular or irregular chord functions. Sequences were composed such that perceived differences in the cognitive processing between syntactically regular and irregular chords could not be due to the sensory processing of acoustic factors like pitch repetition, pitch commonality (the major component of "sensory dissonance"), or roughness. Three experiments with independent groups of subjects were conducted: a behavioral experiment and two experiments using electroencephalography. Irregular chords elicited an early right anterior negativity (ERAN) in the event-related brain potentials (ERPs) under both task-relevant and task-irrelevant conditions. Behaviorally, participants detected around 75% of the irregular chords, indicating that these chords were only moderately salient. Nevertheless, the irregular chords reliably elicited clear ERP effects. Amateur musicians were slightly more sensitive to musical irregularities than nonmusicians, supporting previous studies demonstrating effects of musical training on music-syntactic processing. The findings indicate that the ERAN is an index of music-syntactic processing and that the ERAN can be elicited even when irregular chords are not detectable based on acoustical factors such as pitch repetition, sensory dissonance, or roughness.
Hierarchical structure with nested nonlocal dependencies is a key feature of human language and can be identified theoretically in most pieces of tonal music. However, previous studies have argued against the perception of such structures in music. Here, we show processing of nonlocal dependencies in music. We presented chorales by J. S. Bach and modified versions in which the hierarchical structure was rendered irregular whereas the local structure was kept intact. Brain electric responses differed between regular and irregular hierarchical structures, in both musicians and nonmusicians. This finding indicates that, when listening to music, humans apply cognitive processes that are capable of dealing with longdistance dependencies resulting from hierarchically organized syntactic structures. Our results reveal that a brain mechanism fundamental for syntactic processing is engaged during the perception of music, indicating that processing of hierarchical structure with nested nonlocal dependencies is not just a key component of human language, but a multidomain capacity of human cognition.syntax | context-free grammar | parsing | electroencephalography | EEG
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