A Principle of Correlativity of Perception and Its Application to Music Recognition

Abstract

Correlativity of perception is defined as a capacity to discover similar configurations of stimuli and to form high- level configurations from them. It is equivalent to describing information in terms of generative elements and their transformations. Such a representation saves memory and reveals causality in data generation. This approach is implemented in a model of artificial perception wherein data are selforganized in order to segregate patterns before recognizing them. Input information is described as generative patterns and their transformations. The least complex data representation that leads to a causally related semantic description is chosen, with (Kolmogorov) complexity defined by the amount of memory store required. The model is applied to voice separation and to rhythm/tempo tracking. Chord spectra are described by generative subspectra, which correspond to tonal spectra, and by their translations, which coincide with the intervals of the chord. Time events are also described by generative rhythmic patterns. Tempo and rhythm interdependence is overcome by the optimal sharing of complexity between representations of rhythmic patterns and tempo curve. The model explains the function of interval hearing, certain statements of music theory, and some effects of rhythm perception. Applications to image processing and modeling of abstract thinking are also discussed.

Perception and Cognition in Music: Musically Trained and Untrained Adults Compared to Sixth-Grade and Eighth-Grade Children

“…We also asked adult musicians to specify cognitive strategies for accomplishing the task and classified responses by frequency of occurrence.The study represents a continuing line of research that was begun more than three decades ago concerning perception and cognition of interpolated melodies (Collings, 1966; Madsen, Collings, McLeod, & Madsen, 1969; Madsen & Staum, 1983; Madsen, 2000; Madsen & Madsen, 2001).Research concerning perception and how subjects are able to remember has been both long and continuous because tonal (musical) memory and discrimination seem to be important (Deutsch, 1972(Deutsch, , 1973(Deutsch, , 1975(Deutsch, , 1979Dowling, 1973;Murdock, 1974;Tanguiane, 1994). …”

“…Research concerning perception and how subjects are able to remember has been both long and continuous because tonal (musical) memory and discrimination seem to be important (Deutsch, 1972(Deutsch, , 1973(Deutsch, , 1975(Deutsch, , 1979Dowling, 1973;Murdock, 1974;Tanguiane, 1994).…”

A Review of Automatic Rhythm Description Systems

“…This helps in processing music with short-term timing deviations, but the resulting representation is still discontinuous (the sum of Dirac functions has been transformed into a step function). This can be improved by using smoother curves for smearing, such as a Gaussian window (Chowning et al 1984;Schloss 1985;Rosenthal 1992;Cemgil et al 2001;Gouyon, Herrera, and Cano 2002), an exponential window (Dannenberg and Mont-Reynaud 1987, p. 245), or a triangular window (Tanguiane 1994).…”

Towards Rhythmic Content Processing of Musical Signals: Fostering Complementary Approaches

“…Thus, the beat rate cannot be detected in performance data which contain slight expressive deviations. In order to solve this problem, Tanguiane (1994) proposes the method of variable resolution which changes the definition level of the durations. Considering a sequence of durations, Tanguiane proposes a coding which approximates the values in such a way to enable comparisons.…”