Cross-cultural influences on rhythm processing: reproduction, discrimination, and beat tapping

Cameron, Daniel J.; Bentley, Joss; Grahn, Jessica A.

doi:10.3389/fpsyg.2015.00366

Cited by 58 publications

(34 citation statements)

References 18 publications

(24 reference statements)

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“…American 6‐month‐olds show no such difference in processing of isochronous and nonisochronous meters; 12‐month‐olds do show a difference, but it is eliminated by 2 weeks of listening to Balkan music, while this was not the case for U.S. adults . There is also evidence for cross‐cultural differences in rhythm production as a function of enculturation …”

Section: Probabilistic Prediction In Music Cognitionmentioning

confidence: 99%

“…126 There is also evidence for cross-cultural differences in rhythm production as a function of enculturation. 128,129 Can such enculturation effects be accurately simulated using computational models? As noted above, rule-based models of meter 9,12,[66][67][68] are not sensitive to experience and therefore cannot plausibly account for enculturation, while approaches that simulate meter perception as emerging from the resonance of coupled oscillators that entrain to temporal periodicities 71,73,130,131 naturally imply an explanation of meter in terms of stimulus structure rather than the experience of the listener.…”

Section: Metrical Inferencementioning

confidence: 99%

“…Demorest and Morrison capture the effects of the SLH in their cultural distance hypothesis: "the degree to which the musics of any two cultures differ in the statistical patterns of pitch and rhythm will predict how well a person from one of the cultures can process the music of the other." 138 While crosscultural research has found evidence of differences in music perception between listeners as a function of their culture, 40,41,64,65,[124][125][126][127][128][129][139][140][141][142][143][144][145][146] the psychological mechanisms underlying the acquisition of these differences are currently poorly understood.…”

Section: Statistical Learning In Musical Enculturationmentioning

confidence: 99%

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Statistical learning and probabilistic prediction in music cognition: mechanisms of stylistic enculturation

Pearce

2018

Annals of the New York Academy of Sciences

147

197

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Music perception depends on internal psychological models derived through exposure to a musical culture. It is hypothesized that this musical enculturation depends on two cognitive processes: (1) statistical learning, in which listeners acquire internal cognitive models of statistical regularities present in the music to which they are exposed; and (2) probabilistic prediction based on these learned models that enables listeners to organize and process their mental representations of music. To corroborate these hypotheses, I review research that uses a computational model of probabilistic prediction based on statistical learning (the information dynamics of music (IDyOM) model) to simulate data from empirical studies of human listeners. The results show that a broad range of psychological processes involved in music perception-expectation, emotion, memory, similarity, segmentation, and meter-can be understood in terms of a single, underlying process of probabilistic prediction using learned statistical models. Furthermore, IDyOM simulations of listeners from different musical cultures demonstrate that statistical learning can plausibly predict causal effects of differential cultural exposure to musical styles, providing a quantitative model of cultural distance. Understanding the neural basis of musical enculturation will benefit from close coordination between empirical neuroimaging and computational modeling of underlying mechanisms, as outlined here.

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Section: Probabilistic Prediction In Music Cognitionmentioning

confidence: 99%

Section: Metrical Inferencementioning

confidence: 99%

Section: Statistical Learning In Musical Enculturationmentioning

confidence: 99%

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Statistical learning and probabilistic prediction in music cognition: mechanisms of stylistic enculturation

Pearce

2018

Annals of the New York Academy of Sciences

147

197

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“…Musical rhythm exists in all known human cultures, and the ability to move in time with musical rhythm occurs in humans without specialized training. However, there are wide individual differences in rhythm perception, associated with age (McAuley et al, 2006), culture (Soley & Hannon, 2010;Cameron et al, 2015), auditory short-term memory (Grahn & Schuit, 2012), and musical training (Palmer & Krumhansl, 1990;Kung et al, 2011;Bailey & Penhune, 2010;Chen et al, 2008). Trained musicians have more detailed representations of metrical structure (Palmer & Krumhansl, 1990) and more accurate perception of metrical structure and rhythmic groups than nonmusicians (Kung et al, 2011).…”

Section: Rhythmmentioning

confidence: 99%

Perception of Rhythmic Similarity is Asymmetrical, and Is Influenced by Musical Training, Expressive Performance, and Musical Context

Cameron

Potter

Wiggins

et al. 2017

Timing &Amp; Time Perception

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Rhythm is an essential part of the structure, behaviour, and aesthetics of music. However, the cognitive processing that underlies the perception of musical rhythm is not fully understood. In this study, we tested whether rhythm perception is influenced by three factors: musical training, the presence of expressive performance cues in human-performed music, and the broader musical context. We compared musicians and nonmusicians’ similarity ratings for pairs of rhythms taken from Steve Reich’s Clapping Music. The rhythms were heard both in isolation and in musical context and both with and without expressive performance cues. The results revealed that rhythm perception is influenced by the experimental conditions: rhythms heard in musical context were rated as less similar than those heard in isolation; musicians’ ratings were unaffected by expressive performance, but nonmusicians rated expressively performed rhythms as less similar than those with exact timing; and expressively-performed rhythms were rated as less similar compared to rhythms with exact timing when heard in isolation but not when heard in musical context. The results also showed asymmetrical perception: the order in which two rhythms were heard influenced their perceived similarity. Analyses suggest that this asymmetry was driven by the internal coherence of rhythms, as measured by normalized Pairwise Variability Index (nPVI). As predicted, rhythms were perceived as less similar when the first rhythm in a pair had greater coherence (lower nPVI) than the second rhythm, compared to when the rhythms were heard in the opposite order.

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“…Para Frick (1985) o significado emocional das canções de ninar é o fator que independe de convenções étnicas. Trehub et al (1993) (Castellano, Bharucha & Krumhansl, 1984), percepção e produção de ritmo em africanos e norte-americanos (Cameron, Bentley & Grahn, 2015), percepção da métrica em canções ocidentais e asiáticas por bebês turcos e norte americanos (Soley & Hannon, 2010), percepção de ritmo em africanos e europeus (Toiviainn & Eerola, 2003) e na avaliação da complexidade de músicas ocidentais e africanas por europeus e africanos (Eerola, Luck & Toiviainen, 2006).…”

Section: Objetivos E Justificativasunclassified

Efeitos das canções de ninar de diferentes etnias sobre o tempo subjetivo

Vidotto¹

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Serão resumidos nesta seção os principais elementos já apresentados na seção Introdução, que justificam a originalidade e relevância dos objetivos desta pesquisa. AgradecimentosAgradeço, primeiramente, meus queridos pais José Carlos e Cleusa, por o imenso apoio que me deram ao longo do desenvolvimento deste trabalho e de toda a minha carreira acadêmica. Pouco sabem eles da minha admiração pelo caráter, honestidade, garra e inteligência que possuem.Às minhas irmãs Ana Paula e Tatiana, pela inspiração acadêmica e de vida que sempre me deram.Ao meu querido amigo Pedro Lorenzo, que dividiu como um irmão cada momento dos últimos dois anos e meio. Saber que eu chegaria em casa e poderia conversar, rir, ouvir música ou contar qualquer coisa que eu havia pensado me fazia muito calmo e seguro.À minha querida amiga Karen Gomes, que esteve presente nas mais diversas formas em minha vida nos últimos 10 anos, e que sempre se mostrou extremamente apta a me ajudar em qualquer coisa que eu precisasse.Às amigas Josiane e Rafaela, que além de sempre presentes em todos os momentos dos últimos anos, contribuíram com aprendizados das mais diversas formas.Aos amigos Camila, Sabrina, Júlia, Melina e Vinícius por todos os momentos agradáveis que passamos e, em especial, pelos ensinamentos práticos em análise do comportamento. Agradeço especialmente a Melina, que me ajudou na coleta dos dados desse estudo.Aos amigos Hugo, Bruna e Cinthia, que contribuíram para o meu ingresso no Mestrado e para minha instalação em Ribeirão Preto.Ao amigo Lucas, por me ouvir como ninguém, e por me ensinar tanto sobre a vida.Aos amigos Gabriel, Juliana, Bruna, Aline, João Pedro, Hugo César e Tati pelo companheirismo e apoio constantes. À Andrea, que partilhou comigo diversos sentimentos relativos a essa pesquisa, e que me ensinou muito sobre a vida de um modo bastante perspicaz, inteligente e humilde.Aos colegas de laboratório Dudu, Alexandre, Tati, Raquel e João pelas inúmeras vezes que precisei de ajuda. Agradeço, em especial, João, que esteve disponível para me ajudar em todos os momentos que precisei. João é um tipo raro, cuja humildade e inteligência fascinam e fazem com o mundo se torne mais prático e agradável.Ao amigo Douglas, que mesmo tão distante, sempre se dispôs a me ajudar em inúmeros conflitos relacionados ou não a essa pesquisa.À Marcelo, por intensamente ter feito parte na minha vida nos últimos meses e pela imensa contribuição com correções e figuras neste trabalho. Aos Professores Nelson e Marina da Universidade Federal de São Carlos por contribuírem com as coletas deste estudo.Serão resumidos nesta seção os principais elementos já apresentados na seção Introdução, que justificam a originalidade e relevância dos objetivos desta pesquisa.Ao Professor Doutor Érico Firmino, que ajudou de inúmeras formas para a compreensão, execução, análise e entendimento dessa pesquisa.Ao Professor Doutor Cássio, pela ajuda com a análise estatística.Ao Professor Doutor José Lino, que me acolheu e me ensinou lições extremamente valiosas nesses últimos anos....

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Cross-cultural influences on rhythm processing: reproduction, discrimination, and beat tapping

Cited by 58 publications

References 18 publications

Statistical learning and probabilistic prediction in music cognition: mechanisms of stylistic enculturation

Statistical learning and probabilistic prediction in music cognition: mechanisms of stylistic enculturation

Perception of Rhythmic Similarity is Asymmetrical, and Is Influenced by Musical Training, Expressive Performance, and Musical Context

Efeitos das canções de ninar de diferentes etnias sobre o tempo subjetivo

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