Development of the perception of musical relations: Semitone and diatonic structure.

Trehub, Sandra E.; Cohen, Annabel J.; Thorpe, Leigh A.; Morrongiello, Barbara A.

doi:10.1037/0096-1523.12.3.295

Cited by 76 publications

(98 citation statements)

References 26 publications

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“…76 [F(1,20) = 18.3, P < .001], directly replicating the effect observed by Trehub et al (1986) for preschool children, and by Cohen (1982) for adults tested with two sequences differing in degree of musical structure. Musical structure interacted with trial type [i.e., whether test stimuli were the same as, or different from, the standard: F(I,20) = 5.20, p < .03; see Figure 3].…”

Section: Musical Structurementioning

confidence: 51%

“…For all trials in which the listener responded correctly, a toy animal was illuminated and activated in a Plexiglas display box (following Trehub et al .• 1986). Further control and experimental trials were presented in random order without the aid of the experimenter.…”

Section: Methodsmentioning

confidence: 99%

“…Cohen (1982), comparing performance on one sequence based on the well-structured prototype, and on another that violated the rules of the prototype, found similar effects of musical structure for transposed and untransposed comparison sequences. Trehub, Cohen, Thorpe, and Morrongiello (1986) tested children with simpler patterns than those employed previously with adults. Their prototype outlined only one chord, the major triad (do mi sol mi do), and their untransposed comparison sequences raised a single tone by one semitone.…”

Section: Tonal or Musical Structurementioning

confidence: 99%

“…Limitation of the error to I note and position provided additional control. For the purpose of comparison with earlier data of Trehub et al (1986), the raised semitone change was selected for both standards.…”

Section: Stimulimentioning

confidence: 99%

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Effects of uncertainty on melodic

Cohen

Trehub

Thorpe

1989

Perception & Psychophysics

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In three experiments, musically trained and untrained adults listened to three repetitions of a 5-note melodic sequence followed by a final melody with either the same tune as those preceding it or differing in one position by one semitone. In Experiment 1, ability to recognize the final sequence was examined as a function of redundancy at the levels of musical structure in a sequence, contour complexity of transpositions in a trial, and trial context in a session. Within a sequence, tones were related as the major or augmented triad; within a trial, the four sequences began on successively higher notes (simple macrocontour) or on randomly selected notes (complex macrocontour); and within a session, trials were either blocked (all major or all augmented) or mixed (major and augmented randomly selected). Performance was superior for major melodies, for systematic transpositions within a trial (simple macrocontours), for blocked trials, and for musically trained listeners. In Experiment 2, we examined further the effect of macrocontour. Performance on simple macrocontours exceeded that on complex, and excluded the possibility that repetition of the 20-note sequences provided the entire benefit of systematic transposition in Experiment 1. The effect of musical structure (major/augmented) was also replicated. In Experiment 3, listeners provided structure ratings of ascending 20-note sequences from Experiment 2. Ratings on same trials were higher than those on corresponding different trials, in contrast to performance scores for augmented same and different trials in previous experiments. The concept of functional uncertainty was proposed to account for recognition difficulties on augmented same trials. The significant effects of redundancy on all the levels examined confirm the utility of the information-processing framework for the study of melodic sequence perception.In the present investigation, we examine the effect of uncertainty on melodic pattern processing. In particular, we aim to show that uncertainty at various levels of stimulus structure affects melodic processing. Interest in uncertainty originated in applications of information theory to perception and meaning (Gamer, 1962(Gamer, , 1974Haber, 1969;Underwood, 1979). According to this conceptualization, limited capacity or processing resources can be overcome by effective coding at various stages from sensation to perception and representation.The accuracy of encoding is thought to be affected by the physical properties of the stimulus and the experimental context. Because information requiring a simple code demands fewer processing resources than does information requiring a more complex code, complexity of the code predicts the accuracy of representation. According to Simon (1972), the complexity of a pattern can be defined by the number of symbols required to represent it. For example, a pattern with three identical elements (e.g.,

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Section: Musical Structurementioning

confidence: 51%

Section: Methodsmentioning

confidence: 99%

Section: Tonal or Musical Structurementioning

confidence: 99%

Section: Stimulimentioning

confidence: 99%

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Effects of uncertainty on melodic

Cohen

Trehub

Thorpe

1989

Perception & Psychophysics

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“…In the investigation of music cognition, it is important to consider that pitch structure is a highly relevant factor in musical organization and is crucial to music appreciation (Krumhansl & Shepard, 1979;Trehub, Cohen, Thorpe, & Morrongiello, 1986). Pitch, or tone, is the psychological correlate of the acoustic parameter of frequency (Calvo-Manzano, 1991).…”

Section: The Role Of Pitch In Musicmentioning

confidence: 99%

Developmental trajectories of pitch-related music skills in children with Williams syndrome

Martínez‐Castilla

Rodrı́guez

Campos

2016

Research in Developmental Disabilities

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Music Perception and Cognition

Justus

Bharucha

2002

Stevens' Handbook of Experimental Psychology

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This chapter reviews the field of music perception and cognition, which is the area of cognitive psychology devoted to determining the mental mechanisms underlying our appreciation of music. The chapter begins with the study of pitch, including the constructive nature of pitch perception and the cognitive structures reflecting its simultaneous and sequential organization in Western tonal‐harmonic music. This is followed by reviews of temporal organization in music, and of musical performance and ability. Next, literature concerning the cognitive neuroscience of music is examined, including studies of neuropsychology, neuroimaging, and event‐related potentials. The chapter concludes with a discussion of developmental music cognition, cross‐cultural music cognition, and the evolutionary psychology of music.

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Development of the perception of musical relations: Semitone and diatonic structure.

Cited by 76 publications

References 26 publications

Effects of uncertainty on melodic

Effects of uncertainty on melodic

Developmental trajectories of pitch-related music skills in children with Williams syndrome

Music Perception and Cognition

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