EEG correlates of perception of tonal modulation in musical fragments

Two-level model of embodied cognition in music.

“…In contrast, the proposed model emphasizes the primacy of the tonal/temporal relationships which the music that people love to sing and dance to is made of. The lynchpin of the proposed model is the concept of perceived tonal tension, which is a principal concept for the core musicology (Lerdahl, 2001; Meyer, 1956; Schoenberg, 1969), for behavioral studies in music perception and cognition (Bigand et al, 1996; Firmino et al, 2009; Hevner, 1935; Korsakova-Kreyn & Dowling, 2014; Krumhansl, 1996, 1997; Thompson & Cuddy, 1997; Toiviainen & Krumhansl, 2003), and for the cognitive neuroscience of music (Bigand, Delbé, Poulin-Charronnat, Leman, & Tillmann, 2014; Foster & Zatorre, 2010; Koelsch et al, 2013; Radchenko et al, 2014; Tillmann et al, 2000).…”

“…Studies in emotional processing in music generally focus on the main morphological aspect of music—the tonal relationships (Lerdahl, 2001; Lerdahl & Krumhansl, 2007). These studies investigate the responses to the major and minor modes (Gagnon & Peretz, 2003; Hevner, 1935, 1936; Kastner & Crowder, 1990; Trochidis & Bigand, 2013; Virtala & Tervaniemi, 2017; Webster & Weir, 2005), the perception of tonal modulation (Firmino, Bueno, & Bigand, 2009; Koelsch, Gunter, Schröger, & Friederici, 2003; Koelsch, Rohrmeier, Torrecuso, & Jentschke, 2013; Korsakova-Kreyn & Dowling, 2014; Radchenko, Parin, Polevaya, Korsakova-Kreyn, & Fedotchev, 2014; Thompson & Cuddy, 1997; Tillmann, Bharucha, & Bigand, 2000), and the emergence of musical structure from tonal patterns (Krumhansl, 1996). The tonal relationships are routinely explained in musicology in terms of tension and stability (Fétis, 1844/2008; Lerdahl, 2001; Riemann, 1877; Rosen, 1988; Schoenberg, 1969).…”