Effect of global structure and temporal organization on chord processing.

Bigand, Emmanuel; Madurell, François; Tillmann, Barbara; Pineau, Marion

doi:10.1037/0096-1523.25.1.184

Cited by 111 publications

(178 citation statements)

References 40 publications

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“…In other words, tonality seems to be a localized phenomenon (the size of this localized window is discussed shortly). This interpretation runs counter to the (often implicit) assumption in music-theoretic analyses that there is always an influence of the intended tonality of a piece regardless of localized tonicizations as well as to the evidence of global context effects in harmonic priming (Bigand et al, 1999;Tillman & Bigand, 2001). What these results do suggest, however, is that at least in listeners' experiences any global tonal influence might be negligible.…”

Section: Discussioncontrasting

confidence: 66%

Perceptual Tests of an Algorithm for Musical Key-Finding.

Schmuckler¹,

Tomovski²

2005

Journal of Experimental Psychology: Human Perception and Perfor

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Perceiving the tonality of a musical passage is a fundamental aspect of the experience of hearing music. Models for determining tonality have thus occupied a central place in music cognition research. Three experiments investigated 1 well-known model of tonal determination: the Krumhansl-Schmuckler key-finding algorithm. In Experiment 1, listeners' percepts of tonality following short musical fragments derived from preludes by Bach and Chopin were compared with predictions of tonality produced by the algorithm; these predictions were very accurate for the Bach preludes but considerably less so for the Chopin preludes. Experiment 2 explored a subset of the Chopin preludes, finding that the algorithm could predict tonal percepts on a measure-by-measure basis. In Experiment 3, the algorithm predicted listeners' percepts of tonal movement throughout a complete Chopin prelude. These studies support the viability of the Krumhansl-Schmuckler key-finding algorithm as well as a model of listeners' tonal perceptions of musical passages.

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Section: Discussioncontrasting

confidence: 66%

Perceptual Tests of an Algorithm for Musical Key-Finding.

Schmuckler¹,

Tomovski²

2005

Journal of Experimental Psychology: Human Perception and Perfor

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“…The current findings are relevant to existing theories of pitch-time integration. Regarding the local/global proposal (Bigand et al, 1999;Jones & Boltz, 1989;Tillmann & Lebrun-Guillaud, 2006), it is important to note that the present experiments always required attention to the entire melody (i.e., global tasks), yet the pattern of pitch-time integration varied. Instead, manipulating instructions affected whether interactions occurred, rather than showing overall evidence of interactions with these global tasks.…”

Section: ---Insert Figure 4 About Here----discussionmentioning

confidence: 93%

The Integration of Stimulus Dimensions in the Perception of Music

Prince

2011

Quarterly Journal of Experimental Psychology

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A central aim of cognitive psychology is to explain how we integrate stimulus dimensions into a unified percept, but how the dimensions of pitch and time combine in the perception of music remains a largely unresolved issue. The goal of this study was to test the effect of varying the degree of conformity to dimensional structure in pitch and time (specifically, tonality and meter) on goodness ratings and classifications of melodies. The pitches and durations of melodies were presented either in their original order, as a reordered sequence, or replaced with random elements. Musically trained and untrained participants (24 each) rated melodic goodness, attending selectively to the dimensions of pitch, time, or to both. Also, 24 trained participants classified whether or not the melodies were tonal, metric, or both. Pitch and temporal manipulations always influenced responses, but participants successfully emphasized either dimension in accordance with instructions. Effects of pitch and time were mostly independent for selective attention conditions, but more interactive when evaluating both dimensions. When interactions occurred, the effect of either dimension increased as the other dimension conformed more to its original structure. Relative main effect sizes (| pitch 2 -time 2 |) predicted the strength of pitch-time interactions (pitch*time 2 ); interactions were stronger when main effect sizes were more evenly matched. These results have implications for dimensional integration in several domains. Relative main effect size could serve as an indicator of dimensional salience, such that interactions are more likely when dimensions are equally salient.

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“…The term musical syntax has been suggested to refer, at least partly, to the principles of harmonic distance and relatedness described by music theory: Within a sequence of chords, listeners expect the chords to be arranged harmonically closely related to each other (Maess et al, 2001;Krumhansl and Kessler, 1982;Bharucha and Krumhansl, 1983;Swain, 1997;Bharucha and Stoeckig, 1986;Koelsch et al, 2000a). Moreover, listeners expect within a sequence of in-key chords music-syntactically appropriate chord functions (Maess et al, 2001;Bigand and Pineau, 1997;Bigand et al, 1999). In the present study, both clusters and modulations were harmonically and functionally less related to the preceding chords of the chord-sequences (and did, thus, not fit into the tonal arrangement established by the preceding in-key chords).…”

Section: Discussionmentioning

confidence: 99%

Bach Speaks: A Cortical “Language-Network” Serves the Processing of Music

2002

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The aim of the present study was the investigation of neural correlates of music processing with fMRI. Chord sequences were presented to the participants, infrequently containing unexpected musical events. These events activated the areas of Broca and Wernicke, the superior temporal sulcus, Heschl's gyrus, both planum polare and planum temporale, as well as the anterior superior insular cortices. Some of these brain structures have previously been shown to be involved in music processing, but the cortical network comprising all these structures has up to now been thought to be domain-specific for language processing. To what extent this network might also be activated by the processing of non-linguistic information has remained unknown. The present fMRI-data reveal that the human brain employs this neuronal network also for the processing of musical information, suggesting that the cortical network known to support language processing is less domain-specific than previously believed. © 2002 Elsevier Science (USA)

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Effect of global structure and temporal organization on chord processing.

Cited by 111 publications

References 40 publications

Perceptual Tests of an Algorithm for Musical Key-Finding.

Perceptual Tests of an Algorithm for Musical Key-Finding.

The Integration of Stimulus Dimensions in the Perception of Music

Bach Speaks: A Cortical “Language-Network” Serves the Processing of Music

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