Effects of Musical Expertise and Boundary Markers on Phrase Perception in Music

Neuhaus, Christiane; Knösche, Thomas R.; Friederici, Angela D.

doi:10.1162/jocn.2006.18.3.472

Cited by 54 publications

(55 citation statements)

References 32 publications

(48 reference statements)

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“…Table 3 documents clear differences between the two types of music: Chinese pieces have longer phrases, longer pauses, as well as longer notes immediately before and after the pause. Therefore, this result is in line with the observation by Neuhaus et al (2006) that longer pauses as well as longer boundary tones produce larger CPS amplitudes.…”

Section: 3supporting

confidence: 91%

“…This component was observed between 450 ms and 600 ms post pause offset and closely resembles the music CPS found in previous studies (Knösche et al, 2005;Neuhaus et al, 2006).…”

Section: 3supporting

confidence: 87%

“…Compared to the CPS found in language studies, the CPS in music (Knösche et al, 2005;Neuhaus et al, 2006) exhibits a different latency but a similar amplitude and topography. The difference in latency for the CPS component between language and music studies was interpreted by the different phrase boundary cues in language compared to music, such as lengthened prefinal syllables and changed F0 contours (Knösche et al, 2005).…”

Section: 3mentioning

confidence: 73%

“…Second, for the CPS in music phrasing perception, EEG and MEG based source localization result has shown that likely neural generators involve structures of the limbic system associated with attention and memory processes (Knösche et al, 2005). Third, the music CPS is modulated by a number of factors other than pause, e.g., musical experience and harmonic closure of the previous phrases (Neuhaus et al, 2006). Furthermore, in our study, the presence of the CPS seems to be unaffected by the relation between the acculturation of the subjects and the cultural style of the music (Fig.…”

Section: 3mentioning

confidence: 99%

“…Most interestingly, the investigation of phrase perception in music (Knösche et al, 2005) yielded EEG and MEG correlates for the perception of musical phrase boundaries, which showed a similar timing and topography as the CPS found in language studies. In a follow-up study (Neuhaus et al, 2006), the length of the pause and the length of the phrase-final tone before the pause were identified as the most important markers for the perception of the phrase boundaries. This result is in line with a recent behavioral study by Frankland and Cohen (2004), who found the note-to-note distances to be the most important phrase boundary cues.…”

Section: Introductionmentioning

confidence: 99%

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The perception of musical phrase structure: A cross-cultural ERP study

2006

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Electroencephalography (EEG) was used in a cross-cultural music study investigating phrase boundary perception. Chinese and German musicians performed a cultural categorization task under Chinese and Western music listening conditions. Western music was the major subject for both groups of musicians, while Chinese music was familiar to Chinese subjects only. By manipulating the presence of pauses between two phrases in the biphrasal melodies, EEG correlates for the perception of phrase boundaries were found in both groups under both music listening conditions. Between 450 and 600 ms, the music CPS (closure positive shift), which had been found in earlier studies with a false tone detection task, was replicated for the more global categorization task and for all combinations of subject group and musical style. At short latencies (100 and 450 ms post phrase boundary offset), EEG correlates varied as a function of musical styles and subject group. Both bottom-up (style properties of the music) and top-down (acculturation of the subjects) information interacted during this early processing stage. IntroductionMusic is a culturally specific phenomenon, which is certainly determined by ethnic background, social environment and traditions. However, the question to what extent the ability to understand and appreciate music is culturally dependent is still controversial. Ethnomusicologists usually assume that extensive experience of music within its cultural context is essential for its basic structural principles to be understood (Blacking, 1973). Lynch and Eilers (1992) explored musical tuning perception in infancy and adulthood and found that adult's perception of musical tuning was culturally specific, and infants between 6 and 12 months of age started to show the same culturally specific performance as adults did. In the same line, Drake and El Heni (2003) proved that acculturation, i.e., the passive exposure to a particular type of music since birth, influenced the perception and cognition of music. On the other hand, some psychological studies have proved the existence of universal, not culturally dependent, aspects of music perception (Castellano et al., 1984;Krumhansl, 1995Krumhansl, , 2000. Drake and Bertrand (2001) reviewed a number of rhythm perception and production studies and concluded that some aspects of temporal processing in music might be universal, in the sense that they function in a similar manner irrespective of an individual's cultural exposure and experience. Likewise, in a study of the cross-cultural emotion perception in music,

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Section: 3supporting

confidence: 91%

“…This component was observed between 450 ms and 600 ms post pause offset and closely resembles the music CPS found in previous studies (Knösche et al, 2005;Neuhaus et al, 2006).…”

Section: 3supporting

confidence: 87%

Section: 3mentioning

confidence: 73%

Section: 3mentioning

confidence: 99%

Section: Introductionmentioning

confidence: 99%

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The perception of musical phrase structure: A cross-cultural ERP study

2006

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Cross‐cultural music phrase processing: An fMRI study

Nan¹,

Knösche²,

Zysset³

et al. 2007

Human Brain Mapping

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The current study used functional magnetic resonance imaging (fMRI) to investigate the neural basis of musical phrase boundary processing during the perception of music from native and non-native cultures. German musicians performed a cultural categorization task while listening to phrased Western (native) and Chinese (non-native) musical excerpts as well as modified versions of these, where the impression of phrasing has been reduced by removing the phrase boundary marking pause (henceforth called "unphrased"). Bilateral planum temporale was found to be associated with an increased difficulty of identifying phrase boundaries in unphrased Western melodies. A network involving frontal and parietal regions showed increased activation for the phrased condition with the orbital part of left inferior frontal gyrus presumably reflecting working memory aspects of the temporal integration between phrases, and the middle frontal gyrus and intraparietal sulcus probably reflecting attention processes. Areas more active in the culturally familiar, native (Western) condition included, in addition to the left planum temporale and right ventro-medial prefrontal cortex, mainly the bilateral motor regions. These latter results are interpreted in light of sensorimotor integration. Regions with increased signal for the unfamiliar, non-native music style (Chinese) included a right lateralized network of angular gyrus and the middle frontal gyrus, possibly reflecting higher demands on attention systems, and the right posterior insula suggesting higher loads on basic auditory processing.

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Rhythm evokes action: Early processing of metric deviances in expressive music by experts and laymen revealed by ERP source imaging

James

Michel

Britz

et al. 2011

Human Brain Mapping

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To examine how musical expertise tunes the brain to subtle metric anomalies in an ecological musical context, we presented piano compositions ending on standard and deviant cadences (endings) to expert pianists and musical laymen, while high-density EEG was recorded. Temporal expectancies were manipulated by substituting standard "masculine" cadences at metrically strong positions with deviant, metrically unaccented, "feminine" cadences. Experts detected metrically deviant cadences better than laymen. Analyses of event-related potentials demonstrated that an early P3a-like component (~150-300 ms), elicited by musical closure, was significantly enhanced at frontal and parietal electrodes in response to deviant endings in experts, whereas a reduced response to deviance occurred in laymen. Putative neuronal sources contributing to the modulation of this component were localized in a network of brain regions including bilateral supplementary motor areas, middle and posterior cingulate cortex, precuneus, associative visual areas, as well as in the right amygdala and insula. In all these regions, experts showed enhanced responses to metric deviance. Later effects demonstrated enhanced activations within the same brain network, as well as higher processing speed for experts. These results suggest that early brain responses to metric deviance in experts may rely on motor representations mediated by the supplementary motor area and motor cingulate regions, in addition to areas involved in self-referential imagery and relevance detection. Such motor representations could play a role in temporal sensory prediction evolved from musical training and suggests that rhythm evokes action more strongly in highly trained instrumentalists.

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Effects of Musical Expertise and Boundary Markers on Phrase Perception in Music

Cited by 54 publications

References 32 publications

The perception of musical phrase structure: A cross-cultural ERP study

The perception of musical phrase structure: A cross-cultural ERP study

Cross‐cultural music phrase processing: An fMRI study

Rhythm evokes action: Early processing of metric deviances in expressive music by experts and laymen revealed by ERP source imaging

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