Emergence of thematic concepts in repeated listening to music

Pollard-Gott, Lucy

doi:10.1016/0010-0285(83)90004-x

Cited by 91 publications

(63 citation statements)

References 9 publications

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“…It is likely that with increased exposure to the same melodies, structural information would become a stronger contributor to perceived similarity, as previous authors have demonstrated (Pollard-Gott, 1983;Serafine et al, 1989). However it seems unlikely that increased musical training would play a role, as expertise was not associated with greater sensitivity to either form of structure.…”

Section: Discussionmentioning

confidence: 85%

“…Thus simply inserting a chord cadence before each melody resulted in a stronger role of structure in Experiment 2, even without repeated presentations of these unfamiliar melodies, which is known to affect the balance between surface and structure (Pollard-Gott, 1983;Serafine et al, 1989). Again musical expertise aided the participants in recovering contour information when forming their rating, but it did not alter the relative emphasis on surface and structure.…”

Section: Discussionmentioning

confidence: 91%

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Contributions of pitch contour, tonality, rhythm, and meter to melodic similarity.

Prince

2014

Journal of Experimental Psychology: Human Perception and Perfor

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The identity of a given melody resides in its sequence of pitches and durations, both of which exhibit surface details as well as structural properties. For the purposes of this research, pitch contour (pattern of ups and downs) served as pitch surface information, and tonality (musical key) as pitch structure; in the temporal dimension, surface information was the ordinal duration ratios of adjacent notes (rhythm), and metre (beat, or pulse) comprised the structure.Manipulating factorially the preservation or alteration of all of these forms of information in 17 novel melodies (typifying Western music) enabled measuring their effect on perceived melodic similarity. In Experiment 1, participants (N = 34, varied musical training) rated the perceived similarity of melody pairs transposed to new starting pitches. Rhythm was the largest contributor to perceived similarity, then contour, metre, and tonality. Experiment 2 used the same melodies but varied the tempo within a pair, and added a prefix of three chords, which oriented the listener to the starting pitch and tempo before the melody began. Now contour was the strongest influence on similarity ratings, followed by tonality, and then rhythm; metre was not significant. Overall, surface features influenced perceived similarity more than structural, but both had observable effects. The primary theoretical advances in melodic similarity research are that (1) the relative emphasis on pitch and temporal factors is flexible, (2) pitch and time functioned independently when manipulated factorially, regardless of which dimension is more influential, and (3) interactions between surface and structural information were unreliable and never occurred between dimensions.Running head: MELODIC SIMILARITY

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Section: Discussionmentioning

confidence: 85%

Section: Discussionmentioning

confidence: 91%

Contributions of pitch contour, tonality, rhythm, and meter to melodic similarity.

Prince

2014

Journal of Experimental Psychology: Human Perception and Perfor

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“…Thus, somewhat looser criteria may underlie this abstractionprocess. This flexibility would serve well the identification of similarity, for example, between theme and variations (pollard-Gott, 1983;Welker, 1982) or pieceswith a commonunderlying form (Rosner & Meyer, 1982).…”

Section: Memory For Musical Surface 409 Summary and Conclusionmentioning

confidence: 99%

Memory for musical surface

Krumhansl

1991

Memory & Cognition

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“…Few studies of complete musical works have been performed. Of those that have, many have used a segmentation task (at times with post-performance descriptions of the form) to explore the processing of larger scale musical structure (Aiello, 1994;Berz & Kelly, 1998;Clarke & Krumhansl, 1990;Deliège, 1989;Karno & Konečni, 1992;Pollard-Gott, 1983). Globally, the results show effects of change in texture, tempo, density, register, instrumentation, or pauses at section boundaries.…”

Section: Familiarity and Recognitionmentioning

confidence: 93%

Influences of Large-Scale Form on Continuous Ratings in Response to a Contemporary Piece in a Live Concert Setting

et al. 2004

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Listeners responded continuously at the world and North American premiere concerts of The Angel of Death by Roger Reynolds using one of two rating scales: familiarity or resemblance of musical materials within the piece and emotional force. Two versions of the piece were tested in each concert in different presentation orders. Functional data analysis revealed the influence of large-scale musical form and context on recognition processes and emotional reactions during ongoing listening. The instantaneous resemblance to materials already heard up to that point in the piece demonstrates strong relations to the sectional structure of the music and suggests different memory dynamics for different kinds of musical structures. Emotional force ratings revealed the impact of computer-processed sounds and a diminution in emotional force with repetition of materials. Response profiles and global preferences across the two versions are discussed in terms of the multifaceted temporal shape of musical experience. C REATORS in the temporal arts-music, cinema, dance-often devote a great deal of energy and imagination to the formal aspects of their works. Given that such forms can extend over several minutes, several tens

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Emergence of thematic concepts in repeated listening to music

Cited by 91 publications

References 9 publications

Contributions of pitch contour, tonality, rhythm, and meter to melodic similarity.

Contributions of pitch contour, tonality, rhythm, and meter to melodic similarity.

Memory for musical surface

Influences of Large-Scale Form on Continuous Ratings in Response to a Contemporary Piece in a Live Concert Setting

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