Hierarchical Expectation and Musical Style

Narmour, Eugene

doi:10.1016/b978-012213564-4/50013-5

Cited by 27 publications

(18 citation statements)

References 15 publications

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“…Narmour's theory (Narmour, 1990(Narmour, , 1999 formalises melodic expectation proposing in part a static, innate top down model. It proposed a set of rules characterising how melodic implicative intervals are followed by specific realised intervals.…”

Section: Hand-crafted and Early Statistical Modelsmentioning

confidence: 99%

Predictive information processing in music cognition. A critical review

Rohrmeier

Koelsch

2012

International Journal of Psychophysiology

164

162

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Section: Hand-crafted and Early Statistical Modelsmentioning

confidence: 99%

Predictive information processing in music cognition. A critical review

Rohrmeier

Koelsch

2012

International Journal of Psychophysiology

164

162

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“…continuity of pitch contour) processes result in high expectancy of the signal (e.g. Narmour, 1999;Margulis, 2005), which is then perceived as one stream. When many units present over time, but in compliance to different sets of structures, different streams of stimuli can be individually recognized (Jones, 1976;Jones et al, 1981;Rogers & Bregman, 1993).…”

Section: Sumariomentioning

confidence: 99%

Masking effects of speech and music: Does the masker's hierarchical structure matter?

Shi

Law

2010

International Journal of Audiology

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Speech and music are time-varying signals organized by parallel hierarchical rules. Through a series of four experiments, this study compared the masking effects of single-talker speech and instrumental music on speech perception while manipulating the complexity of hierarchical and temporal structures of the maskers. Listeners' word recognition was found to be similar between hierarchically intact and disrupted speech or classical music maskers (Experiment 1). When sentences served as the signal, significantly greater masking effects were observed with disrupted than intact speech or classical music maskers (Experiment 2), although not with jazz or serial music maskers, which differed from the classical music masker in their hierarchical structures (Experiment 3). Removing the classical music masker's temporal dynamics or partially restoring it affected listeners' sentence recognition; yet, differences in performance between intact and disrupted maskers remained robust (Experiment 4). Hence, the effect of structural expectancy was largely present across maskers when comparing them before and after their hierarchical structure was purposefully disrupted. This effect seemed to lend support to the auditory stream segregation theory.

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“…We now turn to the aspect of grouping in music whereby the listener divides sequences of tones into coherent subsequences that are separated by temporal boundaries. It is generally agreed that sequences in Western tonal music are represented by the listener as tonal-temporal hierarchies-notes combine to form motives, which in turn combine to form phrases, which in turn combine to form phrase groups, and so on until the level of the entire piece is reached (Deutsch & Feroe, 1981;Meyer, 1956Meyer, , 1973Lerdahl & Jackendoff, 1983;Narmour, 1990Narmour, , 1999Salzer, 1962;Schenker, 1956Schenker, , 1973Temperley, 2001;Thomson, 1999). The division of the musical surface into hierarchically organized chunks confers enormous processing advantages, as discussed in detail in Chapter 7.…”

Section: Grouping and Phrase Structurementioning

confidence: 99%