Modeling Perceptions of Valence in Diverse Music

Dean, Roger T.; Bailes, Freya

doi:10.1525/mp.2016.34.1.104

Cited by 10 publications

(8 citation statements)

References 20 publications

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“…While the phrases in most sound-based music do not derive from physical aspects of performance, they may be constructed compositionally so that they sound analogous to such performance, perhaps because of the connections we have raised with speech or those with larger evolutionary and environmental acoustic factors. Our evidence for the role of perceived agency in perception of affect in sound-based music suggests this connection may be present but modest [78]. …”

Section: Discussionmentioning

confidence: 99%

What Constitutes a Phrase in Sound-Based Music? A Mixed-Methods Investigation of Perception and Acoustics

2016

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Phrasing facilitates the organization of auditory information and is central to speech and music. Not surprisingly, aspects of changing intensity, rhythm, and pitch are key determinants of musical phrases and their boundaries in instrumental note-based music. Different kinds of speech (such as tone- vs. stress-languages) share these features in different proportions and form an instructive comparison. However, little is known about whether or how musical phrasing is perceived in sound-based music, where the basic musical unit from which a piece is created is commonly non-instrumental continuous sounds, rather than instrumental discontinuous notes. This issue forms the target of the present paper. Twenty participants (17 untrained in music) were presented with six stimuli derived from sound-based music, note-based music, and environmental sound. Their task was to indicate each occurrence of a perceived phrase and qualitatively describe key characteristics of the stimulus associated with each phrase response. It was hypothesized that sound-based music does elicit phrase perception, and that this is primarily associated with temporal changes in intensity and timbre, rather than rhythm and pitch. Results supported this hypothesis. Qualitative analysis of participant descriptions showed that for sound-based music, the majority of perceived phrases were associated with intensity or timbral change. For the note-based piano piece, rhythm was the main theme associated with perceived musical phrasing. We modeled the occurrence in time of perceived musical phrases with recurrent event ‘hazard’ analyses using time-series data representing acoustic predictors associated with intensity, spectral flatness, and rhythmic density. Acoustic intensity and timbre (represented here by spectral flatness) were strong predictors of perceived musical phrasing in sound-based music, and rhythm was only predictive for the piano piece. A further analysis including five additional spectral measures linked to timbre strengthened the models. Overall, results show that even when little of the pitch and rhythm information important for phrasing in note-based music is available, phrasing is still perceived, primarily in response to changes of intensity and timbre. Implications for electroacoustic music composition and music recommender systems are discussed.

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Section: Discussionmentioning

confidence: 99%

What Constitutes a Phrase in Sound-Based Music? A Mixed-Methods Investigation of Perception and Acoustics

2016

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“…A final aim was to investigate the time course of musical synchrony judgments, in particular via continuous ratings of synchrony by participants. Continuous ratings have proven to be informative in studies of emotional response to music (e.g., Dean & Bailes, 2016;Dean, Bailes, & Dunsmuir, 2014;Schubert, 2004) and performance quality more broadly (Thompson, Williamon, & Valentine, 2007), but have been rare in research on interpersonal musical coordination (see Vicary, Sperling, Zimmermann, Richardson, & Orgs, 2017, for an example from the dance research domain). Such an approach is clearly warranted given that temporal relationships between co-performers unfold and evolve over time.…”

Section: The Present Researchmentioning

confidence: 99%

Multimodal perception of interpersonal synchrony: Evidence from global and continuous ratings of improvised musical duo performances.

Jakubowski

Eerola

Ximenes

et al. 2020

Psychomusicology: Music, Mind, and Brain

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“…The more powerful and general analyses were done with the larger Dataset 2, involving nine diverse musical extracts. Models of perceived change in this dataset have not been published previously; rather, the dataset has been used to investigate perceptions of larger scale musical structure and to model influences of acoustic and other factors on perceived affect (Dean & Bailes, 2016). In our CSTSA using every individual participant response series within the model, up to 5 lags were again permitted in each case, both to match the earlier analyses and on the basis of separately estimated order criteria using Vector Autoregression in the "vars" package in R. This also constrained the number of potential predictors under assessment (circa 45 fixed effects including the autoregressive lags) to an appropriate range (substantially smaller than the number of events) even given that the shortest excerpt under study had only 160 time series events, though many repeated responses.…”

Section: Autoregressive Time Series Analysis (Tsa) and Cross-sectionamentioning

confidence: 99%

“…In the second analysis, which was more general and wide ranging (given more extensive data), we considered whether SPS in the context of a range of other spectral parameters can contribute to new cross-sectional time series predictive models of perception of change in nine diverse pieces, both sound-and note-based, together with hybrid work. No previous modeling of continuous perception of change in these pieces has been undertaken, rather they have been studied in relation to continuous perception of affect (e.g., Dean & Bailes, 2016). The pieces ranged from Australian indigenous music to Miles Davis, electroacoustic music, and sound-text, as summarized in Tables 1 and 2. Before commencing the CSTSA, we considered the possible correlation of the eight acoustic features being studied across the music excerpt Dataset 2.…”

Section: Roles Of Sps In the Diverse Pieces Of Datasetmentioning

confidence: 99%

Spectral Pitch Similarity is a Predictor of Perceived Change in Sound- as Well as Note-Based Music

2019

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Spectral pitch similarity (SPS) is a measure of the similarity between spectra of any pair of sounds. It has proved powerful in predicting perceived stability and fit of notes and chords in various tonal and microtonal instrumental contexts, that is, with discrete tones whose spectra are harmonic or close to harmonic. Here we assess the possible contribution of SPS to listeners' continuous perceptions of change in music with fewer discrete events and with noisy or profoundly inharmonic sounds, such as electroacoustic music. Previous studies have shown that time series of perception of change in a range of music can be reasonably represented by time series models, whose predictors comprise autoregression together with series representing acoustic intensity and, usually, the timbral parameter spectral flatness. Here, we study possible roles for SPS in such models of continuous perceptions of change in a range of both instrumental (note-based) and sound-based music (generally containing more noise and fewer discrete events). In the first analysis, perceived change in three pieces of electroacoustic and one of piano music is modeled, to assess the possible contribution of (de-noised) SPS in cooperation with acoustic intensity and spectral flatness series. In the second analysis, a broad range of nine pieces is studied in relation to the wider range of distinctive spectral predictors useful in previous perceptual work, together with intensity and SPS. The second analysis uses cross-sectional (mixed-effects) time series analysis to take advantage of all the individual response series in the dataset, and to assess the possible generality of a predictive role for SPS. SPS proves to be a useful feature, making a predictive contribution distinct from other spectral parameters. Because SPS is a psychoacoustic "bottom up" feature, it may have wide applicability across both the familiar and the unfamiliar in the music to which we are exposed.

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Modeling Perceptions of Valence in Diverse Music

Cited by 10 publications

References 20 publications

What Constitutes a Phrase in Sound-Based Music? A Mixed-Methods Investigation of Perception and Acoustics

What Constitutes a Phrase in Sound-Based Music? A Mixed-Methods Investigation of Perception and Acoustics

Multimodal perception of interpersonal synchrony: Evidence from global and continuous ratings of improvised musical duo performances.

Spectral Pitch Similarity is a Predictor of Perceived Change in Sound- as Well as Note-Based Music

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