Probe Tone Paradigm Reveals Less Differentiated Tonal Hierarchy in Rock Music

Vuvan, Dominique T.; Hughes, Bryn

doi:10.1525/mp.2021.38.5.425

Cited by 6 publications

(4 citation statements)

References 18 publications

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“…Like linguistic dialects (Sumner & Samuel, 2009), triadic musical traditions share similar but not identical harmonic vocabularies (e.g., V vs. bVII), differ in phonetic details of their production (e.g., piano vs. guitar timbres), and feature distinct idiomatic expressions (e.g., V-I tonal cadences vs. double-plagal popular cadences; Sears & Forrest, 2021). Vuvan and Hughes (2021) have shown, for example, that instrumental timbres associated with a particular musical dialect interfere with the perception of cross-dialect scale systems. Similarly, when primed with chord progressions reflecting either tonal or nontonal scale systems, listeners preferred triadic idioms reflecting the scale structure of the prime (Vuvan & Hughes, 2019).…”

Section: Discussionmentioning

confidence: 99%

Does order matter? Harmonic priming effects for scrambled tonal chord sequences.

Sears¹,

Verbeten²,

Percival³

2023

Journal of Experimental Psychology: Human Perception and Perfor

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This study examines whether scrambling the order of events in a tonal chord sequence inhibits the speed and accuracy of processing in two behavioral harmonic priming experiments. Sixteen 9-chord sequences were adapted from Bach’s chorales that either remained unchanged (thereby reflecting high temporal coherence) or were scrambled to produce increasingly incoherent sequences (i.e., medium or low). To produce the scrambled conditions, a finite-context (or n-gram) model trained on a corpus of chord annotations and then identified the scrambled versions (scrambling chords 2–8) that produced high estimates of model surprisal. In both experiments, 60 participants (30 musicians) indicated as quickly as possible whether the target chord was in or out of tune, where out-of-tune trials were either fixed at a tuning level of 40 cents sharp relative to the preceding context (Experiment 1), or at a tuning level representing the intonation discrimination threshold of each participant, which was estimated using an adaptive staircasing procedure before the main session began (Experiment 2). Correct response times and sensitivity measures replicated the high-to-low staircase found in the model estimates, suggesting harmonic priming effects reflect the order of chords in a sequence. Implications for topological and temporal models of tonal-harmonic structure are discussed.

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Section: Discussionmentioning

confidence: 99%

Does order matter? Harmonic priming effects for scrambled tonal chord sequences.

Sears¹,

Verbeten²,

Percival³

2023

Journal of Experimental Psychology: Human Perception and Perfor

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“…This empirically-grounded approach differs from current models that often make assumptions about universal or cultural biases and experiences that unify or differentiate language and music. For example, studies on musical pitch structure often predict participant responses based on stimulus profiles summarized from musical corpora (e.g., Billboard Top 100, Bach Chorales), which serve as a proxy for musical experience (see for example the use of rock and classical corpora in Vuvan and Hughes, 2021). Developmental-ecological studies of the early music environment would allow researchers to discard such proxies and make predictions based on actual listener experience.…”

Section: The Developmental-ecological Approach: Embracing the Dynamic...mentioning

confidence: 99%

Using a Developmental-Ecological Approach to Understand the Relation Between Language and Music

2022

Self Cite

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Neurocognitive and genetic approaches have made progress in understanding language-music interaction in the adult brain. Although there is broad agreement that learning processes affect how we represent, comprehend, and produce language and music, there is little understanding of the content and dynamics of the early language-music environment in the first years of life. A developmental-ecological approach sees learning and development as fundamentally embedded in a child’s environment, and thus requires researchers to move outside of the lab to understand what children are seeing, hearing, and doing in their daily lives. In this paper, after first reviewing the limitations of traditional developmental approaches to understanding language-music interaction, we describe how a developmental-ecological approach can not only inform developmental theories of language-music learning, but also address challenges inherent to neurocognitive and genetic approaches. We then make suggestions for how researchers can best use the developmental-ecological approach to understand the similarities, differences, and co-occurrences in early music and language input.

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“…Numerous studies from different fields of work—including developmental studies (e.g., Krumhansl & Keil, 1982), cross‐cultural field studies (reviewed in Krumhansl, 2004), studies of pop music (e.g., Vuvan & Hughes, 2021), and data science studies (e.g., Mehr et al., 2019)—emphasize the importance of identifying and studying cross‐culturally universal phenomena in music perception. Such universals, if identified, may stem from human biology, the shared evolutionary ancestry of all cultures.…”

Section: Introductionmentioning

confidence: 99%

A comparison between common marmosets (Callithrix jacchus) and human infants sheds light on traits proposed to be at the root of human octave equivalence

Wagner

Šlipogor

et al. 2023

Developmental Science

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Two notes separated by a doubling in frequency sound similar to humans. This “octave equivalence” is critical to perception and production of music and speech and occurs early in human development. Because it also occurs cross‐culturally, a biological basis of octave equivalence has been hypothesized. Members of our team previousy suggested four human traits are at the root of this phenomenon: (1) vocal learning, (2) clear octave information in vocal harmonics, (3) differing vocal ranges, and (4) vocalizing together. Using cross‐species studies, we can test how relevant these respective traits are, while controlling for enculturation effects and addressing questions of phylogeny. Common marmosets possess forms of three of the four traits, lacking differing vocal ranges. We tested 11 common marmosets by adapting an established head‐turning paradigm, creating a parallel test to an important infant study. Unlike human infants, marmosets responded similarly to tones shifted by an octave or other intervals. Because previous studies with the same head‐turning paradigm produced differential results to discernable acoustic stimuli in common marmosets, our results suggest that marmosets do not perceive octave equivalence. Our work suggests differing vocal ranges between adults and children and men and women and the way they are used in singing together may be critical to the development of octave equivalence.Research Highlights A direct comparison of octave equivalence tests with common marmosets and human infants Marmosets show no octave equivalence Results emphasize the importance of differing vocal ranges between adults and infants

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Probe Tone Paradigm Reveals Less Differentiated Tonal Hierarchy in Rock Music

Cited by 6 publications

References 18 publications

Does order matter? Harmonic priming effects for scrambled tonal chord sequences.

Does order matter? Harmonic priming effects for scrambled tonal chord sequences.

Using a Developmental-Ecological Approach to Understand the Relation Between Language and Music

A comparison between common marmosets (Callithrix jacchus) and human infants sheds light on traits proposed to be at the root of human octave equivalence

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