Surface and structural effects of pitch and time on global melodic expectancies

Prince, Jon B.; Loo, Leong-Min

doi:10.1007/s00426-015-0737-y

Cited by 4 publications

(8 citation statements)

References 92 publications

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“…These findings complete prior research on the influence of music on brand perceptions, which has not identified disfluency as a potential influence of brand perceptions. Moreover, echoing extant research (Bigand et al, 2005; Prince & Loo, 2017), the results of this study also confirm that these two music characteristics are key sources of disfluency. Furthermore, they reveal that an irregular contour or unstable tonality can have a negative impact on brand evaluations through increased perceived music disfluency but a positive influence through increased perceptions of innovativeness.…”

Section: Discussionsupporting

confidence: 88%

“…We created four versions of an 8 s-long sonic logo that could be classified as classical. Employing an established method and adapting stimuli used in prior research (Prince & Loo, 2017), we composed an initial version with a regular contour and stable tonality using music composition software. We created the regular contour by developing a repetitive melody with moderate pitch intervals (for detailed definitions of these characteristics, see Supporting Information: Appendix A).…”

Section: Stimulimentioning

confidence: 99%

See 1 more Smart Citation

Branding with music: How can music contour and tonality enhance perceived brand innovativeness and brand evaluations?

Zoghaib¹,

Luffarelli

Feiereisen

2023

Psychology and Marketing

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A large and growing number of brands use music in their marketing communications to influence consumer perceptions. This article offers an answer to how brands can leverage the characteristics of music pieces to convey an innovative image and boost brand evaluations among consumers. The authors bridge prior research in psychology, marketing, and musicology to demonstrate that using music pieces with an irregular contour or unstable tonality in communications can make brands appear more innovative. The difficulty that consumers experience in cognitively processing music pieces with these characteristics (disfluency) mediates these effects. Additionally, this research shows that branding with music that has an irregular contour or unstable tonality can either positively or negatively impact brand evaluations. This is contingent on whether brand communication includes information about brand innovativeness or brand liking. This article identifies the characteristics of music that influence perceived brand innovativeness and brand evaluations and offers a theoretical lens for understanding these effects. It also reveals which brands can benefit from using music pieces with an irregular contour or unstable tonality, as well as when they can benefit from it. Additionally, it provides practical recommendations for music selection.

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Section: Discussionsupporting

confidence: 88%

Section: Stimulimentioning

confidence: 99%

Branding with music: How can music contour and tonality enhance perceived brand innovativeness and brand evaluations?

Zoghaib¹,

Luffarelli

Feiereisen

2023

Psychology and Marketing

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“…Palmer and Krumhansl (1987), for example, found that duration and pitch cues carry equal weights in musical phrase perception, without additional benefits from being able to combine the two, while Prince (2014) found that rhythm and melodic contour were independent predictors of melodic similarity judgments, with no interactions between the two. On the other hand, Boltz, 1989a and1989b found an interaction between temporal accent and effects of tonality on perception of resolution at the end of melodies, whereas Prince (2011) and Prince and Loo (2017) found asymmetric interactions between pitch and time: pitch characteristics influenced temporal goodness judgments and expectancy ratings, but temporal characteristics did not influence pitch goodness judgments and expectancy ratings. Our findings support a mixture of independent and interactive accounts of pitch and time processing in music perception.…”

Section: Discussionmentioning

confidence: 92%

Tailored perception: Individuals’ speech and music perception strategies fit their perceptual abilities.

Jasmin¹,

Dick²,

Holt³

et al. 2020

Journal of Experimental Psychology: General

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Perception involves integration of multiple dimensions that often serve overlapping, redundant functions, for example, pitch, duration, and amplitude in speech. Individuals tend to prioritize these dimensions differently (stable, individualized perceptual strategies), but the reason for this has remained unclear.Here we show that perceptual strategies relate to perceptual abilities. In a speech cue weighting experiment (trial N ϭ 990), we first demonstrate that individuals with a severe deficit for pitch perception (congenital amusics; N ϭ 11) categorize linguistic stimuli similarly to controls (N ϭ 11) when the main distinguishing cue is duration, which they perceive normally. In contrast, in a prosodic task where pitch cues are the main distinguishing factor, we show that amusics place less importance on pitch and instead rely more on duration cues-even when pitch differences in the stimuli are large enough for amusics to discern. In a second experiment testing musical and prosodic phrase interpretation (N ϭ 16 amusics; 15 controls), we found that relying on duration allowed amusics to overcome their pitch deficits to perceive speech and music successfully. We conclude that auditory signals, because of their redundant nature, are robust to impairments for specific dimensions, and that optimal speech and music perception strategies depend not only on invariant acoustic dimensions (the physical signal), but on perceptual dimensions whose precision varies across individuals. Computational models of speech perception (indeed, all types of perception involving redundant cues e.g., vision and touch) should therefore aim to account for the precision of perceptual dimensions and characterize individuals as well as groups.

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“…They were unable to ignore the unattended dimension; interactions were strong when attending to both dimensions. Prince and Loo (2017) found similar failures in selective attention in expectancy ratings. Prince and Pfordresher’s (2012) participants made more reproduction errors in one dimension when the other dimension was more complex.…”

Section: Methodsmentioning

confidence: 64%

Perception of Pitch and Time in the Structurally Isomorphic Standard Rhythmic and Diatonic Scale Patterns

Wen

Krumhansl

2019

Music & Science

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The three experiments reported here investigate how pitch and time interact in perception using the standard rhythmic pattern and the diatonic scale pattern, which share the intervallic structure of 2 2 1 2 2 2 1. They share a number of theoretical properties, including being cyclic with seven unique rotations. Experiment 1 measured rhythmic stability by dynamically accenting each of the events in each rhythm, called the probe accent; listeners rated how well the probe accent fit the rhythm. Listeners heard the rhythms in subgroups and with reference to a syncopation-shifted metrical hierarchy. Experiment 2 used the probe tone technique to measure the tonal stability of each tone in each mode beginning and ending on C. Higher ratings were given to tones earlier in the contexts and tones closer to C on both the chroma circle and the circle of fifths; influences were also found of tonal hierarchies of diatonic scales with corresponding accidentals. A measure of similarity derived from the probe ratings found the same order for the rhythms and modes which matched theoretical proposals of inter-rhythm and inter-mode distances. Experiment 3 presented all combinations of rhythms and modes; listeners judged how well the rhythm fit the mode. These judgments did not depend on the intervallic isomorphism between tone duration and interval size. Instead, the judgments depended on whether tonally stable events occurred where accents were judged as fitting well with the rhythm. Overall, the standard and diatonic patterns follow different perceptual hierarchies while sharing similar cognitive principles between rhythms, between modes, and across dimensions.

show abstract

Surface and structural effects of pitch and time on global melodic expectancies

Cited by 4 publications

References 92 publications

Branding with music: How can music contour and tonality enhance perceived brand innovativeness and brand evaluations?

Branding with music: How can music contour and tonality enhance perceived brand innovativeness and brand evaluations?

Tailored perception: Individuals’ speech and music perception strategies fit their perceptual abilities.

Perception of Pitch and Time in the Structurally Isomorphic Standard Rhythmic and Diatonic Scale Patterns

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