Tonal cognition, artificial intelligence and neural nets

Bharucha, Jamshed J.; Olney, Katherine L.

doi:10.1080/07494468900640401

Cited by 22 publications

(9 citation statements)

References 15 publications

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“…Neural nets have been able to reproduce the expectancies oflisteners concerning tonal music after a preliminary training phase (Bharucha & Olney, 1989). The habituation consists in internalizing the organization of tonal pitch space (Krumhansl, 1990).…”

Section: Musical Tension In a Tonal Contextmentioning

confidence: 99%

Perception of musical tension for nontonal orchestral timbres and its relation to psychoacoustic roughness

Pressnitzer

McAdams

Winsberg

et al. 2000

Perception & Psychophysics

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Can tension in nontonal music be expressed without dynamic or rhythmic cues? Perceptual theories of tonal harmony predict that psychoacoustic roughness plays an important role in the perception of this tension. We chose a set of orchestrated chords from a nontonal piece and investigated listeners' judgments of musical tension and roughness. Paired comparisons yielded psychophysical scales oftension and roughness. Two experiments established distinct levels ofthese two attributes across chords. A model simulation reproduced the experimental roughness measures. The results indicate that nontonal tension could be perceived consistently on the basis of timbral differences and that it was correlated with roughness, the correlation being stronger as the perceptual salience of other attributes (such as high-pitched tones or tonal intervals) was reduced.An impression of successive tension and release is a common experience while listening to music. The study of this intuitive notion is actually fundamental to Western music theory and has been a matter ofdebate for both music analysts and cognitive psychologists. Whereas many studies have helped us to understand tension perception in the tonal framework, the compositional practices of contemporary composers raise new questions. The use of a musical material that does not draw on the implicitly shared tonal culture may disorient listeners and, hence, deprive them of the essential landmarks that schemas of tension and release provide for the appreciation of a musical work. In this study, we propose to investigate the perception of tension levels for nontonal orchestral timbres by musician and nonmusician listeners. We hypothesized that if tension could actually be perceived in such a context, a basic psychoacoustic dimension known as roughness would account for an important part ofthat perception. Roughness is an auditory attribute that has Part ofthis work was completed thanks to a Fyssen Foundation grant to the first author. The authors thank two anonymous reviewers for extremely useful comments on earlier versions of the manuscript. Correspondence concerning this article should be addressed to either D. Pressnitzer or S. McAdams,

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Section: Musical Tension In a Tonal Contextmentioning

confidence: 99%

Perception of musical tension for nontonal orchestral timbres and its relation to psychoacoustic roughness

Pressnitzer

McAdams

Winsberg

et al. 2000

Perception & Psychophysics

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“…The neural network reflected Narmour's IR principles suggesting that the principles, rather than being innate, might be abstracted from listening to music (see also [33,34]). It is notable that universality does not imply innateness [35]. Evidence supporting an on-line statistical view of human cognition in general, and sensitivity to tonal hierarchies in particular, has also been provided in the context of Indian [36,37], Balinese [38] and Korean Court music [39].…”

Section: Tone Sequences Melodies and Expectancymentioning

confidence: 97%

Cross-cultural studies of musical pitch and time

Stevens

2004

Acoust. Sci. & Tech.

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This review describes cross-cultural studies of pitch including intervals, scales, melody, and expectancy, and perception and production of timing and rhythm. Cross-cultural research represents only a small portion of music cognition research yet is essential to i) test the generality of contemporary theories of music cognition; ii) investigate different kinds of musical thought; and iii) increase understanding of the cultural conditions and contexts in which music is experienced. Converging operations from ethology and ethnography to rigorous experimental investigations are needed to record the diversity and richness of the musics, human responses, and contexts.Complementary trans-disciplinary approaches may also minimize bias from a particular ethnocentric view.

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“…We briefly discuss models of both forms of expectancy and conclude with a model that subsumes both. Two of the classes of nets that have promise for this research-auto-associative nets and hierarchical self-organizing nets-are only summarized here since their application to music has been described in detail in earlier papers (see Bharucha 1987a;1987b;Bharucha and Olney 1989). We focus our modeling account on a third class of nets-sequential nets-that learn specific tone sequences (i.e., veridical expectancies) and in doing so exhibit schematic expectancies as an emergent property.…”

Section: Modeling the Perception O F Tonalmentioning

confidence: 99%

“…The extent to which patterns of schematic expectancy for the tones in musical scales can be captured by an auto-associative net has been explored in earlier work (Bharucha and Olney 1989). Using the delta rule (Rumelhart and McClelland 1986), this net is taught to map from a complete set of scale tones as input to the same scale set as output.…”

Section: Learning Culture-specific Modes With Auto-associatorsmentioning

confidence: 99%

Modeling the Perception of Tonal Structure with Neural Nets

Todd

Loy

1989

Computer Music Journal

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What can we say about the perception of music by the silent majority of listeners, those for whom music is written but who neither create music nor can articulate their musical experience? How do they acquire their demonstrably sophisticated intuitions about music patterns typical of their culture? Experiments in the cognitive psychology of music have cast some light on the first question. Recent developments in neural net learning now enable us to explore answers to the second. In this article, we discuss one aspect of the experience of the nonmusician listener-contextual influences on the perception of pitch. We limit our discussion to tonal implications and expectations and to memory for pitch sequences. We do not presume that this description captures the listener's experience in all its intricacy. We first summarize some psychological research and then explore how neural nets can be employed to model the acquistion of these phenomena through passive exposure. Two forms of tonal expectancy will be discussed-schematic and veridical. Schematic expectancies are culture-based expectancies for events that typically follow familiar contexts. Veridical expectancies are instance-based expectations for events that follow in a particular familiar sequence. Schematic and veridical expectancies may conflict, since a specific piece of music may contain atypical events that do not match the more common cultural expectations. This conflict, which was attributed to Wittgenstein by Dowling and Harwood

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Tonal cognition, artificial intelligence and neural nets

Cited by 22 publications

References 15 publications

Perception of musical tension for nontonal orchestral timbres and its relation to psychoacoustic roughness

Perception of musical tension for nontonal orchestral timbres and its relation to psychoacoustic roughness

Cross-cultural studies of musical pitch and time

Modeling the Perception of Tonal Structure with Neural Nets

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