Tracking of pitch probabilities in congenital amusia

Omigie, Diana; Pearce, Marcus T.; Stewart, Lauren

doi:10.1016/j.neuropsychologia.2012.02.034

Cited by 71 publications

(111 citation statements)

References 64 publications

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“…Although previous evidence suggested that amusic individuals could implicitly perceive harmonic structure (Tillmann et al, 2012) and predict the probability of musical events in a melodic context (Omigie et al, 2012), our findings revealed that they exhibited significant impairments with explicit processing of syntax and tonality. Specifically, amusic individuals were unable to detect the difference between regular and irregular endings, whereas controls readily distinguished regular from irregular endings in both melodic and harmonic tasks.…”

Section: Discussioncontrasting

confidence: 99%

“…The present finding is consistent with previous evidence that amusic individuals are impaired in consciously differentiating between high and low probability events in a melodic context (Omigie et al, 2012).…”

Section: Discussionsupporting

confidence: 93%

“…Employing both implicit and explicit tasks, however, Omigie, Pearce, and Stewart (2012) reported that amusic individuals were impaired at differentiating between high and low probability melodic events, despite intact implicit processing. The dissociation between implicit and explicit performance of musical structure has also been reported for individuals with acquired 6 amusia (Peretz, 1993;Tillmann, Peretz, Bigand, & Gosselin, 2007).…”

Section: Experiments 1: Music-syntactic Processingmentioning

confidence: 99%

“…We hypothesized that, for both single-and mixed-key conditions, amusic individuals would have difficulty discriminating between sequences ending on the tonic and Neapolitan chord or root notes, and that impaired music syntactic processing would not be related to pitch discrimination, given that pitch impairment in amusia does not disrupt prediction of the probability of the occurrence of melodic events (Omigie et al, 2012).…”

Section: Experiments 1: Music-syntactic Processingmentioning

confidence: 99%

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Impaired Explicit Processing of Musical Syntax and Tonality in a Group of Mandarin-Speaking Congenital Amusics

2016

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We examined explicit processing of musical syntax and tonality in a group of Han Chinese Mandarin speakers with congenital amusia, and the extent to which pitch discrimination impairments were associated with syntax and tonality processing. In Experiment 1, we assessed whether congenital amusia is associated with impaired explicit processing of musical syntax. Congruity ratings were examined for syntactically regular or irregular endings in harmonic and melodic contexts. Unlike controls, amusic participants failed to explicitly distinguish regular from irregular endings in both contexts. Surprisingly, however, a concurrent manipulation of pitch distance did not affect the processing of musical syntax for amusics, and their impaired music-syntactic processing was uncorrelated with their pitch discrimination thresholds. In Experiment 2, we assessed tonality perception using a probe-tone paradigm. Recovery of the tonal hierarchy was less evident for the amusic group than for the control group, and this reduced sensitivity to tonality in amusia was also unrelated to poor pitch discrimination. These findings support the view that music structure is processed by cognitive and neural resources that operate independently of pitch discrimination, and that these resources are impaired in explicit judgments for individuals with congenital amusia.

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Section: Discussioncontrasting

confidence: 99%

Section: Discussionsupporting

confidence: 93%

Section: Experiments 1: Music-syntactic Processingmentioning

confidence: 99%

Section: Experiments 1: Music-syntactic Processingmentioning

confidence: 99%

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Impaired Explicit Processing of Musical Syntax and Tonality in a Group of Mandarin-Speaking Congenital Amusics

2016

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“…A number of studies have explored the malfunctions in processing (Peretz & Hyde, 2003;Tillmann et al, 2011) or producing melodies (Hutchins & Peretz, 2012), which provides even more specific area of application for models of melodic complexity. To date, computational estimations of melodic complexity and the aspects of processing difficulties have only been rarely connected (Omigie, Pearce, & Stewart, 2012).…”

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confidence: 99%

Expectancy-Violation and Information-Theoretic Models of Melodic Complexity

Eerola

2016

EMR

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The present study assesses two types of models for melodic complexity: one based on expectancy violations and the other one related to an informationtheoretic account of redundancy in music. Seven different datasets spanning artificial sequences, folk and pop songs were used to refine and assess the models. The refinement eliminated unnecessary components from both types of models. The final analysis pitted three variants of the two model types against each other and could explain from 46-74% of the variance in the ratings across the datasets. The most parsimonious models were identified with an information-theoretic criterion. This suggested that the simplified expectancy-violation models were the most efficient for these sets of data. However, the differences between all optimized models were subtle in terms both of performance and simplicity.

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Basic, specific, mechanistic? Conceptualizing musical emotions in the brain

Omigie

2015

J of Comparative Neurology

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The number of studies investigating music processing in the human brain continues to increase, with a large proportion of them focussing on the correlates of so-called musical emotions. The current Review highlights the recent development whereby such studies are no longer concerned only with basic emotions such as happiness and sadness but also with so-called music-specific or "aesthetic" ones such as nostalgia and wonder. It also highlights how mechanisms such as expectancy and empathy, which are seen as inducing musical emotions, are enjoying ever-increasing investigation and substantiation with physiological and neuroimaging methods. It is proposed that a combination of these approaches, namely, investigation of the precise mechanisms through which so-called music-specific or aesthetic emotions may arise, will provide the most important advances for our understanding of the unique nature of musical experience.

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Tracking of pitch probabilities in congenital amusia

Cited by 71 publications

References 64 publications

Impaired Explicit Processing of Musical Syntax and Tonality in a Group of Mandarin-Speaking Congenital Amusics

Impaired Explicit Processing of Musical Syntax and Tonality in a Group of Mandarin-Speaking Congenital Amusics

Expectancy-Violation and Information-Theoretic Models of Melodic Complexity

Basic, specific, mechanistic? Conceptualizing musical emotions in the brain

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