Search results for "Pitch Perception"
showing 10 items of 31 documents
Representation and Processing of Lexical Tone and Tonal Variants: Evidence from the Mismatch Negativity
2015
Pronunciation variation is ubiquitous in the speech signal. Different models of lexical representation have been put forward to deal with speech variability, which differ in the level as well as the nature of mental representation. We present the first mismatch negativity (MMN) study investigating the effect of allophonic variation on the mental representation and neural processing of lexical tones. Native speakers of Standard Chinese (SC) participated in an oddball electroencephalography (EEG) experiment. All stimuli have the same segments (ma) but different lexical tones: level [T1], rising [T2], and dipping [T3]. In connected speech with a T3T3 sequence, the first T3 may undergo allopho…
Fractionating auditory priors: A neural dissociation between active and passive experience of musical sounds
2019
Learning, attention and action play a crucial role in determining how stimulus predictions are formed, stored, and updated. Years-long experience with the specific repertoires of sounds of one or more musical styles is what characterizes professional musicians. Here we contrasted active experience with sounds, namely long-lasting motor practice, theoretical study and engaged listening to the acoustic features characterizing a musical style of choice in professional musicians with mainly passive experience of sounds in laypersons. We hypothesized that long-term active experience of sounds would influence the neural predictions of the stylistic features in professional musicians in a distinct…
Hippocampus responds to auditory change in rabbits
2010
Any change or novelty in the auditory environment is potentially important for survival. The cortex has been implicated in the detection of auditory change whereas the hippocampus has been associated with the detection of auditory novelty. Local field potentials (LFPs) were recorded from the CA1 area of the hippocampus in waking rabbits. In the oddball condition, a rare tone of one frequency (deviant) randomly replaced a repeated tone of another frequency (standard). In the equal-probability condition, the standard was replaced by a set of tones of nine different frequencies in order to remove the repetitive auditory background of the deviant (now labelled as control-deviant) while preservi…
Absolute Memory for Tempo in Musicians and Non-Musicians
2016
The ability to remember tempo (the perceived frequency of musical pulse) without external references may be defined, by analogy with the notion of absolute pitch, as absolute tempo (AT). Anecdotal reports and sparse empirical evidence suggest that at least some individuals possess AT. However, to our knowledge, no systematic assessments of AT have been performed using laboratory tasks comparable to those assessing absolute pitch. In the present study, we operationalize AT as the ability to identify and reproduce tempo in the absence of rhythmic or melodic frames of reference and assess these abilities in musically trained and untrained participants. We asked 15 musicians and 15 non-musician…
Perception of musical tension in short chord sequences: The influence of harmonic function, sensory dissonance, horizontal motion, and musical traini…
1996
This study investigates the effect of four variables (tonal hierarchies, sensory chordal consonance, horizontal motion, and musical training) on perceived musical tension. Participants were asked to evaluate the tension created by a chord X in sequences of three chords {C major → X → C major} in a C major context key. The X chords could be major or minor triads major-minor seventh, or minor seventh chords built on the 12 notes of the chromatic scale. The data were compared with Krumhansl’s (1990) harmonic hierarchy and with predictions of Lerdahl’s (1988) cognitive theory, Hutchinson and Knopoff’s (1978) and Parncutt’s (1989) sensory-psychoacoustical theories, and the model of horizontal mo…
Priming paradigm reveals harmonic structure processing in congenital amusia.
2012
Abstract Deficits for pitch structure processing in congenital amusia has been mostly reported for melodic stimuli and explicit judgments. The present study investigated congenital amusia with harmonic stimuli and a priming task. Amusic and control participants performed a speeded phoneme discrimination task on sung chord sequences. The target phoneme was sung either on a functionally important chord (tonic chord, referred to as “related target”) or a less important one (subdominant chord, referred to as “less-related target”). Correct response times were faster when the target phoneme was sung on tonic chords rather than on subdominant chords, and this effect was less pronounced, albeit si…
Autocorrelation in meter induction: the role of accent structure.
2006
The performance of autocorrelation-based meter induction was tested with two large collections of folk melodies, consisting of approximately 13 000 melodies for which the correct meters were available. The performance was measured by the proportion of melodies whose meter was correctly classified by a discriminant function. Furthermore, it was examined whether including different melodic accent types would improve the classification performance. By determining the components of the autocorrelation functions that were significant in the classification it was found that periodicity in note onset locations was the most important cue for the determination of meter. Of the melodic accents includ…
Key processing precedes emotional categorization of Western music.
2005
To investigate whether key processing precedes the appraisal of valence in music, participants listened to pairs of clips of same or different valence, played either in the same key or one semitone apart. They judged whether the second clip expressed the same emotion as the first one. Our predictions were confirmed: the response times obtained were shorter when both clips were played in the same key than when they were played one semitone apart.
Musicians--same or different?
2009
In the neuroscience of music, musicians have traditionally been treated as a unified group, as if the demands set by their musical activities would be more or less equal in terms of perceptual, cognitive, and motor functions. However, obviously, their musical preferences differentiate them to a higher degree, for instance, in terms of the instrument they choose and the music genre they are mostly engaged with as well as their practicing style. This diversity in musicians' profiles has been recently taken into account in several empirical endeavors. The present contribution will review the evidence available about the various neurocognitive profiles these different kinds of musicians display.