1962 ◽  
Vol 1 (2) ◽  
pp. 240-242
Author(s):  
Harald Feldmann
Keyword(s):  

2009 ◽  
Vol 26 (4) ◽  
pp. 365-375 ◽  
Author(s):  
Meagan E. Curtis ◽  
Jamshed J. Bharucha

WE EXPLORED HOW MUSICAL CULTURE SHAPES ONE'S listening experience.Western participants heard a series of tones drawn from either the Western major mode (culturally familiar) or the Indian thaat Bhairav (culturally unfamiliar) and then heard a test tone. They made a speeded judgment about whether the test tone was present in the prior series of tones. Interactions between mode (Western or Indian) and test tone type (congruous or incongruous) reflect the utilization of Western modal knowledge to make judgments about the test tones. False alarm rates were higher for test tones congruent with the major mode than for test tones congruent with Bhairav. In contrast, false alarm rates were lower for test tones incongruent with the major mode than for test tones incongruent with Bhairav. These findings suggest that one's internalized cultural knowledge may drive musical expectancies when listening to music of an unfamiliar modal system.


2003 ◽  
Vol 20 (3) ◽  
pp. 283-305 ◽  
Author(s):  
Petr Janata ◽  
Jeffrey L. Birk ◽  
Barbara Tillmann ◽  
Jamshed J. Bharucha

We investigated the spontaneous detection of "wrong notes" in a melody that modulated continuously through all 24 major and minor keys. Three variations of the melody were composed, each of which had distributed within it 96 test tones of the same pitch, for example, A2. Thus, the test tones would blend into some keys and pop out in others. Participants were not asked to detect or judge specific test tones; rather, they were asked to make a response whenever they heard a note that they thought sounded wrong or out of place. This task enabled us to obtain subjective measures of key membership in a listening situation that approximated a natural musical context. The frequency of observed "wrong-note" responses across keys matched previous tonal hierarchy results obtained using judgments about discrete probes following short contexts. When the test tones were nondiatonic notes in the present context they elicited a response, whereas when the test tones occupied a prominent position in the tonal hierarchy they were not detected. Our findings could also be explained by the relative salience of the test pitch chroma in short-term memory, such that when the test tone belonged to a locally improbable pitch chroma it was more likely to elicit a response. Regardless of whether the local musical context is shaped primarily by "bottom-up" or "topdown" influences, our findings establish a method for estimating the relative salience of individual test events in a continuous melody.


2010 ◽  
Vol 128 (4) ◽  
pp. EL157-EL162 ◽  
Author(s):  
Kenji Kurakata ◽  
Tazu Mizunami ◽  
Kazuma Matsushita ◽  
Kimio Shiraishi

1973 ◽  
Vol 25 (3) ◽  
pp. 360-367 ◽  
Author(s):  
Sandra E. File

A series of 10 tone stimuli was presented to rats at intervals of 1/4, 1/2, 1, 1 1/2, 2, 2 1/2, or 3 min or 24 h. The next day a test tone was presented and the distraction to this measured. There was less habituation (i.e. greater distraction) at shorter inter-stimulus intervals, but this effect asymptoted at 2 min and thereafter there was no further increase in habituation, even with inter-stimulus intervals of 24 h. A second independent variable was the stimulus duration which did not affect the rate of habituation, nor did it interact in any way with the inter-stimulus interval.


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