scholarly journals Information-theoretic Modeling of Perceived Musical Complexity

2019 ◽  
Vol 37 (2) ◽  
pp. 165-178
Author(s):  
Sarah A. Sauvé ◽  
Marcus T. Pearce

What makes a piece of music appear complex to a listener? This research extends previous work by Eerola (2016), examining information content generated by a computational model of auditory expectation (IDyOM) based on statistical learning and probabilistic prediction as an empirical definition of perceived musical complexity. We systematically manipulated the melody, rhythm, and harmony of short polyphonic musical excerpts using the model to ensure that these manipulations systematically varied information content in the intended direction. Complexity ratings collected from 28 participants were found to positively correlate most strongly with melodic and harmonic information content, which corresponded to descriptive musical features such as the proportion of out-of-key notes and tonal ambiguity. When individual differences were considered, these explained more variance than the manipulated predictors. Musical background was not a significant predictor of complexity ratings. The results support information content, as implemented by IDyOM, as an information-theoretic measure of complexity as well as extending IDyOM's range of applications to perceived complexity.

2020 ◽  
Vol 15 (1-2) ◽  
pp. 128
Author(s):  
Niels Chr. Hansen

This commentary provides two methodological expansions of von Hippel and Huron's (2020) empirical report on (anti-)tonality in twelve-tone rows by Arnold Schoenberg, Anton Webern, and Alban Berg. First, motivated by the theoretical importance of equality between all pitch classes in twelve-tone music, a full replication of their findings of "anti-tonality" in rows by Schoenberg and Webern is offered using a revised tonal fit measure which is not biased towards row-initial and row-final sub-segments. Second, motivated by a long-standing debate in music cognition research between distributional and sequential/dynamic tonality concepts, information-theoretic measures of entropy and information content are estimated by a computational model and pitted against distributional tonal fit measures. Whereas Schoenberg's rows are characterized by low distributional tonal fit, but do not strongly capitalize on tonal expectancy dynamics, Berg's rows exhibit tonal traits in terms of low unexpectedness, and Webern's rows achieve anti-tonal traits by combining high uncertainty and low unexpectedness through prominent use of the semitone interval. This analysis offers a complementary–and arguably more nuanced–picture of dodecaphonic compositional practice.


2014 ◽  
Author(s):  
Lucy C. Erickson ◽  
Michael Kaschak ◽  
Erik D. Thiessen ◽  
Cassie Berry

2021 ◽  
Vol 11 (1) ◽  
Author(s):  
Krzysztof Basiński ◽  
Agata Zdun-Ryżewska ◽  
David M. Greenberg ◽  
Mikołaj Majkowicz

AbstractMusic-induced analgesia (MIA) is a phenomenon that describes a situation in which listening to music influences pain perception. The heterogeneity of music used in MIA studies leads to a problem of a specific effect for an unspecified stimulus. To address this, we use a previously established model of musical preferences that categorizes the multidimensional sonic space of music into three basic dimensions: arousal, valence and depth. Participants entered an experimental pain stimulation while listening to compilations of short musical excerpts characteristic of each of the three attribute dimensions. The results showed an effect on the part of music attribute preferences on average pain, maximal pain, and pain tolerance after controlling for musical attributes and order effects. This suggests that individual preferences for music attributes play a significant role in MIA and that, in clinical contexts, music should not be chosen arbitrarily but according to individual preferences.


2017 ◽  
Vol 28 (7) ◽  
pp. 954-966 ◽  
Author(s):  
Colin Bannard ◽  
Marla Rosner ◽  
Danielle Matthews

Of all the things a person could say in a given situation, what determines what is worth saying? Greenfield’s principle of informativeness states that right from the onset of language, humans selectively comment on whatever they find unexpected. In this article, we quantify this tendency using information-theoretic measures and report on a study in which we tested the counterintuitive prediction that children will produce words that have a low frequency given the context, because these will be most informative. Using corpora of child-directed speech, we identified adjectives that varied in how informative (i.e., unexpected) they were given the noun they modified. In an initial experiment ( N = 31) and in a replication ( N = 13), 3-year-olds heard an experimenter use these adjectives to describe pictures. The children’s task was then to describe the pictures to another person. As the information content of the experimenter’s adjective increased, so did children’s tendency to comment on the feature that adjective had encoded. Furthermore, our analyses suggest that children balance informativeness with a competing drive to ease production.


Entropy ◽  
2018 ◽  
Vol 20 (7) ◽  
pp. 534 ◽  
Author(s):  
Hector Zenil ◽  
Narsis Kiani ◽  
Jesper Tegnér

We introduce a definition of algorithmic symmetry in the context of geometric and spatial complexity able to capture mathematical aspects of different objects using as a case study polyominoes and polyhedral graphs. We review, study and apply a method for approximating the algorithmic complexity (also known as Kolmogorov–Chaitin complexity) of graphs and networks based on the concept of Algorithmic Probability (AP). AP is a concept (and method) capable of recursively enumerate all properties of computable (causal) nature beyond statistical regularities. We explore the connections of algorithmic complexity—both theoretical and numerical—with geometric properties mainly symmetry and topology from an (algorithmic) information-theoretic perspective. We show that approximations to algorithmic complexity by lossless compression and an Algorithmic Probability-based method can characterize spatial, geometric, symmetric and topological properties of mathematical objects and graphs.


2018 ◽  
Author(s):  
Peter Harrison ◽  
Marcus Thomas Pearce

Two approaches exist for explaining harmonic expectation. The sensory approach claims that harmonic expectation is a low-level process driven by sensory responses to acoustic properties of musical sounds. Conversely, the cognitive approach describes harmonic expectation as a high-level cognitive process driven by the recognition of syntactic structure learned through experience. Many previous studies have sought to distinguish these two hypotheses, largely yielding support for the cognitive hypothesis. However, subsequent re-analysis has shown that most of these results can parsimoniously be explained by a computational model from the sensory tradition, namely Leman’s (2000) model of auditory short- term memory (Bigand, Delbé, Poulin-Charronnat, Leman, & Tillmann, 2014). In this research we re-examine the explanatory power of auditory short-term memory models, and compare them to a new model in the Information Dynamics Of Music (IDyOM) tradition, which simulates a cognitive theory of harmony perception based on statistical learning and probabilistic prediction. We test the ability of these models to predict the surprisingness of chords within chord sequences (N = 300), as reported by a sample group of university undergraduates (N = 50). In contrast to previous studies, which typically use artificial stimuli composed in a classical idiom, we use naturalistic chord sequences sampled from a large dataset of popular music. Our results show that the auditory short-term memory models have remarkably low explanatory power in this context. In contrast, the new statistical learning model predicts surprisingness ratings relatively effectively. We conclude that auditory short-term memory is insufficient to explain harmonic expectation, and that cognitive processes of statistical learning and probabilistic prediction provide a viable alternative.


2021 ◽  
Vol 9 ◽  
Author(s):  
Ted Sichelman

Many scholars have employed the term “entropy” in the context of law and legal systems to roughly refer to the amount of “uncertainty” present in a given law, doctrine, or legal system. Just a few of these scholars have attempted to formulate a quantitative definition of legal entropy, and none have provided a precise formula usable across a variety of legal contexts. Here, relying upon Claude Shannon's definition of entropy in the context of information theory, I provide a quantitative formalization of entropy in delineating, interpreting, and applying the law. In addition to offering a precise quantification of uncertainty and the information content of the law, the approach offered here provides other benefits. For example, it offers a more comprehensive account of the uses and limits of “modularity” in the law—namely, using the terminology of Henry Smith, the use of legal “boundaries” (be they spatial or intangible) that “economize on information costs” by “hiding” classes of information “behind” those boundaries. In general, much of the “work” performed by the legal system is to reduce legal entropy by delineating, interpreting, and applying the law, a process that can in principle be quantified.


2021 ◽  
Author(s):  
◽  
Kameron Christopher

<p>In this thesis I develop a robust system and method for predicting individuals’ emotional responses to musical stimuli. Music has a powerful effect on human emotion, however the factors that create this emotional experience are poorly understood. Some of these factors are characteristics of the music itself, for example musical tempo, mode, harmony, and timbre are known to affect people's emotional responses. However, the same piece of music can produce different emotional responses in different people, so the ability to use music to induce emotion also depends on predicting the effect of individual differences. These individual differences might include factors such as people's moods, personalities, culture, and musical background amongst others. While many of the factors that contribute to emotional experience have been examined, it is understood that the research in this domain is far from both a) identifying and understanding the many factors that affect an individual’s emotional response to music, and b) using this understanding of factors to inform the selection of stimuli for emotion induction. This unfortunately results in wide variance in emotion induction results, inability to replicate emotional studies, and the inability to control for variables in research.  The approach of this thesis is to therefore model the latent variable contributions to an individual’s emotional experience of music through the application of deep learning and modern recommender system techniques. With each study in this work, I iteratively develop a more reliable and effective system for predicting personalised emotion responses to music, while simultaneously adopting and developing strong and standardised methodology for stimulus selection. The work sees the introduction and validation of a) electronic and loop-based music as reliable stimuli for inducing emotional responses, b) modern recommender systems and deep learning as methods of more reliably predicting individuals' emotion responses, and c) novel understandings of how musical features map to individuals' emotional responses.  The culmination of this research is the development of a personalised emotion prediction system that can better predict individuals emotional responses to music, and can select musical stimuli that are better catered to individual difference. This will allow researchers and practitioners to both more reliably and effectively a) select music stimuli for emotion induction, and b) induce and manipulate target emotional responses in individuals.</p>


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