Toward a Comparative Psychology of Music Perception

1988 ◽  
Vol 5 (4) ◽  
pp. 427-452 ◽  
Author(s):  
Stewart H. Hulse ◽  
Suzanne C. Page

Musicians and ethnomusicologists have long been interested in the idea of musical universals, the proposition that features of musical structure are common to the music of all human cultures. Recently, the development of new techniques and new theory makes it possible to ask whether the perceptual principles underlying music span not just human cultures but also other nonhuman species. A series of experiments addressing this issue from a comparative perspective show that a songbird, the European starling, can perceive pitch relations, a form of musical universal. However, the species transposes pitch relations across large shifts in tone height with difficulty. Instead, songbirds show a preference for learning pitch patterns on the basis of the absolute pitch of component tones. These results suggest further comparative studies of music perception may be especially worthwhile, not just for gathering new information about animals, but also for highlighting the principles that make human music perception unique.

2020 ◽  
Vol 22 (2) ◽  
pp. 121-134
Author(s):  
Piotr Podlipniak

The aim of this paper is to show why the neo-Pythagorean claims concerning musical structure are out-of-date and require the incorporation of contemporary psychological knowledge. The neo-Pythagorean view of musical structure has been analyzed and confronted with the contemporary neuropsychological view of music perception. It has been also suggested that musical intervals exist solely in human brains as a kind of interpretation of acoustic sounds. These sounds can be interpreted differently depending on many factors, which the popular speech-to-song illusion clearly illustrates. Another example of neo-Pythagorean ideas about musical structure that need psychological knowledge is tonal hierarchy, which also exists solely in human brains. Therefore, the popular musicological description of musical intervals in terms of mathematical proportions is misleading. It has been proposed that current musicological theories should always be confronted and consistent with contemporary psychological knowledge. This implies closer cooperation between musicology and the psychology of music.


Perception ◽  
2021 ◽  
pp. 030100662110344
Author(s):  
Solange Glasser

Synaesthesia and absolute pitch (AP) are two rare conditions that occur more frequently within populations of artistic professionals. Current thinking surrounding synaesthesia and AP and their relationship to music perception form the focus of this article. Given that synaesthesia has rarely been discussed in the music literature, the article surveys and consolidates general neurobiological, psychological, and behavioural evidence to summarise what is currently known on this topic, in order to link this back to the conditions that most relate to music. In contrast, research on AP is now well established in the music literature, but the important gap of linking AP to other conditions such as synaesthesia has yet to be fully explored. This article investigates the potential relationship between synaesthesia and AP for musicians who possess both conditions by systematically comparing the definitions, classifications, prevalence, diagnoses, and impacts on music perception of synaesthesia and AP and provides insights into the varying states of the literature and knowledge of both conditions. In so doing, this article aims to facilitate a greater understanding of music and auditory forms of synaesthesia and their interaction with AP and encourage increased research effort on this important topic.


2005 ◽  
Vol 23 (1) ◽  
pp. 29-59 ◽  
Author(s):  
JOSH McDERMOTT ◽  
MARC HAUSER

THE ORIGINS and adaptive significance of music, long an elusive target, are now active topics of empirical study, with many interesting developments over the past few years. This article reviews research in anthropology, ethnomusicology, developmental and comparative psychology, neuropsychology, and neurophysiology that bears on questions concerning the origins and evolution of music. We focus on the hypothesis that music perception is constrained by innate, possibly human- and musicspecific principles of organization, as these are candidates for evolutionary explanations. We begin by discussing the distinct roles of different fields of inquiry in constraining claims about innateness and adaptation, and then proceed to review the available evidence. Although research on many of these topics is still in its infancy, at present there is converging evidence that a few basic features of music (relative pitch, the importance of the octave, intervals with simple ratios, tonality, and perhaps elementary musical preferences) are determined in part by innate constraints. At present, it is unclear how many of these constraints are uniquely human and specific to music. Many, however, are unlikely to be adaptations for music, but rather are probably side effects of more general-purpose mechanisms. We conclude by reiterating the significance of identifying processes that are innate, unique to humans, and specific to music, and highlight several possible directions for future research.


Author(s):  
Ronald G. Weisman ◽  
Mitchel T. Williams ◽  
Jerome S. Cohen ◽  
Milan G. Njegovan ◽  
Christopher B. Sturdy

Author(s):  
Diana Deutsch

In this groundbreaking synthesis of art and science, Diana Deutsch, one of the world’s leading experts on the psychology of music, shows how illusions of music and speech – many of which she discovered - have fundamentally altered thinking about the brain. These astonishing illusions show that people can differ strikingly in how they hear musical patterns - differences that reflect both variations in brain organization and influences of language on music perception. They lead Deutsch to examine questions such as: When an orchestra performs a symphony, what is the ‘real’ music? Is it in the mind of the composer, or the conductor, or different members of the audience? Deutsch also explores extremes of musical ability, and other rare responses to music and speech. Why is perfect pitch so rare? Why are some people unable to recognize simple tunes? Why do some people hallucinate music or speech? Why do we hear phantom words and phrases? Why are most people subject to stuck tunes, or ‘earworms’? Why do we hear a spoken phrase as sung just because it is presented repeatedly? In evaluating these questions, she also shows how music and speech are intertwined, and argues that they stem from an early form of communication that had elements of both. Many of the illusions described here are so striking and paradoxical that you need to hear them to believe them. So the book enables you to listen to the sounds that are described while reading about them.


1996 ◽  
Vol 14 (2) ◽  
pp. 117-159 ◽  
Author(s):  
Iréne Deliège ◽  
Marc Mélen ◽  
Diana Stammers ◽  
Ian Cross

A series of experiments investigated cognitive processes involved in listening to a piece of music, focusing in particular on the abstraction of surface features (here referred to as cues). Subjects listened to an unfamiliar piece in a familiar musical idiom, and their sensitivities to aspects of the just-heard piece were used to elucidate the nature of their representations of the piece in recent memory. The study also sought to assess the capacities of subjects to use any declarative knowledge of aspects of tonal structure that they possessed in organizing musical material. Three experiments made use of different procedures to address these issues, using either a single short tonal piece—Schubert's Valse sentimentale, D. 779, op. 50, no. 6—or a variant of this. The first two experiments used nonmusician subjects and examined (1) the cues abstracted in listening to the piece and (2) subjects' ability to identify the temporal location of segments of the piece after listening. The third experiment explored the constructional abilities of musician and nonmusician subjects, requiring them to create a coherent piece by ordering the segments that made up the original piece. The results of these experiments indicated that although the abilities of musicians differed from those of nonmusicians, both groups of subjects exhibited a weaker sensitivity to features of musical structure than to cues abstracted from the musical surface.


2014 ◽  
Vol 20 (3) ◽  
Author(s):  
Jordan B. L. Smith ◽  
Isaac Schankler ◽  
Elaine Chew

Some important theories of music cognition, such as Lerdahl and Jackendoff’s (1983)A Generative Theory of Tonal Music, posit an archetypal listener with an ideal interpretation of musical structure, and many studies of the perception of structure focus on what different listeners have in common. However, previous experiments have revealed that listeners perceive musical structure differently, depending upon their music background and their familiarity with the piece. It is not known what other factors contribute to differences among listeners’ formal analyses, but understanding these factors may be essential to advancing our understanding of music perception.We present a case study of two listeners, with the goal of identifying the differences between their analyses, and explaining why these differences arose. These two listeners analyzed the structure of three performances, a set of improvised duets. The duets were performed by one of the listeners and Mimi (Multimodal Interaction for Musical Improvisation), a software system for human-machine improvisation. The ambiguous structure of the human-machine improvisations as well as the distinct perspectives of the listeners ensured a rich set of differences for the basis of our study.We compare the structural analyses and argue that most of the disagreements between them are attributable to the fact that the listeners paid attention to different musical features. Following the chain of causation backwards, we identify three more ultimate sources of disagreement: differences in the commitments made at the outset of a piece regarding what constitutes a fundamental structural unit, differences in the information each listener had about the performances, and differences in the analytical expectations of the listeners.


2021 ◽  
Author(s):  
◽  
Lauren Yseult French

<p>People talk. People talk to entertain each other, to divulge news, and to gain support. Additionally, people talk about shared experiences to figure out what "really" happened. But does talking about the past change what we remember? That is the overarching question of the research presented in this thesis. People remember the same events in different ways; consequently, when people discuss the past, they might come across new information. To examine how discussion affects people's memories, we must know what happened during a target event and must create conflicts in the discussion to see how those conflicts affect people's memories. To overcome these challenges, I used the MORI technique to present different viewers with different movies on the same screen at the same time (Mori, 2003; 2007). The MORI technique allows people to feel that they have shared an experience--they sit side-by-side and ostensibly watch the same--yet systematic differences are introduced into their memories, and the effect of those differences can be tracked through discussion. I report a series of experiments that examine the efficacy of the MORI technique and investigate how different social factors contribute to false memories. Each experiment used a variation of the same basic three-stage procedure. First, pairs of people each unwittingly watched slightly different versions of an event. Next, pairs answered questions about the event together; some questions guided them to discuss details for which they had seen contradictory information. Finally, subjects completed a memory test individually to determine what each person really remembered about the event. In short, when people watched a movie via the MORI technique, they could see and remember the details of the movie (Experiments 1A and 1B), and they did not notice or implicitly remember details from the alternate (blocked) movie version--the version their partner saw (Experiments 3A and 3B). Additionally, discussion corrupted people's memories (Experiments 2A, 2B, 4, 5 and 6). 'People were influenced by their partner's suggestions: they falsely remembered details from their partner's version of the event, even though those details contradicted what they personally saw. Consistent with the Source Monitoring Framework, the corrupting influence of the discussion depended on social factors in the interaction (Johnson, Hashtroudi, & Lindsay, 1993; Lindsay, 2008). For instance, people were more likely to remember false details that their romantic partner suggested than false details that a stranger suggested (Experiment 4). Additionally, leading people to believe that their counterpart's vision was better or worse than their own led them to be more or less influenced by their counterpart's false suggestions (Experiment 6). In sum, when people share an experience and discuss it they can come to remember seeing things that they were only told about after the event. In other words, corroboration does not equal accuracy. I discuss the possible-beneficial-mechanisms underlying these memory errors; draw parallels between my research and research on social influence, group remembering and transactive memory systems; discuss theoretical, methodological and practical implications, and suggest potential applications of my findings and avenues for future research.</p>


Author(s):  
Stefan Koelsch

During listening, acoustic features of sounds are extracted in the auditory system (in the auditory brainstem, thalamus, and auditory cortex). To establish auditory percepts of melodies and rhythms (i.e., to establish auditory “Gestalten” and auditory objects), sound information is buffered and processed in the auditory sensory memory. Musical structure is then processed based on acoustical similarities and rhythmical organization. In addition, musical structure is processed according to (implicit) knowledge about musical regularities underlying scales, melodic and harmonic progressions, and so on. These structures are based on both local and (hierarchically organized) nonlocal dependencies. This chapter reviews neural correlates of these processes, with regard to both brain-electric responses to sounds, and the neuroanatomical architecture of music perception.


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