Response-Time Measures as a Means of Exploring Tonal Hierarchies

1988 ◽  
Vol 6 (2) ◽  
pp. 161-172 ◽  
Author(s):  
Petr Janata ◽  
Daniel Reisberg

We explore the possibility of studying music perception with responsetime measures. Subjects heard either a chord (tonic triad) or scale prime, followed by a single note, and indicated whether the note did or did not belong in the primed key. Overall, the data resemble the tonal hierarchy previously demonstrated with other methods, thus establishing the validity of the response-time measure. In addition, the scale primes superimpose a recency effect on the standard hierarchy, as would be expected from a serially presented stimulus. We discuss what this implies about tonal hierarchies, and the use of response-time measures to study the online processes of music listening. We also report data for nondiatonic tones.

2016 ◽  
Vol 33 (4) ◽  
pp. 493-508 ◽  
Author(s):  
Rachel M. van Besouw ◽  
Benjamin R. Oliver ◽  
Mary L. Grasmeder ◽  
Sarah M. Hodkinson ◽  
Heidi Solheim

The objective of this study was to evaluate the efficacy of a prototype interactive music awareness program (IMAP) for adult cochlear implant (CI) users. An unblinded, randomized crossover design was used. Twenty-one CI users were recruited and allocated to two groups. Group 1 received the IMAP first, followed by a retention of learning phase. Group 2 were given the IMAP after 12 weeks. Participants were instructed to undertake two half-hour sessions per week at home over 12 weeks. Both groups attended appointments at the start, halfway through, and at the end of the trial. At each appointment participants completed tests of speech perception, melodic contour identification, and instrument recognition, rated the sound quality of music, and indicated their music listening habits. Sixteen participants completed the study. Following training both groups showed improved instrument recognition abilities and feedback suggests further positive impact on participants’ lives. The findings suggest that the IMAP is beneficial for music perception and in particular, improved instrument recognition.


2008 ◽  
Vol 19 (02) ◽  
pp. 120-134 ◽  
Author(s):  
Kate Gfeller ◽  
Jacob Oleson ◽  
John F. Knutson ◽  
Patrick Breheny ◽  
Virginia Driscoll ◽  
...  

The research examined whether performance by adult cochlear implant recipients on a variety of recognition and appraisal tests derived from real-world music could be predicted from technological, demographic, and life experience variables, as well as speech recognition scores. A representative sample of 209 adults implanted between 1985 and 2006 participated. Using multiple linear regression models and generalized linear mixed models, sets of optimal predictor variables were selected that effectively predicted performance on a test battery that assessed different aspects of music listening. These analyses established the importance of distinguishing between the accuracy of music perception and the appraisal of musical stimuli when using music listening as an index of implant success. Importantly, neither device type nor processing strategy predicted music perception or music appraisal. Speech recognition performance was not a strong predictor of music perception, and primarily predicted music perception when the test stimuli included lyrics. Additionally, limitations in the utility of speech perception in predicting musical perception and appraisal underscore the utility of music perception as an alternative outcome measure for evaluating implant outcomes. Music listening background, residual hearing (i.e., hearing aid use), cognitive factors, and some demographic factors predicted several indices of perceptual accuracy or appraisal of music. La investigación examinó si el desempeño, por parte de adultos receptores de un implante coclear, sobre una variedad de pruebas de reconocimiento y evaluación derivadas de la música del mundo real, podrían predecirse a partir de variables tecnológicas, demográficas y de experiencias de vida, así como de puntajes de reconocimiento del lenguaje. Participó una muestra representativa de 209 adultos implantados entre 1965 y el 2006. Usando múltiples modelos de regresión lineal y modelos mixtos lineales generalizados, se seleccionaron grupos de variables óptimas de predicción, que pudieran predecir efectivamente el desempeño por medio de una batería de pruebas que permitiera evaluar diferentes aspectos de la apreciación musical. Estos análisis establecieron la importancia de distinguir entre la exactitud en la percepción musical y la evaluación de estímulos musicales cuando se utiliza la apreciación musical como un índice de éxito en la implantación. Importantemente, ningún tipo de dispositivo o estrategia de procesamiento predijo la percepción o la evaluación musical. El desempeño en el reconocimiento del lenguaje no fue un elemento fuerte de predicción, y llegó a predecir primariamente la percepción musical cuando los estímulos de prueba incluyeron las letras. Adicionalmente, las limitaciones en la utilidad de la percepción del lenguaje a la hora de predecir la percepción y la evaluación musical, subrayan la utilidad de la percepción de la música como una medida alternativa de resultado para evaluar la implantación coclear. La música de fondo, la audición residual (p.e., el uso de auxiliares auditivos), los factores cognitivos, y algunos factores demográficos predijeron varios índices de exactitud y evaluación perceptual de la música.


Author(s):  
Mirdza Paipare

Very few researches focus on music as an activity and most often it is linked to music perception, therefore – music psychology. Similarly the theories on this question are developed. Interrelations between music therapy and music psychology, as well as the role of listening and music listening in music pedagogy, psychology and music therapy are little researched. The goal of this article is to intentionally draw attention to the significance of this very common thing in our everyday lives – listening – in communication, development of cognitive and phenomenological skills and abilities (perception, recognition, describing, explaining). These skills and abilities are necessary in the work of pedagogue and psychologist, and especially music therapist.  


2017 ◽  
Vol 28 (11) ◽  
pp. 3939-3950 ◽  
Author(s):  
Frederick S Barrett ◽  
Katrin H Preller ◽  
Marcus Herdener ◽  
Petr Janata ◽  
Franz X Vollenweider

AbstractClassic psychedelic drugs (serotonin 2A, or 5HT2A, receptor agonists) have notable effects on music listening. In the current report, blood oxygen level-dependent (BOLD) signal was collected during music listening in 25 healthy adults after administration of placebo, lysergic acid diethylamide (LSD), and LSD pretreated with the 5HT2A antagonist ketanserin, to investigate the role of 5HT2A receptor signaling in the neural response to the time-varying tonal structure of music. Tonality-tracking analysis of BOLD data revealed that 5HT2A receptor signaling alters the neural response to music in brain regions supporting basic and higher-level musical and auditory processing, and areas involved in memory, emotion, and self-referential processing. This suggests a critical role of 5HT2A receptor signaling in supporting the neural tracking of dynamic tonal structure in music, as well as in supporting the associated increases in emotionality, connectedness, and meaningfulness in response to music that are commonly observed after the administration of LSD and other psychedelics. Together, these findings inform the neuropsychopharmacology of music perception and cognition, meaningful music listening experiences, and altered perception of music during psychedelic experiences.


2021 ◽  
Vol 27 (2) ◽  
Author(s):  
Gary S. Karpinski

This article focuses on the perception and cognition involved in music listening skills as essential criteria in selecting solmization systems. Drawing on many aural key-identification studies performed by various researchers, and on the model for music perception developed by Karpinski (".fn_cite_year($karpinski_1990).") and formalized in Karpinski (".fn_cite_year($karpinski_2000)."), it concludes that the first and most fundamental process listeners carry out while attending to the pitches of tonal music is tonic inference. In addition, a tonic is inferable without reference to a complete diatonic pitch collection. Melodies that are unambiguous with regard to their tonic might never employ all seven diatonic pitch classes, they might state those pitch classes only gradually, or they might even change the collection without changing tonic. Nonetheless, listeners are able to infer tonics quickly and dynamically under any of the above conditions. According to Butler (".fn_cite_year($butler_1992).", 119), “listeners make assessments of tonal center swiftly and apparently without conscious effort” certainly well in advance of inferring or perceiving entire diatonic pitch collections. This article examines the means through which do-based minor movable-do solmization most closely models this mental process and contrasts that with la-based minor and its inherent inability to model the pitches of a musical passage until all seven of its diatonic members are explicitly stated (or at least implicitly present). This is not to say that la-based minor is ineffective, but simply that do-based minor most closely reflects and represents the way listeners infer tonality.


2016 ◽  
Vol 2016 ◽  
pp. 1-12 ◽  
Author(s):  
Valerie Looi ◽  
Yuhan Wong ◽  
Jenny H. Y. Loo

The aim of this study was to compare the effectiveness of a music appreciation training program (MATP) to that of focused music listening (FML) for improving music and/or speech in noise perception for postlingually deafened cochlear implant (CI) recipients. It was hypothesized that the MATP would show greater improvements than FML. Ten CI recipients were randomly divided into two groups: one undertaking the MATP and the other undertaking FML. Participants completed four 30-minute sessions per week for 8 weeks, with tests of music and speech-in-noise perception being administered four times per participant: before and after a control period, immediately after the intervention, and 4–8 weeks after intervention. There was a significant pre- to posttraining difference for the MATP group on the instrument identification test, as well as for half of the quality rating assessments. Although no statistically significant improvements were obtained for the FML group, there was a trend of higher scores postintervention for the instrument and ensemble identification tests, and compliance was substantially better than for the MATP group. While the results showed that only the music training significantly improved music perception, the potential of FML to benefit some CI recipients for some tasks was also observed.


2010 ◽  
Vol 21 (01) ◽  
pp. 028-034 ◽  
Author(s):  
Kate Gfeller ◽  
Dingfeng Jiang ◽  
Jacob J. Oleson ◽  
Virginia Driscoll ◽  
John F. Knutson

Background: An extensive body of literature indicates that cochlear implants (CIs) are effective in supporting speech perception of persons with severe to profound hearing losses who do not benefit to any great extent from conventional hearing aids. Adult CI recipients tend to show significant improvement in speech perception within 3 mo following implantation as a result of mere experience. Furthermore, CI recipients continue to show modest improvement as long as 5 yr postimplantation. In contrast, data taken from single testing protocols of music perception and appraisal indicate that CIs are less than ideal in transmitting important structural features of music, such as pitch, melody, and timbre. However, there is presently little information documenting changes in music perception or appraisal over extended time as a result of mere experience. Purpose: This study examined two basic questions: (1) Do adult CI recipients show significant improvement in perceptual acuity or appraisal of specific music listening tasks when tested in two consecutive years? (2) If there are tasks for which CI recipients show significant improvement with time, are there particular demographic variables that predict those CI recipients most likely to show improvement with extended CI use? Research Design: A longitudinal cohort study. Implant recipients return annually for visits to the clinic. Study Sample: The study included 209 adult cochlear implant recipients with at least 9 mo implant experience before their first year measurement. Data Collection and Analysis: Outcomes were measured on the patient's annual visit in two consecutive years. Paired t-tests were used to test for significant improvement from one year to the next. Those variables demonstrating significant improvement were subjected to regression analyses performed to detect the demographic variables useful in predicting said improvement. Results: There were no significant differences in music perception outcomes as a function of type of device or processing strategy used. Only familiar melody recognition (FMR) and recognition of melody excerpts with lyrics (MERT-L) showed significant improvement from one year to the next. After controlling for the baseline value, hearing aid use, months of use, music listening habits after implantation, and formal musical training in elementary school were significant predictors of FMR improvement. Bilateral CI use, formal musical training in high school and beyond, and a measure of sequential cognitive processing were significant predictors of MERT-L improvement. Conclusion: These adult CI recipients as a result of mere experience demonstrated fairly consistent music perception and appraisal on measures gathered in two consecutive years. Gains made tend to be modest, and can be associated with characteristics such as use of hearing aids, listening experiences, or bilateral use (in the case of lyrics). These results have implications for counseling of CI recipients with regard to realistic expectations and strategies for enhancing music perception and enjoyment.


2000 ◽  
Vol 15 (3) ◽  
pp. 99-106
Author(s):  
Eckart O Altenmüller ◽  
Marc W Bangert ◽  
Gundhild Liebert ◽  
Wilfried Gruhn

The increase of studies on brain activity during music listening and processing has generated a puzzling, and in many instances contradictory, variety of findings. Besides methodological reasons, e.g., different brain imaging procedures and the nature of applied stimuli, other factors must account for the observed variety. The objective of the present paper is to illustrate individual factors influencing brain networks during music processing. In three longitudinal follow-up studies, changes in cortical activation patterns due to long-term ear training, to short-term ear training, and to piano training could be demonstrated. Among the factors influencing brain activity during music learning, the instructor’s teaching strategy and the individual’s instrumental training were of importance. The authors propose that neuronal networks related to music processing reflect the individual’s auditory biography, i.e., the personal experiences during auditory learning. The authors therefore conclude that in “high-order” musical processing, many and individually connected brain areas underlie music perception. It seems plausible to assume that the increased neuronal connectivity improves cognitive abilities in general.


2021 ◽  
Author(s):  
Wenya. Liu ◽  
Xiulin. Wang ◽  
Jing. Xu ◽  
Yi. Chang ◽  
Timo. Hämäläinen ◽  
...  

AbstractPrevious researches demonstrate that major depression disorder (MDD) is associated with widespread network dysconnectivity, and the dynamics of functional connectivity networks are important to delineate the neural mechanisms of MDD. Cortical electroencephalography (EEG) oscillations act as coordinators to connect different brain regions, and various assemblies of oscillations can form different networks to support different cognitive tasks. Studies have demonstrated that the dysconnectivity of EEG oscillatory networks is related with MDD. In this study, we investigated the oscillatory hyperconnectivity and hypoconnectivity networks in MDD under a naturalistic and continuous stimuli condition of music listening. With the assumption that the healthy group and the MDD group share similar brain topology from the same stimuli and also retain individual brain topology for group differences, we applied the coupled nonnegative tensor decomposition algorithm on two adjacency tensors with the dimension of time × frequency × connectivity × subject, and imposed double-coupled constraints on spatial and spectral modes. The music-induced oscillatory networks were identified by a correlation analysis approach based on the permutation test between extracted temporal factors and musical features. We obtained three hyperconnectivity networks from the individual features of MDD and three hypoconnectivity networks from common features. The results demonstrated that the dysfunction of oscillation-modulated networks could affect the involvement in music perception for MDD patients. Those oscillatory dysconnectivity networks may provide promising references to reveal the pathoconnectomics of MDD and potential biomarkers for the diagnosis of MDD.


2021 ◽  
Vol 11 (1) ◽  
Author(s):  
Victor Pando-Naude ◽  
Agata Patyczek ◽  
Leonardo Bonetti ◽  
Peter Vuust

AbstractA remarkable feature of the human brain is its ability to integrate information from the environment with internally generated content. The integration of top-down and bottom-up processes during complex multi-modal human activities, however, is yet to be fully understood. Music provides an excellent model for understanding this since music listening leads to the urge to move, and music making entails both playing and listening at the same time (i.e., audio-motor coupling). Here, we conducted activation likelihood estimation (ALE) meta-analyses of 130 neuroimaging studies of music perception, production and imagery, with 2660 foci, 139 experiments, and 2516 participants. We found that music perception and production rely on auditory cortices and sensorimotor cortices, while music imagery recruits distinct parietal regions. This indicates that the brain requires different structures to process similar information which is made available either by an interaction with the environment (i.e., bottom-up) or by internally generated content (i.e., top-down).


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