Effect of global structure and temporal organization on chord processing

Journal of Experimental Psychology: Human Perception and Performance

Volumn 25, Issue 1, 1999, Pages 184-197

  Bigand, Emmanuel ^a   Madurell, François ^b   Tillmann, Barbara ^a   Pineau, Marion ^a  

^a UNIVERSITÉ DE BOURGOGNE   (France)

^b SORBONNE UNIVERSITÉ   (France)

Author keywords

[No Author keywords available]

Indexed keywords

EID: 0033480666     PISSN: 00961523     EISSN: None     Source Type: Journal    
DOI: 10.1037/0096-1523.25.1.184     Document Type: Article

References (46)

1. Bharucha, J. J. (1987). Music cognition and perceptual facilitation: A connectionist framework. Music Perception, 5, 1-30.
2. Bharucha, J. J. (1994). Tonality and expectation. In R. Aiello & J. Sloboda (Eds.), Musical perceptions (pp. 213-239). New York: Oxford University Press.
3. Bharucha, J. I., & Stoeckig, K. (1986). Reaction time and musical expectancy: Priming of chords. Journal of Experimental Psychology: Human Perception and Performance, 12, 403-410.
4. Bharucha, J. J., & Stoeckig, K. (1987). Priming of chords: Spreading activation or overlapping frequency spectra? Perception & Psychophysics, 41, 519-524.
5. Bigand, E. (1993). The influence of implicit harmony, rhythm and musical training on the abstraction of "tension-relaxation schemas" in a tonal musical phrase. Contemporary Music Review, 9, 128-139.
6. Bigand, E. (1997). Perceiving musical stability: The effect of tonal structure, rhythm, and musical expertise. Journal of Experimental Psychology: Human Perception and Performance, 23, 808-822.
7. Bigand, E., & Lerdahl, F. (1992, February). Perception of tension and relaxations in chords sequences. Paper presented at the Second International Conference on Music Perception and Cognition, Los Angeles.
8. Bigand, E., & Pineau, M. (1996). Context effects on melody recognition: A dynamic interpretation. Current Psychology of Cognition, 15, 121-134.
9. Bigand, E., & Pineau, M. (1997). Global context effects on musical expectancy. Perception & Psychophysics, 59, 1098-1107.
10. Boltz, M. G. (1989a). Perceiving the end: Effects of tonal relationships on melodic completion. Journal of Experimental Psychology: Human Perception and Performance, 15, 749-761.
11. Boltz, M. G. (1989b). Rhythm and "good endings": Effects of temporal structure on tonality judgments. Perception & Psychophysics, 46, 9-17.
12. Cohen, J., MacWhinney, B., Flatt, M., & Provost, J. (1993). PsyScope: An interactive graphic system for designing and controlling experiments in the psychology laboratory using Macintosh computers. Behavior Research Methods, Instruments and Computers, 25, 257-271.
13. Colé P., & Segui, J. (1994). Grammatical incongruency and vocabulary types. Memory & Cognition, 22, 387-394.
14. Collins, A. M., & Loftus, E. F. (1975). A spreading-activation theory of semantic processing. Psychological Review, 82, 407-428.
15. Cook, N. (1987). The perception of large-scale tonal closure. Music Perception, 5, 197-206.
16. Cuddy, L. L., & Lunney, C. A. (1995). Expectancies generated by melodic intervals: Perceptual judgments of melodic continuity. Perception & Psychophysics, 57, 451-462.
17. Forster, K. I. (1987). Form-priming with masked primes: The best match hypothesis. In M. Coltheart (Ed.), Attention and performance XII; The psychology of reading (pp. 127-146). Hillsdale, NJ: Erlbaum.
18. Frances, R. (1988). The perception of music (W. J. Dowling, Trans.). Hillsdale, NJ: Erlbaum. (Original work published in French in 1958)
19. Goldinger, S., Luce, P. A., Pisoni, D. B., & Marcario, J. K. (1992). Form-based priming in spoken word recognition: The roles of competition bias. Journal of Experimental Psychology: Learning, Memory, and Cognition, 18, 1211-1238.
20. Goodman, G. C., McClelland, J. L., & Gibbs, R. W. (1981). The role of syntactic context in word recognition. Memory & Cognition, 9, 580-586.
21. Hess, D. J., Foss, D. J., & Carroll, P. (1995). Effects of global and local context on lexical processing during language comprehension. Journal of Experimental Psychology: General, 124, 62-92.
22. Jones, M. R. (1987). Dynamic pattern structures in music: Recent theory and research. Perception & Psychophysics, 41, 621-634.
23. Jones, M. R., & Boltz, M. G. (1989). Dynamic attending and responses to time. Psychological Review, 96, 459-491.
24. Jones, M. R., Boltz, M. G., & Klein, J. M. (1993). Expected endings and judged duration. Memory & Cognition, 21, 646-665.
25. Karno, M., & Konecni, V. J. (1992). The effects of structural interventions in the first movement of Mozart's Symphony in G-Minor, K. 550, on aesthetic preference. Music Perception, 10, 63-72.
26. Kintsch, W. (1988). The role of knowledge in discourse comprehension: A construction-integration model. Psychological Review, 95, 163-182.
27. Krumhansl, C. L. (1990). Cognitive foundations of musical pitch. New York: Oxford University Press.
28. Krumhansl, C. L. (1996). A perceptual analysis of Mozart's Piano Sonata K. 282: Segmentation, tension, and musical ideas. Music Perception, 13, 401-432.
29. Lerdahl, F. (1996). Calculating tonal tension. Music Perception, 13, 319-363.
30. Lerdahl, F., & Jackendoff, R. (1983). A generative theory of tonal music. Cambridge, MA: MIT Press.
31. Matlab 5.0 [computer software]. (1997, March). Natick, MA: Math Works, Inc.
32. Meyer, D. E., & Schvaneveldt, R. W. (1971). Facilitation in recognizing pairs of words: Evidence of a dependence between retrieval operations. Journal of Experimental Psychology, 90, 227-234.
33. Meyer, D. E., Schvaneveldt, R. W., & Ruddy, M. G. (1974). Function of graphemic and phonemic codes in visual word-recognition. Memory & Cognition, 2, 309-321.
34. Meyer, L. B. (1956). Emotion and meaning in music. Chicago: University of Chicago Press.
35. Meyer, L. B. (1973). Explaining music: Essays and explorations. Chicago: University of Chicago Press.
36. Narmour, E. (1989). The "genetic code" of melody: Cognitive structures generated by the implication-realization model. Contemporary Music Review, 4, 45-64.
37. Narmour, E. (1990). The analysis and cognition of basic melodic structures: The implication-realization model. Chicago: University of Chicago Press.
38. Pineau, M., & Bigand, E. (1997). Effet des structures globales sur l'amorçage harmonique en musique. L'Année Psychologique, 97, 385-408.
39. Quillian, M. R. (1967). Word concepts: A theory and simulation of some basic semantic capabilities. Behavioral Science, 12, 410-430.
40. Schellenberg, E. G. (1995). Expectancy in melody: Test of the implication-realization model. Cognition, 58, 75-125.
41. Schmuckler, M. A. (1989). Expectation in music: Investigation of melodic and harmonic processes. Music Perception, 7, 109-150.
42. Schmuckler, M. A., & Boltz, M. G. (1994). Harmonic and rhythmic influences on musical expectancy. Perception & Psychophysics, 56, 313-325.
43. Tekman, H. G., & Bharucha, J. J. (1992). Time course of chord priming. Perception &Psychophysics, 51, 33-39.
44. Till, R. E., Mross, E. F., & Kintsch, W. (1988). Time course of priming of associate and inference words in a discourse context. Memory & Cognition, 16, 283-298.
45. Tillmann, B., & Bigand, E. (1996). Formal structure and musical expressivity. Psychology of Music, 24, 3-17.
46. Tillmann, B., Bigand, E., & Pineau, M. (in press). Effects of global and local contexts on harmonic expectancy. Music Perception.