Temporal dynamics and the identification of musical key

Journal of Experimental Psychology: Human Perception and Performance

Volumn 39, Issue 4, 2013, Pages 911-918

  Farbood, Morwaread Mary ^a   Marcus, Gary ^b   Poeppel, David ^b  

^a NEW YORK UNIVERSITY   (United States)

^b NEW YORK UNIVERSITY   (United States)

Author keywords

Music perception; Rate; Speech; Temporal processing; Tonal induction

Indexed keywords

ADULT; ARTICLE; FEMALE; HEARING; HUMAN; MALE; MUSIC; PHYSIOLOGY; PSYCHOLOGICAL ASPECT; PSYCHOPHYSICS; SPEECH PERCEPTION; TIME; YOUNG ADULT;

ADULT; AUDITORY PERCEPTION; FEMALE; HUMANS; MALE; MUSIC; PSYCHOACOUSTICS; SPEECH PERCEPTION; TIME FACTORS; YOUNG ADULT;

EID: 84887550991     PISSN: 00961523     EISSN: None     Source Type: Journal    
DOI: 10.1037/a0031087     Document Type: Article

References (84)

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2. Bharucha, J. J., & Stoeckig, K. (1986). Reaction time and musical expectancy: Priming of chords. Journal of Experimental Psychology: Human Perception and Performance, 12, 403-410. doi:10.1037/0096-1523.12.4.403
3. Bharucha, J. J., & Stoeckig, K. (1987). Priming of chords: Spreading activation or overlapping frequency spectra? Perception & Psychophysics, 41, 519-524. doi:10.3758/BF03210486
4. Bigand, E., & Pineau, M. (1997). Global context effects on musical expectancy. Perception & Psychophysics, 59, 1098-1107. doi:10.3758/BF03205524
5. Bigand, E., Poulin, B., Tillmann, B., Madurell, F., & D'Adamo, D. A. (2003). Sensory versus cognitive components in harmonic priming. Journal of Experimental Psychology: Human Perception and Performance, 29, 159-171. doi:10.1037/0096-1523.29.1.159
6. Bigand, E., & Poulin-Charronnat, B. (2006). Are we "experienced listeners?" A review of the musical capacities that do not depend on formal musical training. Cognition, 100, 100-130. doi:10.1016/j.cognition.2005.11.007
7. Brown, H. (1988). The interplay of set content and temporal context in a functional theory of tonality perception. Music Perception, 5, 249-250. doi:10.2307/40285398
8. Brown, H., Butler, D., & Jones, M. R. (1994). Musical and temporal influences on key discovery. Music Perception, 11, 371-407. doi: 10.2307/40285632
9. Butler, D. (1989). Describing the perception of tonality in music: A critique of the tonal hierarchy theory and a proposal for a theory of intervallic rivalry. Music Perception, 6, 219-242. doi:10.2307/40285588
10. Carrus, E., Koelsch, S., & Bhattacharya, J. (2011). Shadows of musiclanguage interaction on low frequency brain oscillatory patterns. Brain and Language, 119, 50-57. doi:10.1016/j.bandl.2011.05.009
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12. Ettlinger, M., Margulis, E. H., & Wong, P. C. M. (2011). Implicit memory in music and language. Frontiers in Psychology, 2, 1-10. doi:10.3389/fpsyg.2011.00211
13. Fedorenko, E., Patel, A., Casasanto, D., Winawer, J., & Gibson, E. (2009). Structural integration in language and music: Evidence for a shared system. Memory & Cognition, 37, 1-9. doi:10.3758/MC.37.1.1
14. Ghitza, O. (2011). Linking speech perception and neurophysiology: Speech decoding guided by cascaded oscillators locked to the input rhythm. Frontiers in Psychology, 2, 1-13. doi:10.3389/fpsyg.2011.00130
15. Giraud, A-L., Lorenzi, C., Ashburner, J., Wable, J., Johsrude, I., Frackowiak, R., & Kleinschmidt, A. (2000). Representation of the temporal envelope of sounds in the human brain. Journal of Neurophysiology, 84, 1588-1598.
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17. Hirsh, I. J. (1959). Auditory perception of temporal order. Journal of the Acoustical Society of America, 31, 759-767. doi:10.1121/1.1907782
18. Huron, D., & Parncutt, R. (1993). An improved modal of tonality perception incorporating pitch salience and echoic memory. Psychomusicology, 12, 154-171. doi:10.1037/h0094110
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20. Kraus, N., & Chandrasekaran, B. (2010). Music training for the development of auditory skills. Nature Reviews Neuroscience, 11, 599-605. doi:10.1038/nrn2882
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23. Leman, M. (2000). An auditory model of the role of short-term memory in probe-tone ratings. Music Perception, 17, 481-509. doi:10.2307/40285830
24. London, J. (2004). Hearing in time: Psychological aspects of musical meter. New York, NY: Oxford University Press.
25. Longuet-Higgins, H. C., & Steedman, M. J. (1971). On interpreting Bach. Machine Intelligence, 6, 221-241.
26. Luo, H., & Poeppel, D. (2007). Phase patterns of neuronal responses reliably discriminate speech in human auditory cortex. Neuron, 54, 1001-1010. doi:10.1016/j.neuron.2007.06.004
27. Matsunaga, R., & Abe, J. (2005). Cues for key perception of a melody. Music Perception, 23, 153-164. doi:10.1525/mp.2005.23.2.153
28. Parncutt, R., & Bregman, A. S. (2000). Tone profiles following short chord progressions: Top-down or bottom-up? Music Perception, 18, 25-57. doi:10.2307/40285900
29. Patel, A. (2008). Music, language, and the brain. New York, NY: Oxford University Press.
30. Slevc, L. R., & Patel, A. D. (2011). Meaning in music and language: Three key differences. Comment on "Towards a neural basis of processing musical semantics" by Stefan Koelsch. Physics of Life Reviews, 8, 110-111. doi:10.1016/j.plrev.2011.05.003
31. Tekman, H. G., & Bharucha, J. J. (1998). Implicit knowledge versus psychoacoustic similarity in priming of chords. Journal of Experimental Psychology: Human Perception and Performance, 24, 252-260. doi: 10.1037/0096-1523.24.1.252
32. Temperley, D. (2007). Music and probability. Cambridge, MA: MIT Press.
33. Temperley, D., & Marvin, E. W. (2008). Pitch-class distribution and the identification of key. Music Perception, 25, 193-212. doi:10.1525/mp.2008.25.3.193
34. Tillmann, B., & Bigand, E. (2001). Global context effect in normal and scrambled musical sequences. Journal of Experimental Psychology: Human Perception and Performance, 27, 1185-1196. doi:10.1037/0096-1523.27.5.1185
35. Tillmann, B., Bigand, E., & Pineau, M. (1998). Effects of global and local contexts on harmonic expectancy. Music Perception, 16, 99-117. doi: 10.2307/40285780
36. Vos, P. G. (1999). Key implications of ascending fourth and descending fifth openings. Psychology of Music, 27, 4-17. doi:10.1177/0305735699271002
37. Vos, P. G., & Van Geenen, E. W. (1996). A parallel-processing keyfinding model. Music Perception, 14, 185-223. doi:10.2307/40285717
38. Warren, R. M. (2008). Auditory perception: An analysis and synthesis (3rd ed.). Cambridge, United Kingdom: Cambridge University Press. doi: 10.1017/CBO9780511754777
39. Warren, R. M., Gardner, D. A., Brubaker, B. S., & Bashford, J. A. (1991). Melodic and nonmelodic sequences of tones: Effects of duration on perception. Music Perception, 8, 277-289. doi:10.2307/40285503
40. White, L. J., & Plack, C. J. (1998). Temporal processing of the pitch of complex tones. Journal of the Acoustical Society of America, 108, 2051-2063. doi:10.1121/1.421352
41. Yoshino, I., & Abe, J.-I. (2004). Cognitive modeling of key interpretation in melody perception. Japanese Psychological Research, 46, 283-297. doi:10.1111/j.1468-5584.2004.00261.x
42. Zatorre, R. J., Belin, P., & Penhune, V. B. (2002). Structure and function of auditory cortex: Music and speech. Trends in Cognitive Sciences, 6, 37-46. doi:10.1016/S1364-6613(00)01816-7
43. Bharucha, J. J. (1987). Music cognition and perceptual facilitation: A connectionist framework. Music Perception, 5, 1-30. doi:10.2307/40285384
44. Bharucha, J. J., & Stoeckig, K. (1986). Reaction time and musical expectancy: Priming of chords. Journal of Experimental Psychology: Human Perception and Performance, 12, 403-410. doi:10.1037/0096-1523.12.4.403
45. Bharucha, J. J., & Stoeckig, K. (1987). Priming of chords: Spreading activation or overlapping frequency spectra? Perception & Psychophysics, 41, 519-524. doi:10.3758/BF03210486
46. Bigand, E., & Pineau, M. (1997). Global context effects on musical expectancy. Perception & Psychophysics, 59, 1098-1107. doi:10.3758/BF03205524
47. Bigand, E., Poulin, B., Tillmann, B., Madurell, F., & D'Adamo, D. A. (2003). Sensory versus cognitive components in harmonic priming. Journal of Experimental Psychology: Human Perception and Performance, 29, 159-171. doi:10.1037/0096-1523.29.1.159
48. Bigand, E., & Poulin-Charronnat, B. (2006). Are we "experienced listeners?" A review of the musical capacities that do not depend on formal musical training. Cognition, 100, 100-130. doi:10.1016/j.cognition.2005.11.007
49. Brown, H. (1988). The interplay of set content and temporal context in a functional theory of tonality perception. Music Perception, 5, 249-250. doi:10.2307/40285398
50. Brown, H., Butler, D., & Jones, M. R. (1994). Musical and temporal influences on key discovery. Music Perception, 11, 371-407. doi: 10.2307/40285632
51. Butler, D. (1989). Describing the perception of tonality in music: A critique of the tonal hierarchy theory and a proposal for a theory of intervallic rivalry. Music Perception, 6, 219-242. doi:10.2307/40285588
52. Carrus, E., Koelsch, S., & Bhattacharya, J. (2011). Shadows of musiclanguage interaction on low frequency brain oscillatory patterns. Brain and Language, 119, 50-57. doi:10.1016/j.bandl.2011.05.009
53. Divenyi, P. L. (2004). The times of Ira Hirsh: Multiple ranges of auditory temporal perception. Seminars in Hearing, 25, 229-239. doi:10.1055/s-2004-832857
54. Ettlinger, M., Margulis, E. H., & Wong, P. C. M. (2011). Implicit memory in music and language. Frontiers in Psychology, 2, 1-10. doi:10.3389/fpsyg.2011.00211
55. Fedorenko, E., Patel, A., Casasanto, D., Winawer, J., & Gibson, E. (2009). Structural integration in language and music: Evidence for a shared system. Memory & Cognition, 37, 1-9. doi:10.3758/MC.37.1.1
56. Ghitza, O. (2011). Linking speech perception and neurophysiology: Speech decoding guided by cascaded oscillators locked to the input rhythm. Frontiers in Psychology, 2, 1-13. doi:10.3389/fpsyg.2011.00130
57. Giraud, A-L., Lorenzi, C., Ashburner, J., Wable, J., Johsrude, I., Frackowiak, R., & Kleinschmidt, A. (2000). Representation of the temporal envelope of sounds in the human brain. Journal of Neurophysiology, 84, 1588-1598.
58. Greenberg, S. (2006). A multi-tier framework for understanding spoken language. In S. Greenberg and W. Ainsworth (Eds.), Listening to speech: An auditory perspective (pp. 411-433). Mahwah, NJ: Erlbaum.
59. Hirsh, I. J. (1959). Auditory perception of temporal order. Journal of the Acoustical Society of America, 31, 759-767. doi:10.1121/1.1907782
60. Huron, D., & Parncutt, R. (1993). An improved modal of tonality perception incorporating pitch salience and echoic memory. Psychomusicology, 12, 154-171. doi:10.1037/h0094110
61. Koelsch, S., Gunter, T. C., Wittfoth, M., & Sammler, D. (2005). Interaction between syntax processing in language and in music: An ERP study. Journal of Cognitive Neuroscience, 17, 1565-1577. doi:10.1162/089892905774597290
62. Kraus, N., & Chandrasekaran, B. (2010). Music training for the development of auditory skills. Nature Reviews Neuroscience, 11, 599-605. doi:10.1038/nrn2882
63. Krumhansl, C. L. (1990). Cognitive foundations of musical pitch. New York, NY: Oxford University Press.
64. Krumhansl, C. L., & Kessler, E. J. (1982). Tracing the dynamic changes in perceived tonal organization in a spatial representation of musical keys. Psychological Review, 89, 334-368. doi:10.1037/0033-295X.89.4.334
65. Leman, M. (2000). An auditory model of the role of short-term memory in probe-tone ratings. Music Perception, 17, 481-509. doi:10.2307/40285830
66. London, J. (2004). Hearing in time: Psychological aspects of musical meter. New York, NY: Oxford University Press.
67. Longuet-Higgins, H. C., & Steedman, M. J. (1971). On interpreting Bach. Machine Intelligence, 6, 221-241.
68. Luo, H., & Poeppel, D. (2007). Phase patterns of neuronal responses reliably discriminate speech in human auditory cortex. Neuron, 54, 1001-1010. doi:10.1016/j.neuron.2007.06.004
69. Matsunaga, R., & Abe, J. (2005). Cues for key perception of a melody. Music Perception, 23, 153-164. doi:10.1525/mp.2005.23.2.153
70. Parncutt, R., & Bregman, A. S. (2000). Tone profiles following short chord progressions: Top-down or bottom-up? Music Perception, 18, 25-57. doi:10.2307/40285900
71. Patel, A. (2008). Music, language, and the brain. New York, NY: Oxford University Press.
72. Slevc, L. R., & Patel, A. D. (2011). Meaning in music and language: Three key differences. Comment on "Towards a neural basis of processing musical semantics" by Stefan Koelsch. Physics of Life Reviews, 8, 110-111. doi:10.1016/j.plrev.2011.05.003
73. Tekman, H. G., & Bharucha, J. J. (1998). Implicit knowledge versus psychoacoustic similarity in priming of chords. Journal of Experimental Psychology: Human Perception and Performance, 24, 252-260. doi: 10.1037/0096-1523.24.1.252
74. Temperley, D. (2007). Music and probability. Cambridge, MA: MIT Press.
75. Temperley, D., & Marvin, E. W. (2008). Pitch-class distribution and the identification of key. Music Perception, 25, 193-212. doi:10.1525/mp.2008.25.3.193
76. Tillmann, B., & Bigand, E. (2001). Global context effect in normal and scrambled musical sequences. Journal of Experimental Psychology: Human Perception and Performance, 27, 1185-1196. doi:10.1037/0096-1523.27.5.1185
77. Tillmann, B., Bigand, E., & Pineau, M. (1998). Effects of global and local contexts on harmonic expectancy. Music Perception, 16, 99-117. doi: 10.2307/40285780
78. Vos, P. G. (1999). Key implications of ascending fourth and descending fifth openings. Psychology of Music, 27, 4-17. doi:10.1177/0305735699271002
79. Vos, P. G., & Van Geenen, E. W. (1996). A parallel-processing keyfinding model. Music Perception, 14, 185-223. doi:10.2307/40285717
80. Warren, R. M. (2008). Auditory perception: An analysis and synthesis (3rd ed.). Cambridge, United Kingdom: Cambridge University Press. doi: 10.1017/CBO9780511754777
81. Warren, R. M., Gardner, D. A., Brubaker, B. S., & Bashford, J. A. (1991). Melodic and nonmelodic sequences of tones: Effects of duration on perception. Music Perception, 8, 277-289. doi:10.2307/40285503
82. White, L. J., & Plack, C. J. (1998). Temporal processing of the pitch of complex tones. Journal of the Acoustical Society of America, 108, 2051-2063. doi:10.1121/1.421352
83. Yoshino, I., & Abe, J.-I. (2004). Cognitive modeling of key interpretation in melody perception. Japanese Psychological Research, 46, 283-297. doi:10.1111/j.1468-5584.2004.00261.x
84. Zatorre, R. J., Belin, P., & Penhune, V. B. (2002). Structure and function of auditory cortex: Music and speech. Trends in Cognitive Sciences, 6, 37-46. doi:10.1016/S1364-6613(00)01816-7