Term
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Definition
| helps identify tonic, gives a reference point. Experiment: infant and adults study: heard mistuned scale degree 6 in either a major scale or a synthetic unequal step scale OR and equal scale. Infants could detect in both unequal step scale, but not equal. Adults couldn’t do equal or synthetic. shows enculturation. Trainor |
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Term
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Definition
| capacity of our working memory: most scales are 5-7 steps |
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Term
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Definition
| target is identical, lure is similar but has something changed. |
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Term
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Definition
hit: stimulus is present and correctly identified, stimulus not present, but subject says its there. If subject says yes to everything, doesn’t tell you much
incorrectly label something as the same when its not the same. Falsely say that it’s the same |
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Term
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Definition
| ability to perceive pitch relations/intervals. In domains besides pitch? Brightness |
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Term
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Definition
| in Major/minor scales, some notes have greater perceived importance than others, important notes occur more often in tonal music. Exceptions: we tend to hear dominant more than tonic, though its not the strongest (tonic is)Study: tone probe studies, krumhansl |
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Term
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Definition
| music without key/center Dowling uses atonal and tonal melodies (but isn't really atonal because has repeated note) |
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Term
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Definition
| arrangement of keys, closely related keys are next to each other. Patel priming study aphasics played prime chord and next chord and it was either close or far on circle of fifths. Experiment: Patel, used circle of fifths as measure of tonal closeness. Closeness of keys versus overlapping of notes. |
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Term
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Definition
| listeners given musical context scale chords, whatever. Then single note or chord is played and asked how well it fit. “probe tone” |
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Term
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Definition
| REACTION TIME, shellenberg with children. In priming studies, listeners hear a single chord or a sequence of chords in a key, and subjects are asked to make a quick accurate judgment on a TARGET chord. (in or out of tune, pleasant/upleasant, sung on one of two phonemes, played on 1 of 2 instruments, or played together/not.) |
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Term
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Definition
| unequal scale steps semitone and tritone that are rare in the scale, and are used to help decide what key we are in. |
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Term
| distributional theories of tonality |
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Definition
| how pitches are distributed tonics, dominants, leading tones are distributed in particular way. |
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Term
| Krumhansl-Kessler tone profile |
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Definition
| Illustration of the most important pitch being tonic, followed by the remaining tones in tonic triad, followed by the other notes belonging to the scale, and least important being the nonscale tones. |
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Term
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Definition
based on rare intervals, based on rare interval hyp or distr. information
distributional: mathematical # tonic dominant
structural: intervallic gestures |
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Term
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Definition
| tonic feels 'strong' leading tone feels 'harsh' or 'yearning'. regardless of context. |
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Term
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Definition
| usually half step away from another note. Harsh, yearning |
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Term
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Definition
| based on how frequently something occurs; from Patel 05: 'Statistical learning (SL) refers to tracking patterns in the environment and acquiring implicit knowledge of their statistical properties, without any direct feedback.' |
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Term
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Definition
| whats the probability of next note being played? rare order |
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Term
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Definition
| distributional, each note has probability but it is not dependent on what has come before |
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Term
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Definition
| if it goes the way we predict we like it more; Huron prefers "prediction effect" over "exposure effect" (we like what we're familiar with) because it better explains the pleasure we get when we hear the tonic closure--remembering that dominant is more common (exposure effect) than tonic in most music repertoire |
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Term
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Definition
| presence of silent pause, drop of amplitude, reduction in pace. presence of silent pause, lengthening of …,drop of amplitude, reduction in pace, closure schema, huron chapter on tonality, things that occur in cadence, slows down, long note, rest after, particular harmonic scheme |
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Term
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Definition
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Term
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Definition
| bottom/back of brain, coordination, balance, motor control, RHYTHM control, schlaug---this is different in musician’s brains—more densely packed neurons |
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Term
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Definition
| largest part of brain, front, two hemispheres, coordinating, sensory, motor…everything. Schlaub: musicians motor control areas more developed |
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Term
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Definition
| connective tissue in center of brain, schlaub: thicker and more crossing over between two hemispheres in musicians. |
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Term
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Definition
| in temporal lobe, place that analyzes sound. Initial processing center for sounds |
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Term
| hemispheric lateralization |
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Definition
| certain things focused on one part of brain, dominant in one hemisphere and not other. Music: emotional aspects in right hemisphere, structural tend to be left side. (Patel articles) |
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Term
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Definition
| brains ability to change/restructure itself through learning, response to damage. Denser cell populations in cerebellum, corpus collosum in musicians. Physically structurally changes. Can also have functional changes: blind people have sight area in brain work toward audio function. |
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Term
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Definition
| measures oxygen in blood called ‘BOLD’ hemodynamic. spatial resolution has good accuracy, but temporal resolution is not good (have to wait for blood to be used and measured) |
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Term
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Definition
| electroencephalography, electrodes to head, good for temporal imaging/measurements. So good to find when things happen. Not the greatest for where. Super sensitive, so if you move or blink, it can throw off things. Just surface only. |
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Term
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Definition
| ERP event related potential, take a lot of EEG signals and see consistent peaks in activity that correspond to oddities. (average) |
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Term
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Definition
| inject radioactive substance into subjects and measures bloodflow in brain. similar to fMRI |
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Term
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Definition
| oddball occurance in frontal lobe 150 ms after any stimulus charge. |
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Term
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Definition
| perception of one given stimulus in the modality of another. Abcs = colors, mixup of sensory modalities |
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Term
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Definition
| defect in ability to perceive pitch (small intervals) |
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Term
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Definition
| defect in ability to speak Patel and Perits compare aphasia and amusia. Inability to make small frequency discrimination |
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Term
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Definition
sentence structure, grammatical structure of language, we argue music has a syntax too
comparing aphasia to amusia, relates music and speech syntax. Are there two distinct areas or do they share? |
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Term
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Definition
frontal lobe structure for just speech and language
comparing aphasia to amusia, relates music and speech syntax. Are there two distinct areas or do they share? |
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Term
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Definition
| two cases: music is intact but language is not, and vice versa, suggests two different areas for two different tasks. |
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Term
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Definition
| graph shows contour of speech (bars over words --+++) |
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Term
| tonal vs. sensory “closeness” |
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Definition
| close on circle of fifths: tonal closeness, shared notes: sensory closeness |
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Term
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Definition
| only applies to single region: music; Peretz |
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Term
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Definition
| more than one region affected, covers wider area...has to do with acquiring abilites, useful for multiple things: domain general; Patel |
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Definition
| getting used to cultural preferences |
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Term
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Definition
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Term
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Definition
| window for acquiring skill, speech discrimination |
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Term
| habituation-dishabituation |
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Definition
| get baby used to stimulus and then change it. Habituation is when it loses interest and stops looking, dishabituation is when it recovers looking time |
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Term
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Definition
| looking is measured since infants look at things they like |
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Term
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Definition
| experimental setup where baby conditioned to look when they hear a certain change in stimulus, good way to see if they can discriminate between two stimulus. |
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Term
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Definition
| motherese; when speaking to babies, intervals are more broad, higher pitch, exaggerated |
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Term
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Definition
| predisposed to acquire certain things quickly |
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Term
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Definition
| pitch contour and rhythm that goes along with speech |
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Term
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Definition
| shape of melody or speech, infants can tell contour even if they can’t tell pitches. Relative highs and lows without exact intervals |
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Term
| Schellenberg, Harmony 2005 |
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Definition
Title: Children's Implicit Knowledge of Western Music Harmony
Experiment 1: French 6-11 year olds judged whether probe note was sung with /i/ vowel or /u/ vowel.
Exp 2: Australian 8-11 yr olds judged whether probe tone was piano or trumpet
Exp 3: Canadian 8-11 yr olds judged whether last note sounded 'good' (consonant) or 'bad' (dissonant).
The target probe tone was either most stable chord or a less stable chord.
Since response time was the outcome measure, kids completed training trials to make sure the task was easy and understood before the actual test.
To avoid confounds, sequences didn't contain the target chords to avoid preference for familiar sound and not actual answer.
Results: Peformance was MORE ACCURATE and FASTER for the TONIC chord targets.
This confirms hypothesis that kids have implicit knowledge of syntactic functions of Western harmony. |
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Term
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Definition
Title: Newborn's Cry Melody Shaped by Native Language
Method: Analyzed the cries of 30 French and 30 German infants (2-5 days old) in terms of melody and intensity contours
Results: French baby cries have rising melody contour. GERMAN have FALLING melody contour. Both are consistent with intonation of surrounding language.
This shows tendency for infants to utter melody contours similar to those perceived prenatally.
CONFOUND: cannot exclude the 2-5 days of POSTnatal learning before cries that were analyzed. |
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Term
| Krumhansl & Shepard (1979) experiment 1 |
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Definition
Title: "Quantification of the Heirarchy of Tonal Functions Within a Diatonic Context"
hypothesis: we perceive tones in the diatonic scale or triad are going to be rated higher than non-diatonic tones; if pitch height is important dimension, then tone close in frequency to the context tones should receive higher ratings than those farther away
stimuli: diatonic scale, middle C-C8va, hear one tone after and then say how well it completes the scale, rated 1-7; flute-stop, pre-recorded tape, asked "how well the final tone completed the sequence, judged on goodness"
method: need to meet 3 criteria: 1) tones must be present in unambiguous tonal context; 2) detailed quantitative info must be obtained for each tone; 3)data must be analyzed separately for individuals who may differ widely in musical experience
subjects: 24 standard undergrad students divided into 3 groups by results: 1) played an instrument, 7.4 years; 2) played an instrument, 5.5 years; 3) little instrumental experience, .7 years
results: Group 1: rated diatonic tones higher; Group 2: not much distinguishment between diatonic and non-diatonic; Group 3: proximity effect (Gestalt distinguishing, not tonal affect); AP subject: like Group 1, even more spiked |
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Term
| Krumhansl & Shepard (1979) experiment 2 |
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Definition
took into account quarter tones in between each pitch as well
confounds: use real musical context, harmonic progression, etc. |
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Term
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Definition
| implicit learning, pick up statistics of musical occurrence through everyday listening; can statistical learning account for qualia? |
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Term
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Definition
ridge;
Schlaug measured
length
of
ILPG
(intrasulcul length
of
posterior
precentral
gyrus)
Found ridge to be longer on left for everyone, but Musicians longer on right than non musicians since more coordination between left and right. |
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Term
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Definition
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Term
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Definition
PLASTICITY:
interested in corpus collosum, cerebellum, motor cortex (structural adaptations), and planum temporale (functional adaptation) |
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Term
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Definition
| small interval discrimination is crucial to music, but less so to language; some amusics can pick up speech prosody because bigger intervals are used in speech. Congenital amusia is a disorder that is acoustic and musicrelevant but not music specific; thus the brain is not prewired for music but for spectral acoustics cues relevant for language and music. Impairments in amusia in the Right auditory cortex (fine spectral resolution) compared to SLI in the Left auditory cortex (rapid temporal processing). DOMAIN SPECIFIC |
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Term
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Definition
Aphasics
with
syntactic
comprehension
problems
in language
also
have
a
music
syntactic
deficit
(not due
to acoustic
deficits
or
brain
damage).
Aphasia
is
a
processing
disorder;
a
problem
activating stored
syntactic
representations
rather
than
a
language‐specific
disruption.
Music
task
revealed
similar
processing problems.
Theory that music and language are stored separately but processed together. May help to reconcile Peretz findings (double dissociation) with his. |
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Term
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Definition
Title: "The Relatioinship of Music to the Melody of Speech and to Syntactic Processing Disorders in Aphasia"
hypothesis: that statistical learning (SL) of tonal patterns occurs for speech intonation in one’s native language, especially since one has extensive exposure to such patterns from an early age. If this is the case, then composers have implicit knowledge of the statistics of native language intonation patterns, which could influence music
method: used french and english languages; used prosogram representation of intonation and quantified sentence two different ways: 1) measured variation of pitches about their mean; 2) measured variability of pitch intervals, where intervals were defined as the frequency distance between successive tonal elements |
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Term
| Patel (2005) aphasia method |
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Definition
method – for language, used sentence-picture matching task; hears one sentence at a time, and must point to corresponding picture; sentences varied across five levels of syntactic complexity
–for music, used harmonic priming task |
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Term
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Definition
| don't have to worry about enculturation; find what is innate and what is learned; trace development; when babies are born, their brains are not fully developed=brain plasticity; what occurs before maturation; close to beginning of innate abilities before learning kicks in |
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Term
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Definition
| can start 25 weeks gestation (before birth) sounds elicit changes in heart rate |
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Term
| what does the fetus hear? |
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Definition
| rhythmic breathing, walking, heartbeat, loudness atuned at 30 decibels |
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Term
| what can the fetus detect? |
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Definition
| speech, contour, timing of phonemes, change in loudness, pitch level, some musical patterns, mother's voice versus any other voice |
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Term
| Peretz & Hyde 2003 Conclusions |
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Definition
| Congenital amusia is music relevant but NOT MUSIC SPECIFIC. The brain is not prewired for music but for spectral acoustics cues relevant for language and music. |
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Term
| what are infant predispositions? |
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Definition
| prefer consonant to dissonant intervals (perhaps also due to physiology); attuned to connection between rhythm and movement |
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Term
| Peretz & Hyde 2003 Method |
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Definition
Ten amusic and 10 control adults were presented with 360 sequences, each comprising five tones. When a sequence differed from monotony (same pitch) or isochrony (same time), its fourth tone was altered. In the pitch-altered sequences, the fourth tone was displaced upwards or downwards by one of five pitch distances (dotted
vertical arows), ranging from 25 to 300 cents (where 100 cents corresponds to 1
semitone). In the time-altered sequences, the fourth tone was displaced from its isochronous position (horizontal arrows), occurring earlier or later by one of five temporal increments that ranged from 8 to 16% of the 350 ms inter-tone onset. |
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Term
| Peretz & Hyde 2003 Controls |
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Definition
They tested amusics by having them identify a wrong note in a conventional melody. They made the melodies unfamiliar to subjects to ensure their answers weren't affected by memory failure.
Also tested their rhythmic ID accuracy to ensure that it wasn't the task being too difficult or that the subject had poor hearing in general. |
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Term
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Definition
| pitch error detection, varying scale type (major vs. other); temporal error detection, varying meter (simple vs. complex); in both cases, infants easily discriminate, despite context, whereas adults are able to discriminate only in Western tonal music context (effect of enculturation) |
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Term
| Schellenberg et al. (2005) |
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Definition
Experiment 1: French children, 6 years old and 11 year old
Experiment 2: Australian children, 7‐8 years old and 10‐11 years old
Experiment 3: Canadian children, 7‐8 years old and 10‐11 years old – each with low music training, high music training
children judged whether target (final chord either tonic or subdom) was sung with the vowel, or whether piano or trumpet, or whether in tune or out. measurement=response time.
Results: children faster at identification if the target chord is tonic, thus they have developed sensitivity to harmonic structure, differences greater in older children |
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