Term
|
Definition
| Things jump out and grab attention more than other things in a given music line or contour |
|
|
Term
|
Definition
Had infants listen to unnaccompanied Chinese "maow" lullaby
Also had infants listen to accompanied Chinese lullaby
Cut songs into 4 excerpts
Headturn preference procedure
Results: infants listened longer to unaccompanied on average, across all age groups |
|
|
Term
|
Definition
We should be thinking about the whole body when thinking about cognition.
-How does the way you move influence what we hear
-Does movement influence the auditory encoding of rhythm? |
|
|
Term
|
Definition
| Distinction: Unconscious knowledge of possible grammatical structures in an idealized speaker |
|
|
Term
|
Definition
| Distinction: Actual production and comprehension of language in specific instances of language use |
|
|
Term
|
Definition
| understanding appropriateness of understanding music/speech and the use of it |
|
|
Term
| Principal of categorical perception |
|
Definition
| Perception of sounds that vary along acoustic continuum as belonging to two or more distinct categories without any intermediate cases |
|
|
Term
|
Definition
| Two lips stopping air. (bah) (pah) |
|
|
Term
|
Definition
| When voice is actually heard when using bilabial stop consonants |
|
|
Term
|
Definition
-Bounced infants differing on half-beats and beats
-Following this, infants tested by listening to sound samples with accents to test preference |
|
|
Term
| Reason for slower pace of grammar acquisition |
|
Definition
1. Infants are exposed to fewer music phrases than linguistic ones
2. Practical communicative benefits of knowledge are fewer than those of structural linguistic knowledge |
|
|
Term
|
Definition
| Require learners to abstract away from specific items in experience to discover underlying structure |
|
|
Term
|
Definition
| Detecting patterns of sounds, words, or other units in environment that are underlying structure |
|
|
Term
| Vocal onset time relationship with perception |
|
Definition
| As it increases, likelihood of perceiving "pa" over "ba" increases as well |
|
|
Term
|
Definition
| Engaging vocal chords and air being pushed out. People naturally categorize similar sounds |
|
|
Term
| Segmental-level processing |
|
Definition
| Processing of sound happens in segments, not in streams. Segments= consonant-vowel pairs |
|
|
Term
|
Definition
Prosodic features acting across many language segments. These include
1. Pitch
2. Loudness (decibles) or energy
3. Duration, or rate at which one produces speech
4. Spectral- voice quality and distinction of voice quality over time |
|
|
Term
|
Definition
| Statistical learning, rules, transitional probabilities, principles, and mechanisms |
|
|
Term
| Transitional probabilities |
|
Definition
| Probabilities that syllables follow one another and serve as cues to word boundaries |
|
|
Term
|
Definition
| Means by which mechanisms function |
|
|
Term
|
Definition
| Stimulus goes in and comes out differently, physical device substantiated by neurons |
|
|
Term
| Musical-rhythmic behavior |
|
Definition
| group of subskills concurrently operating and hierarchically organized |
|
|
Term
|
Definition
| General ability to time things in the world so that our behaviors occur in congruence with these events |
|
|
Term
| Smooth and ballistic movement |
|
Definition
|
|
Term
|
Definition
-saccade
1. initialization
2. momentum
3. deceleration |
|
|
Term
|
Definition
| Perceived regularities build expectations as to the timing of future events |
|
|
Term
| Coupling of action and perception |
|
Definition
| Dancing/tapping to listening to music is an example |
|
|
Term
| Error correction mechanisms |
|
Definition
1. Phase correction: phase-related adjustments involve unconscious (dorsal) processes. Puts performers in sync with each other
2. Period correction: period adjustments involve conscious (ventral) processes related to perception and planning. |
|
|
Term
|
Definition
| 1. Syllable-time language: every syllable is perceived as taking up about the same time although absolute length of time depends on the prosody |
|
|
Term
|
Definition
| Syllables may last different amounts of time but there is perceived to be a fairly constant amount of time or average between consecutive stressed syllables |
|
|
Term
|
Definition
Different in different languages
1. In general, lower sounds tend to mark beginning of a group
2. Lengthened sound often marks the end of a group |
|
|
Term
| Iverson, Patel and Ogush, 2006 |
|
Definition
| Found American speakers believe sound clips start at loud-soft |
|
|
Term
| Music manipulation experiment |
|
Definition
1. First transformation: each phoneme is replaced by a particular member of its own class
2. Second transformation: all consonants are replaced by (s) and vowels with (a) |
|
|
Term
|
Definition
| Equal time between stresses |
|
|
Term
|
Definition
| Equal time between syllable onsets |
|
|
Term
| Normalized pairwise variability index (nPUI) |
|
Definition
| measure of duration variability |
|
|
Term
| Relationship between duration difference and average length |
|
Definition
| Duration difference between each pair of intervals is measured relative to the average length of the pairs. English has a higher nPUI |
|
|
Term
| Ecological theory of music preferences |
|
Definition
Musical preference makes important contribution to the formation and maintenance of social identity by providing individuals with a social comparison for self-evaluation.
-It allows to note aesthetic distinctions between oneself and others |
|
|
Term
| How music spreads according to Noah mark |
|
Definition
| Through social network ties |
|
|
Term
| Assumptions of the ecological theory |
|
Definition
1. Network transmission: music preferences spread through network ties. You develop musical taste similar to those you interact with
2. Principle of Homophily: People who are similar in sociodemographic characteristics are more likely to interact with each other than people who are dissimilar
3. Time constraints: more a person likes a type of music the less time and energy that person has to develop and maintain preferences for other types |
|
|
Term
|
Definition
| form of knowledge that equips social agents with empathy toward appreciation for more competence in deciphering cultural relations and cultural artifacts |
|
|
Term
|
Definition
| A Person's probability of liking a type of music is negatively related to the person's social distance from the niche center of that type of music |
|
|
Term
|
Definition
| People located outside of the niche of a type of music and who are not fans of that music are less likely to be familiar with that type of music than are nonfans located inside the niche |
|
|
Term
|
Definition
| The greater the number of niches in which a person is located, the greater the number of types of music with which that person is familiar |
|
|
Term
|
Definition
| Social space from which a type of music most heavily draws its resources |
|
|
Term
|
Definition
| If a person is in the niche of a type of music, the probability that that person will like that type of music is negatively correlated with the number of niches that intersect at that persons location in sociodemographic space |
|
|
Term
| Weak preference hypothesis |
|
Definition
| The number of weak musical preferences a person maintains is positively related to the number of niches that overlap that person's location in social space |
|
|
Term
| Strong preference hypothesis |
|
Definition
| The number of weak musical preferences a person maintains is more strongly related to the number of niches that overlap at that person's location in social space than is the number of strong preferences a person maintains |
|
|
Term
|
Definition
1. Niche hypothesis
2. Familiarity hypothesis
3. Niche number hypothesis
4. Niche overlap hypothesis
5. Weak preference hypothesis
6. Strong preference hypothesis |
|
|
Term
|
Definition
| High-status people with wide variety of cultural tastes, including elite and non-elite cultural forms |
|
|
Term
|
Definition
| Low-status people only familiar with mass culture and not elite |
|
|
Term
| Distinguishing features of human rhythmic entrainment |
|
Definition
1. It typically occurs in much more complex contexts than a mere isochronous pulse.
2. Ability to entrain to a wide
range of tempi to the longest interval that can be retained as a memory trace
3. It's crossmodal nature, illustrated by the types of rhythmic movement that are aimed at synchronization but not sound production,such as in dance |
|
|
Term
| Three components of entrainment |
|
Definition
1. Rhythm detection (auditory system)
2. Rhythmic action (musculoskeletal system)
3. Integration of input and output |
|
|
Term
| Building blocks of entrainment |
|
Definition
1) the ability to detect rhythmic signals in the environment
2) the ability to produce rhythmic signals (including rhythmic signals that are byproducts of other functions, such as locomotion or feeding behavior), and 3) the ability to integrate sensory
information and motor production which enables adjustment of motor output based on rhythmic input |
|
|
Term
|
Definition
| rhythmic responsiveness to self-generated rhythmic signals |
|
|
Term
|
Definition
responsiveness to
rhythmic information generated by others |
|
|
Term
| Two types of social entrainment |
|
Definition
1. Mutual social entrainment: Rhythmic responsiveness during bidirectional information processing between two individuals results in a "loop" where output of each individuals' rhythmic production provides input for the other's processing system
2. Collective social entrainment: Characterized by a network of input/output connections among individuals of a group |
|
|
Term
| Stress-timed vs syllable-timed in regards to vowels |
|
Definition
stress-timed languages show a greater degree of vowel reduction than syllable-timed languages suggesting that the variability of vowel duration
should be greater in stress- vs. syllable-timed languages |
|
|
Term
| Stress-timed vs syllable-timed in terms of consonant sequences |
|
Definition
| stress-timed languages tend to permit complex syllables and thus may have greater durational variability in consonant sequences than syllable-timed languages (Ramus et al., 1999). |
|
|
Term
|
Definition
Theoretical unit of cultural information that propagates from one mind to another
-bits of information that travel together because of their structure
-it is the underlying representation, not the thing itself |
|
|
Term
|
Definition
Researchers wanted to see if musical structure evolves
-they presented listeners with pairs of sounds and asked their preference
-they would combine sounds that were preferred and discarded undesirable ones |
|
|
Term
|
Definition
| Things that arrange themselves free from instruction. For example, and anthill does not require instructions to create, it just is built |
|
|
Term
|
Definition
| coupling of rhythmic oscillators |
|
|
Term
| Ecological evolutionary theory of music |
|
Definition
| you pick up or share the preferences of those around you |
|
|
Term
|
Definition
coupling of independent oscillators (any entity that has periodic output). Requires transfer of energy.
-They have independent motors within that affects others outside |
|
|
Term
|
Definition
| Require learners to abstract away from specific sentences and figure out underlying structure |
|
|
Term
|
Definition
| learning patterns of sounds that cue underlying structures (children pick up what is most likely to occur after certain sounds, and learn language this way) |
|
|
Term
|
Definition
| Process by which an input is transformed and then exported as a distinct, different output in comparison to the input |
|
|
Term
|
Definition
| The means by which the transformation of the input occurs within a mechanism |
|
|
Term
|
Definition
|
|
Term
|
Definition
| You can measure variation in duration of vowels in both music and language. French has less variation than English. This is correlated with nPVI. Duration difference between a pair of intervals measured relative to the duration of each interval. |
|
|
Term
|
Definition
|
|
Term
|
Definition
Counterphase
in phase
out of phase |
|
|
Term
|
Definition
| Voice onset time is voicing time relative to the use of the plosive |
|
|
Term
| Phillips-silver & Trainor experiment |
|
Definition
-Experiment 1: Trained 7 month olds by bouncing them on every second beat, or on every third beat while listening to a 2-minutes music excerpt. After, they were tested for preference and found that they listened longer to excerpts that matched the beats they were bounced on
-Experiment 2: Identical to experiment 1 except they were blindfolded. Same results found
-Experiment 3: Instead of being bounced, infants watched the bouncing of a confederate. No preference was found here
-These results support connection between body movement and auditory rhythm processing |
|
|
Term
|
Definition
Britain and France, two countries whose natives speak languages that
are rhythmically quite distinct; British English tends to have a high degree
of syllable-to-syllable variability in syllable length, whereas French syllables
are somewhat more evenly timed. Using a measure of rhythmic variability
first developed for language, the authors discovered that British and French
music differ in much the same manner and direction as do British and French
speech. |
|
|
Term
| Reason for slower pace of musical grammar acquisition |
|
Definition
(1)infants are exposed to fewer examples of musical phrases than linguistic
ones (which seems likely, though this has not been shown quantitatively)
(2) the practical communicative benefits of knowledge about tonal
structure are fewer than the benefits of structural linguistic knowledge. |
|
|
Term
|
Definition
1. Performance: actual production and comprehension of language in specific instances of language use
2. Competence: unconscious knowledge of possible grammatical structures in an idealized speaker
2. |
|
|
Term
|
Definition
Had 2 versions of traditional chinese song
1. Unaccompanied
2. Accompanied
Infants listened longer to unaccompanied song across all ages |
|
|
Term
|
Definition
| Body also influences our cognition of music when physical action is coupled with listening to music |
|
|
Term
| Suprasegmental processing |
|
Definition
| Prosodic features act across many language segments, such as pitch, loudness, duration, and spectral. |
|
|
Term
|
Definition
| perceived regularities build expectations as to the timing of future events |
|
|
Term
|
Definition
| adjusting length of the period itself to make the two performers in sync with each other |
|
|
Term
|
Definition
| every syllable is perceived as taking up the same amount of time |
|
|
Term
|
Definition
| perceived to be a fairly equal amount of time between stresses, despite differences in syllable onsets |
|
|
