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| convey information about a scale. Pattern of whole steps and half steps help identify scale. Rare interval=tritone |
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| 5-9 notes in scale because short-term memory can hold 7 things (+/- 2 at a time |
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| some notes are more important than other notes (1 and 5). Krumhansl and shepard. |
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| diagram of key relationships |
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| play a scale except for last note, and then play any note. Subjects rate on a scale of 1-7 how well/badly it fits (Krumhansl and Shepard) |
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| task that creates implicit learning and prepares one for experimental conditions |
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| type of theory of key. Can tell what key it is by listening to weird intervals (tritone, occurs between scale degrees 7 and 4 ex B and F) |
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| distributional theories of tonality |
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| we know what tonic is because tonic occurs the most. 3 or 5 occurs second most |
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| Krumhansl-Kessler tone profile |
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| squiggly diagram of the tone probe experiment, showing which notes were most important |
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| rare interval hypothesis and distributional theory |
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| : textural or sensory feel of a scale scale degree. Emotional. Ex: scale degree 1 feels like “home,” scale degree 5 feels powerful or dominating Huron! |
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| seventh scale degree or any scale degree that wants to lead another tone (2→1, 5→1, 7→1, 4→5) |
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| learning that occurs because of consistency of a certain result, or a correlation of two things. Occurs from numerical proof |
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| when you can guess what a note is going to be judging by the note before it |
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| when you can’t guess what a note is going to be, such as in atonal music |
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| exposure leads to preference. |
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| we like things we can predict (tonal music 4→5→1) |
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| a pattern of chords or notes that lets you know something is coming to a close (ex: perfect/imperfect authentic cadence) |
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| the baby little brain at the base of your neck/spine. Controls fine motor coordination, is more developed in women and musicians |
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| lobes of the brain (names and major function): |
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| parietal: touch, occipital: vision, temporal: auditory, frontal: high-level planning. Humans have more developed frontal lobes, gives us self-awareness FPOT |
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| frequency map. The pitches along the auditory cortex are set up in a spectrum. |
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| connects the cerebral hemispheres. More developed in musicians |
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| located in your temporal lobe. A little strip of brain; pitches are activated along it |
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| in the frontal lobe; associated with language production and has been linked to certain musical functions. On the left side of brain |
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| hemispheric lateralization |
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| a function is aligned along one side of the brain. Brain sides have general functions, but both hemispheres generally mirror each other |
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| the brain constantly changes to accommodate new material (changes shape) |
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| functional magnetic resonance imaging. capitalizes on the fact that neural activity requires increased levels of blood oxygen, and changes in the ratio of oxygenated to deoxygenated blood results in measurable changes to the electromagnetic field associated with that brain region. Thus, the scanner in fMRI is used to identify magnetic fields that reflect elevated blood oxygen levels (hence, increased neural activity). Measured as BOLD signal. Shoved in a tube!! Noisy, not good for auditory experiments |
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| : electroencephlogram. Put little electrodes on your scalp, and it can run for approx. 20 mins. Doesn’t measure where brain electricity is coming from, but when it happens. Least precise, but least invasive |
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| event-related potential. Represented as a wave (voltage over time) tat can have positive and negative deflections, representing the polarity of the electrical charge. P=positive, N=negative. Test result from EEG |
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| positron emission tomography. positron emission tomography. involves injecting a radioactive solution into the bloodstream. The solution emits positrons that interact with electrons to produce photos of electromagnetic radiation. A photon detector is then placed around the participant’s head to detect regions of the brain in which there is increased radioactivity. More radioactivity=greater blood flow/greater neural activity. |
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| MMN. occurs in the auditory cortex, and reflects the detection of basic features of sound, such as pitch, duration, loudness or timbre. Can be elicited even when participants are not attending to the change. |
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| brain is miswired to associate colors and/or tastes with another sense (for instance seeing colors when hearing a pitch) |
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| tone deafness. can happen from stroke or lesions |
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| deficit born with (tone deafness) |
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| deficits in speech. Unable to understand or produce speech. Wernicke’s (babbling, endlessly talk, no one can tell what you’re saying), and Broca’s (just can’t speak or make words. Can still understand everything). |
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| languages such as English and Italian, always same amount of time between stressed syllables. Stresses much more prominent, and spaced |
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| French. Always same amount of time between syllables |
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| normalized pairwise variability index. How similar a language’s prosody is to its musical culture/rules |
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| structure of language and/or music. Musical syntax: some kinds of chord progressions make sense while others do not |
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| requires at least two clinical cases: one case in which the first domain (e.g., music) is impaired and the second (e.g., speech) is spared, and another case in which the second domain is impaired and the first is spared |
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| measures pitch of speech prosody (musical contour of speech) |
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| tonal vs. sensory “closeness” |
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| tonal closeness: keys closely related on circle of fifths. Sensory closeness: keys share a lot of same notes (A minor and C major, relative minor) |
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| domain specific vs. general: |
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| domain specific refers to one specific function/category such as music, whereas general refers to many different functions |
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| the process of becoming used to the tendencies in the musical culture (babies less so than adults) |
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| window of time in which a certain task can be learned easily |
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| becoming used to a stimulus and not reacting to it as much as a result |
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| becoming aware of a stimulus once again and reacting to it. Ex: rat in a cage, one odd stimulus can make the original stimulus powerful again) |
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| preferential looking or preferential head-turn |
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| if they like it, they look at it. More likely to look at mom, or face vs. circle |
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| use a toy or novel stimulus to teach babies to turn their head during a certain event (such as a chord change). Babies have no preference for atonal or tonal music (culturally learned) Trainor & Trehub |
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| : motherspeak. Melodic speech used toward infants |
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| Krumhansl & Shepard (1979) |
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| : tone probe thing. Had a scale and left out the last note (ascending or descending). Played a random note afterward. People said how well it fit. Tonic=best fit, 2,3, and 5 also rated as good. Shows that 1,2,3,5 are more important than diatonic notes and WAY more important than non-diatanic notes. Showed tonal hierarchy. Musicians better than non-musicians |
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| scale degrees are cognitive, not perceptual (each scale degree has an innate mood or emotion that goes with it – qualia) |
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| plasticity. Pages of weird science stuff ☺ |
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| amusia. People with congenital amusia have no pitch discrimination or melodic expectations. Melodic same/different tests, and meter ID. |
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| British vs. French music. Languages affect musical compositions (stress-times vs. stress-whatever blah blah) |
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| Statistical learning, about tracking patterns in environment and acquiring statistical knowledge of their properties without feedback. French music matches French speech more than british music matches british speech |
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| newborn cry, French and German babies cries were tested and the cries matched the contour of speech |
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| babies distinguish between contour and speech. Changed melody, baby gets rewarded for knowing change (conditioned head turn) babies didn’t care whether diatonic or atonal. Culturation |
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