Programming small computers to produce experiments in music cognition.

1989 ◽  
Vol 8 (2) ◽  
pp. 183-190
Author(s):  
W. Jay Dowling
Keyword(s):  
Music Cognition

scholarly journals Computational Modeling of Music Cognition: A Case Study on Model Selection

2006 ◽  
Vol 23 (5) ◽  
pp. 365-376 ◽  
Author(s):  
Henkjan Honing
Keyword(s):  
Model Selection ◽  
Strong Evidence ◽  
Goodness Of Fit ◽  
Computational Models ◽  
Recent Literature ◽  
Music Cognition ◽  
Kinematic Model ◽  
Music Performance ◽  
Limited Range

While the most common way of evaluating a computational model is to see whether it shows a good fit with the empirical data, recent literature on theory testing and model selection criticizes the assumption that this is actually strong evidence for the validity of a model. This article presents a case study from music cognition (modeling the ritardandi in music performance) and compares two families of computational models (kinematic and perceptual) using three different model selection criteria: goodness-of-fit, model simplicity, and the degree of surprise in the predictions. In the light of what counts as strong evidence for a model’s validity—namely that it makes limited range, nonsmooth, and relatively surprising predictions—the perception-based model is preferred over the kinematic model.

Tonal Hierarchies and Rare Intervals in Music Cognition

1990 ◽  
Vol 7 (3) ◽  
pp. 309-324 ◽  
Author(s):  
Carol L. Krumhansl
Keyword(s):  
Temporal Order ◽  
Music Cognition ◽  
Pitch Perception ◽  
Order Effects ◽  
The Third ◽  
Limited Applicability ◽  
Stimulus Materials ◽  
Psychological Experiments

Four issues raised by Butler's (1989) commentary are addressed. The first issue is the possibility that the results of perceptual studies of tonal hierarchies can be attributed to task-specific strategies developed in response to particular stimuli. Such strategies cannot account for the convergence across experiments employing varied tasks and stimulus materials. The second issue is the correspondence between statistical summaries of music and perceptual data. The correspondence is shown to be quite general and to have implications for the acquisition of tonal knowledge. The third issue is the process listeners use to identify the tonal center. Patternmatching to tonal hierarchies is shown to be a plausible process contributing to key-finding, whereas a tritone rule has limited applicability. The final issue is the effect of temporal order on pitch perception. Principled temporal-order effects are found in many psychological experiments, but not in those focusing on the tritone relation.

scholarly journals Music Cognition by W. Jay Dowling and Dane Harwood

1988 ◽  
Vol 83 (2) ◽  
pp. 840-840
Author(s):  
W. Jay Dowling ◽  
Dane Harwood ◽  
Mark C. Gridley
Keyword(s):  
Music Cognition

Effects of the Preceding Scale on Melodic Interval Judgment in Terms of Equality and Size

1991 ◽  
Vol 9 (1) ◽  
pp. 47-70 ◽  
Author(s):  
Minoru Tsuzaki
Keyword(s):  
Music Cognition ◽  
Musical Ability ◽  
Trained Subjects ◽  
Standard Interval ◽  
Modal Dispersion ◽  
Subjective Equality ◽  
Related Aspect ◽  
The Relationship ◽  
Diatonic Scale

In an investigation of interactions between scales and intervals in music cognition, melodic intervals were judged in three preceding-scale contexts: diatonic, chromatic, and no scale. Musically less trained and highly trained subjects compared standard and comparison intervals using three response categories: smaller, equal, and larger. Standard intervals began with notes B or C and ascended by 100, 150, or 200 cents. Discriminal dispersion was estimated for each combination of standard and comparison intervals, based on the assumption that the bandwidth of subjective equality was constant. The dispersion width and the modal dispersion corresponded to the equality- related and sizerelated aspects of interval judgments, respectively. The size-related aspect was strongly influenced by the size of the standard intervals. The point of balance, which corresponds to the traditional point of subjective equality (PSE), tended to be smaller as the standard interval became larger. It was, however, anchored to the point of musical equality when the standard interval began with the tonic. The equality-related aspect was influenced by the relationship between the preceding scale and the intervals to be judged. The diatonic preceding scale differentiated the intervals by their positions along the scale, that is, a sharp discriminal dispersion was estimated when the judged intervals were congruent with the diatonic scale. Such differentiation was not clearly observed in the chromatic condition. The relationship between these two aspects of interval judgment and the subject's musical ability is discussed.

Tape, Prince, and the Studio: Interview with Susan Rogers 23 May 2016, Cambridge, MA

2017 ◽  
Vol 14 (1) ◽  
pp. 135-147
Author(s):  
STEFAN HELMREICH ◽  
PETER McMURRAY
Keyword(s):  
Faculty Member ◽  
Music Cognition ◽  
Auditory Memory ◽  
Pop Music ◽  
Doctoral Studies ◽  
Mcgill University ◽  
Recording Studios ◽  
Work First

Susan Rogers has lived many musical lives. As a faculty member at Berklee College of Music, she directs the Berklee Music Cognition and Cognition Laboratory, expanding her research in auditory memory, which she began during her doctoral studies with Daniel Levitin at McGill University. She also teaches analogue studio production, drawing on two decades of experience in recording studios. She is especially well known for her years working as Prince's staff engineer (1983–87), a period in which she not only encountered Prince's own unique uses of tape, but also created his now-infamous tape vault. In many ways, the immediate impetus for this interview was Prince's untimely passing on 21 April 2016. In previous interviews, Rogers had already emerged as a lucid commentator on Prince's work first-hand, but that context adds a certain emotional heft to this interview, conducted one month after the pop music star's death.

Sign in / Sign up

Export Citation Format

Share Document