The mutability of pitch memory in a tonal context.

2018 ◽  
Vol 28 (1) ◽  
pp. 1-16
Author(s):  
Morwaread M. Farbood ◽  
Panayotis Mavromatis
Keyword(s):  
Tonal Context

Cents versus scale steps: Can we tell the difference between major and minor thirds?

2021 ◽  
pp. 030573562098727
Author(s):  
Pedro Neto ◽  
Patricia M Vanzella
Keyword(s):  
Auditory Processing ◽  
Perceptual Quality ◽  
Chromatic Scale ◽  
Major Scale ◽  
Accurate Performance ◽  
The Difference ◽  
Scale Step ◽  
Frequency Ratios ◽  
Tonal Context

We report an experiment in which participants ( N = 368) were asked to differentiate between major and minor thirds. These intervals could either be formed by diatonic tones from the C major scale (tonal condition) or by a subset of tones from the chromatic scale (atonal condition). We hypothesized that in the tonal condition intervals would be perceived as a function of scale step distances, which we defined as the number of diatonic leaps between two notes of a given music scale. In the atonal condition, we hypothesized that intervals would be perceived as a function of cents. If our hypotheses were supported, we should verify a less accurate performance in the tonal condition, where scale step distances are the same between major and minor thirds. The data corroborated our hypotheses, and we suggest that acoustic measurements of intervallic distances (i.e., frequency ratios and cents) are not optimal when it comes to describing the perceptual quality of intervals in a tonal context. Finally, our research points to the possibility that, in comparison with previous models, scale steps and cents might better capture the notion of global versus local instances of auditory processing.

scholarly journals Tonal priming is resistant to changes in pitch height

2020 ◽  
Author(s):  
Jon Prince ◽  
Dominique T Vuvan ◽  
Mark A. Schmuckler ◽  
Thomas T. Scott-Clark
Keyword(s):  
Reaction Time ◽  
Computational Models ◽  
Ceiling Effect ◽  
Behavioral Study ◽  
Pitch Height ◽  
Chord Sequence ◽  
Tonal Context

Research on tonal priming has consistently shown that tonally expected events are processed more efficiently and has confirmed that the locus of the effect is cognitive rather than sensory. However, it is also important to investigate the role of pitch height, because models of tonal priming collapse across octaves, yet it is possible that pitch height may modulate the effectiveness of tonal priming. We systematically tested this issue by varying the pitch heights of a related (tonic) or a less-related (subdominant) target chord following a tonal context. Musically untrained participants (N = 30) made speeded consonant/dissonant judgments of the final chord of an eight-chord sequence. The effects of tonal priming emerged in accuracy and reaction time measures for all octaves, except for a ceiling effect on accuracy in the matching (original pitch height) condition. In a second experiment, we increased the shift to two octaves and compressed the chords to eliminate overlap between the target and context chords; again, tonal priming emerged. These findings have implications for the behavioral study of tonal priming and support the assumption of octave equivalence in computational models.

Stop Laryngeal Distinctions Driven by Contrastive Effects of Neighboring Tones

2020 ◽  
pp. 002383092092289
Author(s):  
Sang-Im Lee-Kim
Keyword(s):  
Mandarin Chinese ◽  
Context Effects ◽  
Target Tone ◽  
High Tone ◽  
Tone Language ◽  
Positive Evidence ◽  
Linguistic Experience ◽  
Tonal Context

This study examined contrastive effects of neighboring tones that give rise to a systematic asymmetry in stop perception. Korean-speaking learners of Mandarin Chinese and naïve listeners labeled voiceless unaspirated stops preceded or followed by low or high extrinsic tonal context (e.g., maLO.pa vs. maHI.pa) either as lenis (associated with a low F0 at the vowel onset) or as fortis stops (with a high F0). Further, the target tone itself varied between level and rising (e.g., maLO.paLEV vs. maLO.paRIS). Both groups of listeners showed significant contrastive effects of extrinsic context. Specifically, more lenis responses were elicited in a high tone context than in a low one, and vice versa. This indicates that the onset F0 of a stop is perceived lower in a high tone context, which, in turn, provides positive evidence for lenis stops. This effect was more clearly pronounced for the level than for the contour tone target and also for the preceding than for the following context irrespective of linguistic experience. Despite qualitative similarities, learners showed larger effects for all F0 variables, indicating that the degree of context effects may be enhanced by one’s phonetic knowledge, namely sensitivity to F0 cues along with the processing of consecutive tones acquired through learning a tone language.

Identification of Mandarin coarticulated tones by inexperienced and experienced English learners of Mandarin

2013 ◽  
Vol 2 (1) ◽  
pp. 1-21 ◽  
Author(s):  
Yunjuan He ◽  
Ratree Wayland
Keyword(s):  
English Learners ◽  
Native English Speakers ◽  
English Speakers ◽  
Lexical Tones ◽  
Disyllabic Words ◽  
Tonal Perception ◽  
Mandarin Tones ◽  
Tonal Context ◽  
Syllable Position

AbstractTwo groups of native English speakers, relatively inexperienced (N = 14) with 3 months of Mandarin study and relatively more experienced (N = 14) with 12 months of study, were asked to identify coarticulated Mandarin lexical tones in disyllabic words. The results show that 1) the experienced learners were better at identifying Mandarin tones than the inexperienced learners, 2) Tones in coarticulation were more difficult to identify than tones in isolation, 3) tonal context and syllable position affected tonal perception, and 4) experienced learners committed fewer tonal direction errors than inexperienced learners. However, experienced learners still made a considerable amount of tonal height errors.

Implicit Absolute Pitch Representation Affects Basic Tonal Perception

2017 ◽  
Vol 34 (5) ◽  
pp. 569-584 ◽  
Author(s):  
Zohar Eitan ◽  
Moshe Shay Ben-Haim ◽  
Elizabeth Hellmuth Margulis
Keyword(s):  
Absolute Pitch ◽  
Occurrence Frequency ◽  
Tonal Music ◽  
Pitch Class ◽  
Harmonic Progression ◽  
Relative Pitch ◽  
Preceding Context ◽  
Tonal Hierarchy ◽  
Tonal Perception ◽  
Tonal Context

It is undisputed that the cognition of tonal music is primarily established by pitch relationships set within a tonal scheme such as a major or minor key. The corresponding notion—that absolute pitch and absolute key are largely inconsequential for tonal cognition—thus seems inevitable. Here, we challenge the latter notion, presenting data suggesting that absolute pitch and absolute key significantly modify listeners’ judgments of tonal fit and tonal tension. In two experiments extending the probe tone technique (as applied in Krumhansl & Kessler, 1982) participants heard a brief tonal context (a major triad in Experiment 1, a harmonic progression in Experiment 2) followed by individual probe tones, and rated how well each probe fitted the preceding context, as well as the musical tension conveyed by each probe. Two maximally distant key contexts, G major and D♭ major, were used in both experiments and in both tasks. Ratings revealed significant absolute pitch effects in both tasks, though in different ways. In the tonal fit task, diatonic pitches in G major were rated higher than those in D♭ major; in contrast, chromatic pitches were rated higher in D♭ major, compared to G. In the tension task, overall ratings were significantly higher for D♭ major contexts than for G major context (Experiment 1). Importantly, these effects reflect the occurrence frequency of pitch classes and keys in the tonal repertory: frequent pitch classes were rated as better fits than rarer ones, and a rarer key (D♭) rated tenser than a frequently-occurring key (G). Absolute pitch effects were most strongly manifested by participants without formal training, for whom the relative pitch effects of the tonal hierarchy were weak, and were stronger when tonal context was weaker (Experiment 1 as compared to Experiment 2). Results suggest that implicit absolute pitch perception, reflecting key and pitch class occurrence frequency, significantly affects tonal music processing; such absolute pitch effects may be activated principally when tonal perception or tonal cues are lacking.

Influence of tonal context and timbral variation on perception of pitch

2002 ◽  
Vol 64 (2) ◽  
pp. 198-207 ◽  
Author(s):  
Catherine M. Warrier ◽  
Robert J. Zatorre
Keyword(s):  
Tonal Context

The Development of Sensitivity to Tonality Structure of Music

2020 ◽  
Vol 37 (3) ◽  
pp. 225-239 ◽  
Author(s):  
Rie Matsunaga ◽  
Pitoyo Hartono ◽  
Koichi Yokosawa ◽  
Jun-ichi Abe
Keyword(s):  
Age Of Acquisition ◽  
Cross Cultural ◽  
Western Music ◽  
Japanese Children ◽  
Musical Culture ◽  
Musical Scale ◽  
Acquisition Process ◽  
Cultural Variations ◽  
Tonal Context

Tonal schemata are shaped by culture-specific music exposure. The acquisition process of tonal schemata has been delineated in Western mono-musical children, but cross-cultural variations have not been explored. We examined how Japanese children acquire tonal schemata in a bi-musical culture characterized by the simultaneous, and unbalanced, appearances of Western (dominant) music along with traditional Japanese (non-dominant) music. Progress of this acquisition was indexed by gauging children’s sensitivities to musical scale membership (differentiating scale-tones from non-scale-tones) and differences in tonal stability among scale tones (differentiating the tonic from another scale tone). Children (7-, 9-, 11-, 13-, and 14-year-olds) and adults judged how well two types of target tones (scale tone vs. non-scale tone; tonic vs. non-tonic) fit a preceding Western or traditional Japanese tonal context. Results showed that even 7-year-olds showed sensitivity to Western scale membership while sensitivity to Japanese scale membership did not appear until age nine. Also, sensitivity to the tonic emerged at age 13 for both types of melodies. These results suggest that even though they are exposed to both types of music simultaneously from birth, Japanese children begin by acquiring the tonal schema of the dominant Western music and this age of acquisition is not delayed relative to Western mono-musical peers.

A model for tonal context time course calculation from acoustical input

1996 ◽  
Vol 25 (3) ◽  
pp. 276-288 ◽  
Author(s):  
Özgür İzmirli ◽  
Semih Bilgen
Keyword(s):  
Time Course ◽  
Tonal Context
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