The early right anterior negativity (ERAN) in event-related potentials (ERPs) is typically elicited by syntactically unexpected events in Western tonal music. We examined how visual predictive information influences syntactic processing, how musical or non-musical cues have different effects, and how they interact with sequential effects between trials, which could modulate with the strength of the sense of established tonality. The EEG was recorded from musicians who listened to chord sequences paired with one of four types of visual stimuli; (...) two provided predictive information about the syntactic validity of the last chord through either musical notation of the whole sequence, or the word “regular” or “irregular”, while the other two, empty musical staves or a blank screen, provided no information. Half of the sequences ended with the syntactically invalid Neapolitan sixth chord, while the other half ended with the Tonic chord. Clear ERAN was observed in frontocentral electrodes in all conditions. A principal component analysis was performed on the grand average response in the audio-only condition, to separate spatio-temporal dynamics of different scalp areas as principal components and use them to extract auditory-related neural activities in the other visual-cue conditions. The first principal component (PC1) showed a symmetrical frontocentral topography, while the second (PC2) showed a right-lateralized frontal concentration. A source analysis confirmed the relative contribution of temporal sources to the former and a right frontal source to the latter. Cue predictability affected only the ERAN projected onto PC1, especially when the previous trial ended with the Tonic chord. The ERAN in PC2 was reduced in the trials following Neapolitan endings in general. However, the extent of this reduction differed between cue-types, whereby it was nearly absent when musical notation was used, regardless of whether the staves were filled with notes or empty. The results suggest that the right frontal areas carry out the primary role in musical syntactic analysis and integration of the ongoing context, which produce schematic expectations that, together with the veridical expectation incorporated by the temporal areas, inform musical syntactic processing in musicians. (shrink)

Spoken word recognition involves a perceptual tradeoff between the reliance on the incoming acoustic signal and knowledge about likely sound categories and their co-occurrences as words. This study examined how adult second language (L2) learners navigate between acoustic-based and knowledge-based spoken word recognition when listening to highly variable, multi-talker truncated speech, and whether this perceptual tradeoff changes as L2 listeners gradually become more proficient in their L2 after multiple months of structured classroom learning. First language (L1) Mandarin Chinese listeners and (...) L1 English-L2 Mandarin adult listeners took part in a gating experiment. The L2 listeners were tested twice—once at the start of their intermediate/advanced L2 language class and again two months later. L1 listeners were only tested once. Participants were asked to identify syllable-tone words that varied in syllable token frequency (high/low according to a spoken word corpus) and syllable-conditioned tonal probability (most probable/least probable in speech given the syllable). The stimuli were recorded by 16 different talkers and presented at eight gates ranging from onset-only (gate 1) through onset+40 ms increments (gates 2 through 7) to the full word (gate 8). Mixed-effects regression modeling was used to compare performance to our previous study which used single-talker stimuli (Wiener, Lee, & Tao, 2019). The results indicated that multi-talker speech caused both L1 and L2 listeners to rely greater on knowledge-based processing of tone. L1 listeners were able to draw on distributional knowledge of syllable-tone probabilities in early gates and switch to predominantly acoustic-based processing when more of the signal was available. In contrast, L2 listeners, with their limited experience with talker range normalization, were less able to effectively transition from probability-based to acoustic-based processing. Moreover, for the L2 listeners, the reliance on such distributional information for spoken word recognition appeared to be conditioned by the nature of the acoustic signal. Single-talker speech did not result in the same pattern of probability-based tone processing, suggesting that knowledge-based processing of L2 speech may only occur under certain acoustic conditions, such as multi-talker speech. (shrink)

Recent research has begun to explore individual differences in statistical learning, and how those differences may be related to other cognitive abilities, particularly their effects on language learning. In this research, we explored a different type of relationship between language learning and statistical learning: the possibility that learning a new language may also influence statistical learning by changing the regularities to which learners are sensitive. We tested two groups of participants, Mandarin Learners and Naïve Controls, at two time points, 6 (...) months apart. At each time point, participants performed two different statistical learning tasks: an artificial tonal language statistical learning task and a visual statistical learning task. Only the Mandarin-learning group showed significant improvement on the linguistic task, whereas both groups improved equally on the visual task. These results support the view that there are multiple influences on statistical learning. Domain-relevant experiences may affect the regularities that learners can discover when presented with novel stimuli. (shrink)

In this chapter we present a new approach to research in music perception allowing one to investigate how musical sound representations are formed in the human brain. By studying subjects' brain responses to unattended stimuli we can determine, for instance, whether neural circuits are more readily activated by musical sounds implicitly learned than by unfamiliar sounds even in non-musicians. Indeed, neuronal populations seem to respond more efficiently to pitch deviations within sound patterns following the rules of Western scale structure, (...) rather than to deviations inside patterns artificially created. Moreover, neural circuits are selectively activated by mistunings inside tonal melodies or by out-of-key chords inside harmonic cadences even when attention is not directed towards the sounds. These data together suggest that incoming sounds are more efficiently processed when they match the neural templates derived from our musical culture. The existence of 'musical memories' in the auditory cortex that are effortlessly activated enabling us, e.g., to identify and recognize speech vs. music sounds can thus be postulated. (shrink)

This study investigates the phonetics of German nuclear rise-fall contours in relation to contexts that trigger either a contrastive or a non-contrastive interpretation in the answer. A rise-fall contour can be conceived of a tonal sequence of L-H-L. A production study elicited target sentences in contrastive and non-contrastive contexts. The majority of cases realized showed a nuclear rise-fall contour. The acoustic analysis of these contours revealed a significant effect of contrastiveness on the height / alignment of the accent peak (...) as a function of focus context. On the other hand, the height / alignment of the low turning point at the beginning of the rise did not show an effect of contrastiveness. In a series of semantic congruency perception tests participants judged the congruency of congruent and incongruent context-stimulus pairs based on three different sets of stimuli: (i) original data, (ii) manipulation of accent peak, and (iii) manipulation of the leading low. Listeners distinguished nuclear rise-fall contours as a function of focus context (experiment 1 and 2), however not based on manipulations of the leading low (experiment 3). The results suggest that the alignment and scaling of the accentual peak are sufficient to license a contrastive interpretation of a nuclear rise-fall contour, leaving the rising part as a phonetic onglide, or as a low tone that does not interact with the contrastivity of the context. (shrink)

Speech and music reflect extraordinary aspects of human cognitive abilities. Pitch, as an important parameter in the auditory domain, has been the focus of previous research on the relations between speech and music. The present study continues this line of research by focusing on two aspects of pitch processing: pitch prominence and melodic expectation. Specifically, we examined the perceived boundary of prominence for focus/accent in speech and music, plus the comparison between the pitch expectation patterns of music and speech. Speech (...) (Mandarin Chinese) and music stimuli were created with different interval steps that increased from 1 semitone to 12 semitones from the third to the fourth word/note of a sentence/melody. The results showed that ratings of both accent/focus and expectation/surprise increased with increasing semitone distance from the baseline (though this pattern was mixed with tonal stability profiles for the melodies). Nevertheless, the perceived boundary of prominence was different for music and speech, with the boundary for detecting prominence in speech higher than that in music. Expectation also showed different patterns for speech and music. The results thus favor the suggestion that speech prosody and music melody tend to require specialized pitch patterns unique to their own respective communication purposes. (shrink)

Similar to visual perception, auditory perception also has a clearly described “pop-out” effect, where an element with some extra feature is easier to detect among elements without an extra feature. This phenomenon is better known as auditory perceptual asymmetry. We investigated such asymmetry between shorter or longer duration, and level or falling of pitch of linguistic stimuli that carry a meaning in one language, but not in another. For the mismatch negativity experiment, we created four different types of (...) class='Hi'>stimuli by modifying the duration of the first vowel [ɑ] and pitch contour of the stimuli words. The stimuli were synthesized from Estonian words and follow the Estonian language three-way quantity system, which incorporates tonal features together with temporal patterns. This made the meaning of the word dependent on the combination of both features and allows us to compare the relative contribution of duration and pitch contour in discrimination of language stimuli in the brain via MMN generation. The participants of the experiment were 12 Russian native speakers with little or no experience in Estonian and living in Estonia short-term, and 12 Estonian native speakers. We found that participants’ perception of the linguistic stimuli differed not only according to the physical features but also according to their native language, confirming that the meaning of the word interferes with the early automatic processing of phonological features. The GAMM and ANOVA analysis of the reversed design results showed that the deviant with longer duration among shorter standards elicited a MMN response with greater amplitude than the short deviant among long standards, while changes in pitch contour produced neither strong MMN nor asymmetry. Thus, we demonstrate the effect of language background on asymmetric perception of linguistic stimuli that aligns with those of previous studies, and contributes to the growing body of knowledge supporting auditory perceptual asymmetry. (shrink)

It has been claimed by Diana Raffman, that atonal (and in particular serial) music can have no aesthetic value, because it is in an important sense meaningless. This worthlessness is claimed to result from cognitive/psychological facts about human listeners that have been confirmed by empirical investigations such as those conducted by Lerdahl and Jackendoff. Similar assertions about the necessary inferiority of 12-tone music have been made by, among others, Taruskin, Cavell, and Goldman, some of whom echo Raffman’s suggestion that both (...) composers and performers of atonal music are committing a kind of fraud. This paper responds to all of those allegations. In particular, it points out that even if the empirical claim about human cognitive capacities with respect to the discernment of “local structure” in atonal works is assumed to be correct (which is actually quite doubtful), all the arguments brought by the “prosecution” against atonal music that rely on this claim are invalid. It is noted that such arguments by tonality advocates somewhat ironically rely on their own variety of what Taruskin has called “the poietic fallacy,” a gaff which he has frequently accused serialists (and perhaps alea supporters) of committing. Readers are reminded that the main basis for claims of aesthetic worth (or worthlessness) can never be primarily theoretical, but must be principally based on the experiences of beholders. (shrink)

This essay illustrates the main aspects of the discussion between Brentano and Stumpf about «tonal fusion». In his Tonpsychologie, Stumpf essentially moved from a Brentanian standpoint. Yet, he did not adopt Brentano’s subsequently developed new theory of «sensible qualities», so that a polemic eventually arouse between them. Far from representing a marginal issue, the episode is relevant to our understanding of their relationship. The discussion as to the mechanism of tonal fusion reveals a general divergence between Brentano and (...) Stumpf concerning the idea of human sensibility as a whole and of the method of psychology. (shrink)

Das Buch behandelt die Ästhetik der tonalen Musik. Analysiert werden Klangformen wie Konsonanz, Dissonanz, Tonalität, Takt, Kontrapunkt oder Motiv. Dabei zeigt sich: Alle harmonischen, rhythmischen und melodischen Klanggestalten sind ihrem Wesen nach Verhältnisse des klanglichen Zusammenpassens. Als solche sind sie systematisch aufeinander aufgebaut und bilden ein Ensemble aus acht ästhetischen Prinzipien, denen jeweils ein Kapitel dieses Buches gewidmet ist. In der logischen Abfolge dieser Kapitel wird der innere Zusammenhang von Harmonie, Rhythmus und Melodie offen gelegt. Die Suche nach einer "Bedeutung" (...) der musikalischen Formen ist nicht die Sache dieses Buches. Dann schon eher die schonungslose Kritik der theoretischen Absurditäten, die sich aus jener musikwissenschaftlichen Unsitte ergeben. (shrink)

In her essay examining how rhetoric attends to an “explicitly nonhermeneutic, ethical dimension” of the relationship between self and other, Diane Davis argues that the act of attunement is vital to the rhetorical challenge of “keep[ing] hermeneutic interpretation from absorbing the strictly rhetorical gesture of the [other’s] approach, which interrupts the movement of appropriation and busts any illusion of having understood” (2005, 208, original hers). This comment is part of a larger conversation about ethical action in the face of radical (...) alterity, those marks and gestures of the other that “communicate more than I can comprehend, a ‘surplus’ of alterity that I can neither appropriate nor abdicate” (2005 .. (shrink)

I try to indicate this special quality of classical intelligibility by linking it with the notion of "dual structure," a notion which should not be flattened to mean any sort of intelligibility to those listeners deemed "competent," especially if the term "competence" is used without qualification. Dual structure in music, as I construe it, is an intrastructural system of reference between pairs of discrete semiotic constructs both members of which are in some sense wholly embodied in a given musical structure. (...) These constructs include a general ground of meaning and more particularized semiotic configurations derived from that ground; and because both are present in the musical structure, the relationship between them—the meaning of the music—can be retrieved directly, wholly, and on a general scale. No extrastructural mediating explanation or specialized information or training is needed; the interpreter need merely use the musical equivalent of reason. The archetype of such a system in music seems to be the relation of implication or self-generation that obtains between premise and conclusion within a pure system of logic, which, as described by Kant in his account of theoretical reason, would be universally intelligible. Rose Rosengard Subotnik, assistant professor of music at the University of Chicago, is the author of articles on nineteenth-century music. Her essay which prompted this exchange, "The Cultural Message of Musical Semiology: Some Thoughts on Music, Language, and Criticism since the Enlightenment," appeared in the Summer 1978 issue of Critical Inquiry. (shrink)

Psychophysics measures the attributes of perceptual experience. The question of whether some of these attributes should be interpreted as more fundamental, or “real,” than others has been answered differently throughout its history. The operationism of Stevens and Boring answers “no,” reacting to the perceived vacuity of earlier debates about fundamentality. The subsequent rise of multidimensional scaling (MDS) implicitly answers “yes” in its insistence that psychophysical data be represented in spaces of low dimensionality. I argue the return of fundamentality follows from (...) a trend toward increasing epistemic humility. Operationism exhibited a kind of hubris in the constitutive role it assigned to the experimenter’s presuppositions that is abandoned by the algorithmic methods of MDS. This broad epistemic trend is illustrated by following the trajectory of research on a particular candidate attribute: tonal volume. (shrink)

Unconscious stimuli can influence participants’ motor behavior but also more complex mental processes. Recent research has gradually extended the limits of effects of unconscious stimuli. One field of research where such limits have been proposed is spatial cueing, where exogenous automatic shifts of attention have been distinguished from endogenous controlled processes which govern voluntary shifts of attention. Previous evidence suggests unconscious effects on mechanisms of exogenous shifts of attention. Here, we applied a cue-priming paradigm to a spatial cueing (...) task with arbitrary cues by centrally presenting a masked symmetrical prime before every cue stimulus. We found priming effects on response times in target discrimination tasks with the typical dynamic of cue-priming effects indicating that central symmetrical stimuli which have been associated with endogenous orienting can modulate shifts of spatial attention even when they are masked. Prime–Cue Congruency effects of perceptual dissimilar prime and cue stimuli suggest that these effects cannot be entirely reduced to perceptual repetition priming of cue processing. In addition, priming effects did not differ between participants with good and poor prime recognition performance consistent with the view that unconscious stimulus features have access to processes of endogenous shifts of attention. (shrink)

Lerdahl and Jackendoff's Generative Theory of Tonal Music (GTTM) is an important contribution to cognitive science. Jackendoff claims it is a computationalist theory and that the mental representations it postulates are unconscious. Thus GTTM looks to be a kind of cognitive science remote from the folk-psychological. I argue that this picture of GTTM is mistaken: GTTM is at least as much music analysis as cognitive science. Jackendoff's metatheory fails to explain how a listener can tell that a structural description (...) corresponds to the way she hears, how analytically minded listeners can communicate about their hearing, and how a reader of their book can comprehend it. I suggest an alternative construal, on which GTTM's analytical vocabulary functions as a public language and its mental representations are perceptual beliefs. Interesting philosophical problems ensue about knowledge of musical structure and knowledge about what structures one hears. There is a paradox: one wants an analysis to be true to a hearing, yet to be illuminating. Though analysis and hearing coincide in content at an abstract level, they do not coincide in conceptual content. What sort of knowledge then underlies the inference from perceptual to music-analytical representation? I argue that such knowledge is a priori. (shrink)

Is the tonal ordering of music, and the order of European triadic tonality in particular, the developed manifestation of an essential musical structure—a structure naturally suited to our human capacity to organize sounds musically? Historically and geographically, triadic tonality is a highly local phenomenon, limited to music beginning in the mid-seventeenth century and, until the nineteenth century, almost wholly confined to the Western European musical tradition. Some theorists accordingly regard tonality as a dispensable aesthetic convention—and one which, moreover, has (...) had its day. For many listeners, however, works within this tradition possess a distinctive ability to embody musical movement and expression. This paper examines Roger Scruton's defense of tonality as developed in the European common practice period. I examine his reasons for supposing that tonality is an ineliminable feature of sounds heard and understood as music. Those reasons, I conclude, are inconclusive; on their own they do not show that tonality either will or should persist as an authoritative musical order. Triadic tonality has, at best, an uncertain future. (shrink)

It has become customary in modern behavioristics to speak of stimuli as though they elicit responses from organisms. But logically this is absurd, for analysis of the grammatical roles of stimulus and response concepts shows that stimuli and responses differ in logical type from causes and effects. The "S elicits R" formula thus stands revealed as elliptical for a more complicated form of assertion. The trouble with this ellipsis, however, is that by suppressing vital components of formal structure (...) in behavioral principles, it has led to gratuitous assumptions about the environmental antecedents of behavior and seriously undermined the ability of behavior theory to assimilate the "higher mental processes.". (shrink)

Though explicit references to music are infrequent in Barthes's Collège de France lectures, Barthes's use of music in other work from the 1970s makes it clear that music can act as a fruitful analogy in consideration of the text. This article uses the serialist or atonal analogy, as set up by Barthes in ‘From Work to Text’ and elsewhere, to examine the structuring of Comment vivre ensemble and The Neutral. In viewing these courses as serial or open works we can, (...) it is hoped, arrive at a fuller understanding of their methodology and the role they ascribe to the listener or reader. The atonal analogy, however, is left behind in 1978, as Barthes's major projects employ more conventional, developmental structuring. It is here, then, that the analogy with tonality, again suggested by Barthes, can be usefully employed. (shrink)

The study aims to help characterize the sort of structures about which people can acquire unconscious knowledge. It is already well established that people can implicitly learn n-grams and also repetition patterns. We explore the acquisition of unconscious structural knowledge of symmetry. Chinese Tang poetry uses a specific sort of mirror symmetry, an inversion rule with respect to the tones of characters in successive lines of verse. We show, using artificial poetry to control both n-gram structure and repetition patterns, that (...) people can implicitly learn to discriminate inversions from non-inversions, presenting a challenge to existing models of implicit learning. (shrink)