A Perceptual Study of Scale-degree Qualia in Context

Arthur, Claire

doi:10.1525/mp.2018.35.3.295

Cited by 19 publications

(30 citation statements)

References 19 publications

(26 reference statements)

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“…The competing hypothesis is that VMSEs may be difficult to process, and thus may pace the processing of simultaneously presented words (Slevc et al, 2009), but will ultimately support language-processing if they can be interpreted as a meaningful prosodic accent. This would be in line with the fact that musicologists such as Burns (2000) often interpret unexpected pitches and harmonies as meaningful, for example ironic (Burns, 2000), and the fact that both Huron (2006) and Arthur (2018) have shown that out-of-key notes can evoke specific qualia.…”

Section: Violations Of Music Syntactic Expectations As Prosodic Cues In Sung Sentences 20mentioning

confidence: 63%

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Singing as a figure of speech, music as punctuation

Schotanus¹

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Table of contents Acknowledgments General introductionThe Musical Foregrounding Hypothesis (MFH) Sub-hypotheses to be tested Song, singing, performance and other definitions A multi-disciplinary approach Preference rules and processing fluency Participants and stimuli Gold MSI and other subject factors Overview 1. The MFH checked against existing research 1.1 The MFH in musicology and literary research 1.1.1 The relationship between words and music in a song 1.1.2 Musical meaning 1.1.3 Song and literariness 1.1.3.1 The divide 1.1.3.2 Performance on the page 1.1.3.3 Demands of poetics and cognitive constraints 1.2 MFH-related evidence in empirical research 1.2.1Music-processing influences language-processing in a disturbing way 1.2.2 Music-processing influences language processing in a beneficial way 1.

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Section: Violations Of Music Syntactic Expectations As Prosodic Cues In Sung Sentences 20mentioning

confidence: 63%

“…Another option, more in line with the word-based design of the Sun and Cuthbert study, would be to investigate the alignment between word-sentiment and mode-related scale-tone qualia (Huron, 2006;Arthur, 2018). Albrecht (2018) came across a similar problem.…”

Section: Music Can Be Used To Further a Specific Interpretation Of Amentioning

confidence: 99%

Singing as a figure of speech, music as punctuation

Schotanus¹

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“…A promising approach to assessing the correlations between lyric affect and musical affect on the word level would be to compare scale-degree qualia (Arthur, 2018) with word sentiment. Yet, in doing so, one would have to reckon with note position within the measure.…”

Section: The Papermentioning

confidence: 99%

Comparing Word Affect and Tone Affect: Comment on Sun and Cuthbert 2017

Schotanus

2020

EMR

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In the article "Emotion Painting: Lyric, affect, and musical relationships in a large lead-sheet corpus", Sun and Cuthbert (2017) explored the correlations between affect-carrying lyrics and musical features such as beat strength, pitch height, consonance, and mode. Several musical features did indeed turn out to be highly correlated with the affect of the lyrics. However, correlations between other features, particularly mode-related musical features and lyric affect, were either insignificant or even contradicted previous research. In the current commentary, it is argued that the difference between the musical features that show significant correlations and those that do not is that the former have a local musical effect whereas the latter tend to affect the mood of a whole phrase or piece, and that the way Sun and Cuthbert estimate lyric affect for sentences or song may not be appropriate. Furthermore, a few remarks are made about the way Sun and Cuthbert treat multi-syllable words and about some basic assumptions concerning the relation between music and lyrics in a song. Nevertheless, the authors are praised for their innovative and interesting work, while several alternative and additional analyses (for example with scale-degree qualia and syncopations) are proposed.

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“…It is thought that Western listeners also form implicit scale-degree representations when listening to Western tonal music (e.g. Arthur, 2018). The key challenge in constructing such representations automatically is to simulate the process of key finding; that is, given a musical extract, to estimate the underlying key at each point in the extract.…”

Section: Tonalitymentioning

confidence: 99%

Representing Harmony in Computational Music Cognition

Harrison¹,

Pearce²

2020

Preprint

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Cognitive theories of harmony require unambiguous formal models of how listeners internally represent chords and chord progressions. Various model representations have been used in previous research, but it is not always clear what cognitive assumptions are implied by these different representations, and how these representations might be converted to one another. The present research systematically addresses these issues. First, we compile a network of 13 low-level harmonic representations relevant for music cognition, organised into three categories: symbolic, acoustic, and sensory. Second, we define integer encodings for four of these representations, which provide bijective mappings between set-based chord representations (e.g. '(0, {0, 3, 6})') and integer-based representations (e.g. '289'). Third, we introduce a new open-source R package, hrep (http://hrep.pmcharrison.com), which implements these different representations in an easy-to-use object-oriented framework. We also discuss computational methods for deriving higher-level representations from these low-level representations. This work should provide a useful platform for future research into harmony cognition.

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A Perceptual Study of Scale-degree Qualia in Context

Cited by 19 publications

References 19 publications

Singing as a figure of speech, music as punctuation

Singing as a figure of speech, music as punctuation

Comparing Word Affect and Tone Affect: Comment on Sun and Cuthbert 2017

Representing Harmony in Computational Music Cognition

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