Influence of a tone’s tonal function on temporal change detection

Lebrun-Guillaud, Géraldine; Tillmann, Barbara

doi:10.3758/bf03192959

Cited by 19 publications

(15 citation statements)

References 80 publications

(92 reference statements)

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“…Similar results have been reported elsewhere with respect to both dimensions. For instance, the tonal stability of individual events following a musical context can influence temporal change detection (Lebrun-Guillaud & Tillmann, 2007), phoneme monitoring (Bigand, Tillmann, Poulin, D'Adamo, & Madurell, 2001), and temporal classification . Similarly for time, the metric stability of an event can affect detection accuracy of a change in a pitch pattern (Jones, Johnston, & Puente, 2006), and pitch height comparison (Jones et al, 2006;Jones et al, 2002) -but only in a context lacking conformity to typical pitch structure .…”

Section: ---Insert Figure 4 About Here----discussionmentioning

confidence: 99%

The Integration of Stimulus Dimensions in the Perception of Music

Prince

2011

Quarterly Journal of Experimental Psychology

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A central aim of cognitive psychology is to explain how we integrate stimulus dimensions into a unified percept, but how the dimensions of pitch and time combine in the perception of music remains a largely unresolved issue. The goal of this study was to test the effect of varying the degree of conformity to dimensional structure in pitch and time (specifically, tonality and meter) on goodness ratings and classifications of melodies. The pitches and durations of melodies were presented either in their original order, as a reordered sequence, or replaced with random elements. Musically trained and untrained participants (24 each) rated melodic goodness, attending selectively to the dimensions of pitch, time, or to both. Also, 24 trained participants classified whether or not the melodies were tonal, metric, or both. Pitch and temporal manipulations always influenced responses, but participants successfully emphasized either dimension in accordance with instructions. Effects of pitch and time were mostly independent for selective attention conditions, but more interactive when evaluating both dimensions. When interactions occurred, the effect of either dimension increased as the other dimension conformed more to its original structure. Relative main effect sizes (| pitch 2 -time 2 |) predicted the strength of pitch-time interactions (pitch*time 2 ); interactions were stronger when main effect sizes were more evenly matched. These results have implications for dimensional integration in several domains. Relative main effect size could serve as an indicator of dimensional salience, such that interactions are more likely when dimensions are equally salient.

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Section: ---Insert Figure 4 About Here----discussionmentioning

confidence: 99%

The Integration of Stimulus Dimensions in the Perception of Music

Prince

2011

Quarterly Journal of Experimental Psychology

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“…Passive exposure to this connection between pitch and temporal structures in Western music likely creates expectations for these combinations; thus, violations of this principle could be detrimental to a judgment along either dimension. Indeed, Lebrun-Guillaud and Tillmann (2007) reported that the accuracy of detecting a temporal shift improved when the tonal function of the note was strong.…”

Section: The Combination Of Pitch and Timementioning

confidence: 99%

Pitch and time, tonality and meter: How do musical dimensions combine?

Prince¹,

Thompson²,

Schmuckler³

2009

Journal of Experimental Psychology: Human Perception and Perfor

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The authors examined how the structural attributes of tonality and meter influence musical pitch-time relations. Listeners heard a musical context followed by probe events that varied in pitch class and temporal position. Tonal and metric hierarchies contributed additively to the goodness-of-fit of probes, with pitch class exerting a stronger influence than temporal position (Experiment 1), even when listeners attempted to ignore pitch (Experiment 2). Speeded classification tasks confirmed this asymmetry. Temporal classification was biased by tonal stability (Experiment 3), but pitch classification was unaffected by temporal position (Experiment 4). Experiments 5 and 6 ruled out explanations based on the presence of pitch classes and temporal positions in the context, unequal stimulus quantity, and discriminability. The authors discuss how typical Western music biases attention toward pitch and distinguish between dimensional discriminability and salience.

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“…The notion that auditory perception depends on pitchtime interactions in a normal brain is well supported in the literature (e.g., Boltz, 1998;Crowder & Neath, 1995;Henry & McAuley, 2009;Lebrun-Guillaud & Tillmann, 2007;Shigeno, 1993). The task that was used here was designed to create pitch-time interference with small pitch variations that amusics may be unaware of.…”

Section: Z(fa)]mentioning

confidence: 80%