Influence of tonal and temporal expectations on chord processing and on completion judgments of chord sequences

Tillmann, Barbara; Lebrun-Guillaud, Géraldine

doi:10.1007/s00426-005-0222-0

Cited by 49 publications

(71 citation statements)

References 67 publications

(101 reference statements)

Supporting

Mentioning

Contrasting

Unclassified

Order By: Relevance

“…Major chords were in addition rated higher for consonance and pleasantness than minor chords, and were judged most quickly, corroborating the results of similar experiments that have demonstrated that more expected stimuli are processed more quickly Bigand & Pineau, 1997;Tillmann et al, 2008;Tillmann & Lebrun-Guillaud, 2006). …”

Section: Chords Without and With Musical Contextsupporting

confidence: 85%

On the fluidity of consonance and dissonance: The influence of musical context.

Arthurs¹,

Timmers²

2016

Psychomusicology: Music, Mind, and Brain

View full text Add to dashboard Cite

The consonance/dissonance (C/D) level of a triadic chord is not a fixed or absolute value.Rather, it is fluid, since C/D depends both on a chord's sonic characteristics and on the musical context in which it appears. To test the fluidity of C/D -the extent to which C/D perception is dependent on musical context -four types of chords, major, minor, augmented and diminished triads, were presented in isolation ("without musical context") and as part of a short cadence (IV-V-I, "with musical context"). The C/D level of each chord was judged, as was the overall C/D and pleasantness/unpleasantness (P/U) level of the cadences. When isolated, major triads were considered most consonant, followed by minor and diminished triads, while augmented triads were judged most dissonant. In the context of a musical cadence, this rank order remained the same, but augmented and diminished chords were evaluated as less or more dissonant depending on their functional position within the cadence (for instance, diminished triads were relatively consonant when on the subdominant, while augmented triads were relatively dissonant when on the tonic). These findings lend support to the hypotheses that: (a) the degree to which the harmonic function of a chord is familiar, and; (b) the degree to which a chord's stability (and hence also the listener's expectation) is violated contribute to the perception of C/D.

show abstract

Section: Chords Without and With Musical Contextsupporting

confidence: 85%

On the fluidity of consonance and dissonance: The influence of musical context.

Arthurs¹,

Timmers²

2016

Psychomusicology: Music, Mind, and Brain

View full text Add to dashboard Cite

show abstract

“…The current findings are relevant to existing theories of pitch-time integration. Regarding the local/global proposal (Bigand et al, 1999;Jones & Boltz, 1989;Tillmann & Lebrun-Guillaud, 2006), it is important to note that the present experiments always required attention to the entire melody (i.e., global tasks), yet the pattern of pitch-time integration varied. Instead, manipulating instructions affected whether interactions occurred, rather than showing overall evidence of interactions with these global tasks.…”

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

confidence: 93%

The Integration of Stimulus Dimensions in the Perception of Music

Prince

2011

Quarterly Journal of Experimental Psychology

View full text Add to dashboard Cite

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.

show abstract

“…Given that the cerebellum has also been associated with processing of temporal features (Ivry & Keele, 1989), we are currently investigating whether cerebellar patients are sensitive to temporal manipulations in the musical priming task (cf. Tillmann & Lebrun-Guillaud, 2006, for healthy listeners). The location of cerebellar damage for six of the patients is shown, excepting B5 and M1 for whom reconstructions were not available.…”

Section: Discussionmentioning

confidence: 98%

Cerebellar patients demonstrate preserved implicit knowledge of association strengths in musical sequences

Tillmann

Justus

Bigand

2008

Brain and Cognition

Self Cite

View full text Add to dashboard Cite

Recent findings suggest the involvement of the cerebellum in perceptual and cognitive tasks. Our study investigated whether cerebellar patients show musical priming based on implicit knowledge of tonal-harmonic music. Participants performed speeded phoneme identification on sung target chords, which were either related or less-related to prime contexts in terms of the tonal-harmonic system. As groups, both cerebellar patients and age-matched controls showed facilitated processing for related targets, as previously observed for healthy young adults. The outcome suggests that an intact cerebellum is not mandatory for accessing implicit knowledge stored in long-term memory and for its influence on perception. One patient showed facilitated processing for less-related targets (suggesting sensory priming). The findings suggest directions for future research on auditory perception in cerebellar patients to further our understanding of cerebellar functions. Keywordsnonverbal auditory perception/music perception; implicit knowledge; music cognition; cerebellum; cognitive priming; neuropsychology Numerous neuropsychological and neuroimaging findings suggest that the function of the cerebellum is not restricted to movement and motor control, but extends to perceptual and cognitive capacities. A seminal fMRI paper by Gao et al. (1996) reported that the dentate nuclei of the cerebellum were more active during manual tasks that emphasized sensory discrimination, rather than during movement per se. Neuroimaging studies have shown increased activation of the cerebellum during auditory tasks (Petacchi et al., 2005), such as frequency, intensity and duration discrimination (Belin et al., 2002), the processing of complex nonspeech sounds over pure tones (Vouloumanos et al., 2001), as well as for auditory attention (Janata, Tillmann, & Bharucha, 2002) and the perception of musical structures (Parsons, 2001;Tillmann, Janata, & Bharucha, 2003). Work in auditory perception is just one piece of a larger emerging picture that suggests potential cerebellar contributions to higher cognitive functions involving memory and language (see Fiez, 1996;Justus & Ivry, 2001 for reviews). Although the cerebellum seems to be implicated in perceptual and cognitive functions, no Correspondence concerning this article should be addressed to: Barbara Tillmann, Université Claude Bernard -Lyon I, CNRS UMR 5020, Neurosciences et Systèmes Sensoriels, 50 Av. Tony Garnier, F-69366 Lyon Cedex 07, France, Tel : +33 (0) 4 37 28 74 93, Fax : +33 (0) 4 37 28 76 01, barbara.tillmann@olfac.univ-lyon1.fr. Publisher's Disclaimer: This is a PDF file of an unedited manuscript that has been accepted for publication. As a service to our customers we are providing this early version of the manuscript. The manuscript will undergo copyediting, typesetting, and review of the resulting proof before it is published in its final citable form. Please note that during the production process errors may be discovered which could affect the content, and all legal disclaimers...

show abstract

Influence of tonal and temporal expectations on chord processing and on completion judgments of chord sequences

Cited by 49 publications

References 67 publications

On the fluidity of consonance and dissonance: The influence of musical context.

On the fluidity of consonance and dissonance: The influence of musical context.

The Integration of Stimulus Dimensions in the Perception of Music

Cerebellar patients demonstrate preserved implicit knowledge of association strengths in musical sequences

Contact Info

Product

Resources

About