Listening As Introduction to the Perception of Auditory Events

Handel, Stephen

doi:10.1097/00003446-199006000-00016

Cited by 128 publications

(138 citation statements)

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“…(Recent work on musical grouping within the framework of GTTM includes the experimental research of Deliège, 1987 and the computational modeling of Temperley, 2001; for a more general review of experimental research on grouping and meter, see Handel, 1989, especially chapter 11.) In Fig.…”

Section: Grouping Structurementioning

confidence: 99%

The capacity for music: What is it, and what’s special about it?

2006

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We explore the capacity for music in terms of five questions: (1) What cognitive structures are invoked by music? (2) What are the principles that create these structures? (3) How do listeners acquire these principles? (4) What pre-existing resources make such acquisition possible? (5) Which aspects of these resources are specific to music, and which are more general?We examine these issues by looking at the major components of musical organization: rhythm (an interaction of grouping and meter), tonal organization (the structure of melody and harmony), and affect (the interaction of music with emotion). Each domain reveals a combination of cognitively general phenomena, such as gestalt grouping principles, harmonic roughness, and stream segregation, with phenomena that appear special to music and language, such as metrical organization. These are subtly interwoven with a residue of components that are devoted specifically to music, such as the structure of tonal systems and the contours of melodic tension and relaxation that depend on tonality. In the domain of affect, these components are especially tangled, involving the interaction of such varied factors as general-purpose aesthetic framing, communication of affect by tone of voice, and the musically specific way that tonal pitch contours evoke patterns of posture and gesture.

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Section: Grouping Structurementioning

confidence: 99%

The capacity for music: What is it, and what’s special about it?

2006

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“…In support of the Theory of Indispensable Attributes (TIA), Kubovy and Van Valkenburg appealed to work in auditory perceptual grouping which has demonstrated effects in frequency-time that are analogous to the visual Gestalt principles operating in space-time (e.g. Bregman, 1990;Handel, 1989). Further, they introduced additional parallels between space-time and frequency-time relating to figure-ground segregation and edge assignment that strengthen the case for a notion of auditory "objecthood" that is defined by frequency-time.…”

Section: Frequency and Time As The "Indispensable Attributes" Of Audimentioning

confidence: 99%

Auditory attention to frequency and time: an analogy to visual local–global stimuli

Justus

List

2005

Cognition

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Two priming experiments demonstrated exogenous attentional persistence to the fundamental auditory dimensions of frequency (Experiment 1) and time (Experiment 2). In a divided-attention task, participants responded to an independent dimension, the identification of three-tone sequence patterns, for both prime and probe stimuli. The stimuli were specifically designed to parallel the local-global hierarchical letter stimuli of [Navon D. (1977). Forest before trees: The precedence of global features in visual perception. Cognitive Psychology, 9, 353-383] and the task was designed to parallel subsequent work in visual attention using Navon stimuli [Robertson, L. C. (1996). Attentional persistence for features of hierarchical patterns. Journal of Experimental Psychology: General, 125, 227-249; Ward, L. M. (1982). Determinants of attention to local and global features of visual forms. Journal of Experimental Psychology: Human Perception and Performance, 8,[562][563][564][565][566][567][568][569][570][571][572][573][574][575][576][577][578][579][580][581]. The results are discussed in terms of previous work in auditory attention and previous approaches to auditory local-global processing.

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“…For other notes to be identified as the melody, various compositional tricks need to be applied such as making it much louder than the accompanying notes and making use of a single timbre throughout the melodic phrase. Sometimes the pitch of soloists is slightly higher than normal to accentuate the melody against a large body of sound [14].…”

Section: Mir Methods Developed At Rmitmentioning

confidence: 99%

An architecture for effective music information retrieval

Uitdenbogerd¹,

Zobel²

2004

J. Am. Soc. Inf. Sci.

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We have explored methods for music information retrieval for polyphonic music stored in the MIDI format. These methods use a query, expressed as a series of notes that are intended to represent a melody or theme, to identify similar pieces. Our work has shown that a three-phase architecture is appropriate for this task, in which the first phase is melody extraction, the second is standardisation, and the third is query-to-melody matching. We have investigated and systematically compared algorithms for each of these phases. To ensure that our results are robust, we have applied methodologies that are derived from text information retrieval: we developed test collections and compared different ways of acquiring test queries and relevance judgements. In this paper we review this program of work, compare to other approaches to music information retrieval, and identify outstanding issues.

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Listening As Introduction to the Perception of Auditory Events

Cited by 128 publications

References 0 publications

The capacity for music: What is it, and what’s special about it?

The capacity for music: What is it, and what’s special about it?

Auditory attention to frequency and time: an analogy to visual local–global stimuli

An architecture for effective music information retrieval

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