Memory for musical surface

Krumhansl, Carol L.

doi:10.3758/bf03197145

Cited by 39 publications

(28 citation statements)

References 53 publications

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“…Numerous researchers have failed to find any joint effects of pitch and time in music perception, using a variety of methodologies such as judgments of melody completion, pleasantness, and similarity (Makris & Mullet, 2003;Monahan & Carterette, 1985;Palmer & Krumhansl, 1987a, 1987bPitt & Monahan, 1987), as well as recall, pitch change detection, matching, well-formedness ratings, and modulation detection tasks (Krumhansl, 1991;K. C. Smith & Cuddy, 1989;Thompson, 1993Thompson, , 1994Thompson, Hall, & Pressing, 2001).…”

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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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

View full text Add to dashboard Cite

show abstract

“…In fact, several researchers have addressed the question of how these dimensions combine in perceiving musical events. Whereas some evidence supports the view that these dimensions are independent (Fries & Swihart, 1990;Krumhansl, 1991;Makris & Mullet, 2003;Mavlov, 1980;Monahan & Carterette, 1985;Palmer & Krumhansl, 1987a, 1987bPeretz, 1990Peretz, , 1996Peretz & Kolinsky, 1993;Peretz et al, 1994;Pitt & Monahan, 1987;Schön & Besson, 2002;Smith & Cuddy, 1989;Thompson, 1993Thompson, , 1994Thompson, Hall, & Pressing, 2001), other evidence suggests the opposite (Abe & Okada, 2004;Boltz, 1989aBoltz, , 1989bBoltz, , 1989cBoltz, , 1991Boltz, , 1992Boltz, , 1993Boltz, , 1995Boltz, , 1998bCrowder & Neath, 1995;Deutsch, 1980;Griffiths, Johnsrude, Dean, & Green, 1999;Hébert & Peretz, 1997;Jones, 1987;Jones, Boltz, & Kidd, 1982;Jones, Johnston, & Puente, 2006;Jones, Moynihan, MacKenzie, & Puente, 2002;Jones & Ralston, 1991;Jones, Summerell, & Marshburn, 1987;Kelley & Brandt, 1984;Kidd, Boltz, & Jones, 1984;Monahan, Kendall, & Cartere...…”

Section: Introductionmentioning

confidence: 96%

The effect of task and pitch structure on pitch-time interactions in music

2009

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Musical pitch-time relations were explored by investigating the effect of temporal variation on musical pitch processing. In Experiment 1, musicians heard a standard tone, followed by a tonal context, then followed by a comparison tone, and performed one of two tasks. In the cognitive task, listeners were asked to ignore the standard tone and to judge whether the comparison tone was in the key of the context. In the perceptual task, listeners were asked to ignore the context and judge whether the comparison tone was higher or lower in pitch than the earlier standard tone. In both tasks, the comparison tone occurred early, on-time or late with respect to the temporal structure that the context established. Analyses of accuracy in both the cognitive and perceptual tasks failed to reveal any impact of temporal variation on pitch judgments. Experiment 2 used only the perceptual task, and varied the pitch structure by employing either a tonal context or an atonal context of random pitches, and manipulating the temporal placement of the comparison tone. Like Experiment 1, temporal variation had no effect on pitch height judgments for tonal contexts; however this variation influenced accuracy for atonal contexts. Experiment 3 replicated the results of Experiment 2 but also controlled several potentially confounding factors. We argue that tonal contexts bias listeners' attention toward pitch, thus eliminating effects of temporal variation, whereas atonal contexts do not favor pitch and thus foster pitch-time interactions in musical pitch processing.Task and structure 3

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“…Some studies, however, have addressed the recognition of contemporary musical excerpts. For instance, in Krumhansl (1991), participants were able to recognize excerpts despite changes in contour, pitch height, duration, dynamics, and interval size. However, no change in timbre was performed in this study, because all stimuli were played on the piano.…”

Section: Effects Of Instrumentation On Recognition 243mentioning

confidence: 99%

Effects of a Change in Instrumentation on the Recognition of Musical Materials

et al. 2004

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The present study investigates the effect of a change in instrumentation on the recognition of musical excerpts in Western contemporary and tonal music. The critical finding was a strong effect of timbre on the recognition of musical material that is modulated by both the extent of musical expertise and the musical style. Changing the instrumentation of musical excerpts from a piece by Reynolds considerably hampers recognition among musicians (Expts. 1 and 2), but not among nonmusicians, whose recognition was poor regardless of instrumentation. Both musicians and nonmusicians were affected by instrumentation change in excerpts from a symphonic poem by Liszt (Expt. 3). This finding suggests that timbre may contribute, along with pitch and rhythm, to the identity of musical materials. The difference found between musicians and nonmusicians with the Reynolds piece may be parsimoniously explained by the fact that the musicians were considerably more familiar with contemporary music than were the nonmusicians.

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Memory for musical surface

Cited by 39 publications

References 53 publications

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

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

The effect of task and pitch structure on pitch-time interactions in music

Effects of a Change in Instrumentation on the Recognition of Musical Materials

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