The cohort model of melody identification: Evaluating primacy and similarity

Schulkind, Matthew D.; Davis, Sarah

doi:10.1177/0305735611430432

Cited by 3 publications

(2 citation statements)

References 20 publications

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“…Studies of rapid musical recognition categorize stimuli either according to the number of notes presented (Dalla Bella et al, 2003;Schulkind, 2000Schulkind, , 2002Schulkind, , 2004aSchulkind, , 2004bSchulkind & Davis, 2013;Schulkind et al, 2003), or their duration in milliseconds. The use of same-duration stimuli often produces fragments of music that rarely correspond to full musical units.…”

Section: Duration Of Excerptsmentioning

confidence: 99%

Identifying songs from their piano-driven opening chords

Jimenez¹,

Kuusi

Czedik-Eysenberg³

et al. 2021

Musicae Scientiae

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It is currently believed that timbre plays a primary role in the identification of songs from very brief excerpts of music. However, its specific contribution, and those of other characteristics of the music, remain unclear. The aim of the present study was to investigate the contributions of timbre and chord type, voicing, and duration to participants’ ability to identify songs from their opening chords, played on the piano alone or on the piano and one other instrument. Ninety-three participants were asked to identify 20 songs from their opening chords. They were also asked to estimate the similarity between pairs of chords. We evaluated the contribution of 10 characteristics of chords to song identification rates, including brightness, pitch register, and duration, because of their high perceptual salience, and others chosen on the basis of theoretical predictions relating to auditory long-term memory. Song identification rates were associated with the chords’ brightness, familiarity and, to a lesser extent, pitch register, but not participants’ musical background. The results of the study suggest that listeners with and without musical training can identify songs from their opening chords, cued by both their timbral and non-timbral characteristics.

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Section: Duration Of Excerptsmentioning

confidence: 99%

Identifying songs from their piano-driven opening chords

Jimenez¹,

Kuusi

Czedik-Eysenberg³

et al. 2021

Musicae Scientiae

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“…More importantly, a Markov chain approximation assumes that each state (in this case, each transition to a new pitch-class) is independent of everything except the prior state, highly unlikely given the compositional conventions across the western canon, including a preference for small intervals (Narmour, 1990), and correlation between pitchclass distributions and the tonal hierarchy (e.g., Huron, 2006;Krumhansl, 1990). Markov models have been used in music perception to calculate similarity between melodies but only to quantify the difference between a target melody and several transformations of that same melody (Schulkind & Davis, 2013).…”

Section: The Current Studymentioning

confidence: 99%

An exploration of the relationship between melodic originality and fame in early 20th-century American popular music

Hass

2015

Psychology of Music

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The current study examined the relationship between fame and melodic originality among the refrains of over 500 early American popular songs. The main goals were to attempt to replicate results detailed by Simonton (1994), to compare different measures of melodic originality in the context of information theory, and to utilize hierarchical linear modeling in the analyses. The following hypotheses were tested: (1) melodic originality varies across historical time; (2) melodic originality is a positive function of composer age; and (3) fame is a curvilinear function of melodic originality. Results showed that melodic originality increased from 1916 to 1960—the period covered by the current corpus—which is consistent with hypothesis 1. Hypothesis 2 was not confirmed, as results showed a negative relationship between originality and age. The test of hypothesis 3 showed that a significant amount of the variation in fame could be attributed to a non-linear relationship with originality, but that the fame–originality relationship is moderated by genre (instrumental v. vocal). Implications for further studies of the psychomusical contributions to fame are discussed.

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A Cohort Model for Ash Mortality Risk Due to Potential Emerald Ash Borer Infestation

Jenkins¹,

Oduor²,

Kotchman³

et al. 2016

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Emerald ash borer (Agrilus planipennis Fairmaire) (Coleoptera: Buprestidae) is a phloem-feeding beetle native to Asia that is causing widespread mortality of ash trees in eastern North America. In this study, we quantify ash mortality risk associated with potential anthropogenic-induced introduction of Emerald Ash Borer (EAB) in North Dakota. The cohort model is calibrated with data from Ohio using weighting across factors-proximity to existing ash stands, campgrounds, roads and rails-to get a more accurate assessment of overall ash mortality risk. These factors are known to be associated with introduction of EAB to unaffected areas. Two protocols, a) "detection trees" and b) EAB traps are utilized to investigate EAB presence. Ash mortality risk maps such as the ones produced here may guide the placement of traps. Although North Dakota regions of high density ash tree stands are few, the resulting relative ash mortality risk map displays: a) very high risk areas around the Turtle Mountains and Theodore Roosevelt National Park and b) regions of high relative risk along the main riparian corridors. The applicability of risk maps such as the one developed may aid in assessing areas that may require significant monitoring.

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The cohort model of melody identification: Evaluating primacy and similarity

Cited by 3 publications

References 20 publications

Identifying songs from their piano-driven opening chords

Identifying songs from their piano-driven opening chords

An exploration of the relationship between melodic originality and fame in early 20th-century American popular music

A Cohort Model for Ash Mortality Risk Due to Potential Emerald Ash Borer Infestation

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