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Bouvet CJ, Bardy BG, Keller PE, Dalla Bella S, Nozaradan S, Varlet M. Accent-induced Modulation of Neural and Movement Patterns during Spontaneous Synchronization to Auditory Rhythms. J Cogn Neurosci 2020; 32:2260-2271. [DOI: 10.1162/jocn_a_01605] [Citation(s) in RCA: 4] [Impact Index Per Article: 1.0] [Reference Citation Analysis] [Abstract] [Track Full Text] [Journal Information] [Subscribe] [Scholar Register] [Indexed: 11/04/2022]
Abstract
Abstract
Human rhythmic movements spontaneously synchronize with auditory rhythms at various frequency ratios. The emergence of more complex relationships—for instance, frequency ratios of 1:2 and 1:3—is enhanced by adding a congruent accentuation pattern (binary for 1:2 and ternary for 1:3), resulting in a 1:1 movement–accentuation relationship. However, this benefit of accentuation on movement synchronization appears to be stronger for the ternary pattern than for the binary pattern. Here, we investigated whether this difference in accent-induced movement synchronization may be related to a difference in the neural tracking of these accentuation profiles. Accented and control unaccented auditory sequences were presented to participants who concurrently produced finger taps at their preferred frequency, and spontaneous movement synchronization was measured. EEG was recorded during passive listening to each auditory sequence. The results revealed that enhanced movement synchronization with ternary accentuation was accompanied by enhanced neural tracking of this pattern. Larger EEG responses at the accentuation frequency were found for the ternary pattern compared with the binary pattern. Moreover, the amplitude of accent-induced EEG responses was positively correlated with the magnitude of accent-induced movement synchronization across participants. Altogether, these findings show that the dynamics of spontaneous auditory–motor synchronization is strongly driven by the multi-time-scale sensory processing of auditory rhythms, highlighting the importance of considering neural responses to rhythmic sequences for understanding and enhancing synchronization performance.
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Affiliation(s)
| | | | | | - Simone Dalla Bella
- Université Montpellier
- International Laboratory for Brain, Music and Sound Research (BRAMS), Montreal, Canada
- University of Montreal
- University of Economics and Human Sciences in Warsaw
| | - Sylvie Nozaradan
- Western Sydney University
- International Laboratory for Brain, Music and Sound Research (BRAMS), Montreal, Canada
- Université Catholique de Louvain
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2
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Matthews TE, Witek MA, Lund T, Vuust P, Penhune VB. The sensation of groove engages motor and reward networks. Neuroimage 2020; 214:116768. [DOI: 10.1016/j.neuroimage.2020.116768] [Citation(s) in RCA: 31] [Impact Index Per Article: 7.8] [Reference Citation Analysis] [Track Full Text] [Journal Information] [Subscribe] [Scholar Register] [Received: 11/10/2019] [Revised: 03/17/2020] [Accepted: 03/19/2020] [Indexed: 01/21/2023] Open
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3
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Abstract
In typical Western music, important pitches occur disproportionately often on important beats, referred to as the tonal-metric hierarchy (Prince & Schmuckler, 2014, Music Perception, 31, 254-270). We tested whether listeners are sensitive to this alignment of pitch and temporal structure. In Experiment 1, the stimuli were 200 artificial melodies with random pitch contours; all melodies had both a regular beat and a pitch class distribution that favored one musical key, but had either high or low agreement with the tonal-metric hierarchy. Thirty-two listeners rated the goodness of each melody, and another 41 listeners rated the melodies' metric clarity (how clear the beat was). The tonal-metric hierarchy did not affect either rating type, likely because the melodies may have only weakly (at best) established a musical key. In Experiment 2, we shuffled the pitches in 60 composed melodies (scrambling pitch contour, but not rhythm) to generate versions with high and low agreement with the tonal-metric hierarchy. Both ratings of goodness (N = 40) and metric clarity (N = 40) revealed strong evidence of the tonal-metric hierarchy influencing ratings; there was no effect of musical training. In Experiment 3, we phase-shifted, rather than shuffled, the pitches from the composed melodies, thus preserving pitch contour. Both rating types (goodness N = 43, metric clarity N = 32) replicated the results of Experiment 2. These findings establish the psychological reality of the tonal-metric hierarchy.
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Vikene K, Skeie GO, Specht K. Subjective judgments of rhythmic complexity in Parkinson's disease: Higher baseline, preserved relative ability, and modulated by tempo. PLoS One 2019; 14:e0221752. [PMID: 31479488 PMCID: PMC6719828 DOI: 10.1371/journal.pone.0221752] [Citation(s) in RCA: 1] [Impact Index Per Article: 0.2] [Reference Citation Analysis] [Abstract] [MESH Headings] [Grants] [Track Full Text] [Download PDF] [Figures] [Journal Information] [Subscribe] [Scholar Register] [Received: 06/27/2018] [Accepted: 08/14/2019] [Indexed: 11/21/2022] Open
Abstract
Previous research has demonstrated that people with Parkinson's disease (PD) have difficulties with the perceptual discrimination of rhythms, relative to healthy controls. It is not however clear if this applies only to simpler rhythms (a so called "beat-based" deficit), or if it is a more generalized deficit that also applies to more complex rhythms. Further insight into how people with PD process and perceive rhythm can refine our understanding of the well known problems of temporal processing in the disease. In this study, we wanted to move beyond simple/complex-dichotomy in previous studies, and further investigate the effect of tempo on the perception of musical rhythms. To this end, we constructed ten musical rhythms with a varied degree of complexity across three different tempi. Nineteen people with PD and 19 healthy controls part-took in an internet based listening survey and rated 10 different musical rhythms for complexity and likeability. In what we believe is the first study to do so, we asked for the participants subjective ratings of individual rhythms and not their capacity to directly compare or discriminate between them. We found an overall between-group difference in complexity judgments that was modulated by tempo, but not level of complexity. People with PD rated all rhythms as more complex across tempi, with significant group differences in complexity ratings at 120 and 150bpm, but not at 90bpm. Our analysis found a uniform elevated baseline for complexity judgments in the PD-group, and a strong association between the two groups' rank-ordering the rhythms for complexity. This indicates a preserved ability to discriminate between relative levels of complexity. Finally, the two groups did not significantly differ in their subjective scoring of likeability, demonstrating a dissimilarity between judgment of complexity and judgment of likeability between the two groups. This indicates different cognitive operations for the two types of judgment, and we speculate that Parkinson's disease affects judgment of complexity but not judgment of likeability.
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Affiliation(s)
- Kjetil Vikene
- Department of Biological and Medical Psychology, University of Bergen, Bergen, Norway
- Mohn Medical Imaging and Visualization Centre, Haukeland University Hospital, Bergen, Norway
| | - Geir Olve Skeie
- Department of Neurology, Haukeland University Hospital, Bergen, Norway
- The Grieg Academy - Department of Music, University of Bergen, Norway
| | - Karsten Specht
- Department of Biological and Medical Psychology, University of Bergen, Bergen, Norway
- Mohn Medical Imaging and Visualization Centre, Haukeland University Hospital, Bergen, Norway
- Department of Education, The Arctic University of Norway, Tromsø, Norway
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5
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Bouvet CJ, Varlet M, Dalla Bella S, Keller PE, Bardy BG. Accent-induced stabilization of spontaneous auditory-motor synchronization. PSYCHOLOGICAL RESEARCH 2019; 84:2196-2209. [PMID: 31203454 DOI: 10.1007/s00426-019-01208-z] [Citation(s) in RCA: 3] [Impact Index Per Article: 0.6] [Reference Citation Analysis] [Abstract] [MESH Headings] [Track Full Text] [Journal Information] [Subscribe] [Scholar Register] [Received: 10/17/2018] [Accepted: 06/03/2019] [Indexed: 01/12/2023]
Abstract
Humans spontaneously synchronize their movements with external auditory rhythms such as a metronome or music. Although such synchronization preferentially occurs toward a simple 1:1 movement-sound frequency ratio, the parameters facilitating spontaneous synchronization to more complex frequency ratios remain largely unclear. The present study investigates the dynamics of spontaneous auditory-motor synchronization at a range of frequency ratios between movement and sound, and examines the benefit of simple accentuation pattern on synchronization emergence and stability. Participants performed index finger oscillations at their preferred tempo while listening to a metronome presented at either their preferred tempo, or twice or three times faster (frequency ratios of 1:1, 1:2 or 1:3) with different patterns of accentuation (unaccented, binary or ternary accented), and no instruction to synchronize. Participants' movements were spontaneously entrained to the auditory stimuli in the three different frequency ratio conditions. Moreover, the emergence and stability of the modes of coordination were influenced by the interaction between frequency ratio and pattern of accentuation. Coherent patterns, such as a 1:3 frequency ratio supported by a ternary accentuation, facilitated the emergence and stability of the corresponding mode of coordination. Furthermore, ternary accentuation induced a greater gain in stability for the corresponding mode of coordination than was observed with binary accentuation. Together, these findings demonstrate the importance of matching accentuation pattern and movement tempo for enhanced synchronization, opening new perspectives for stabilizing complex rhythmic motor behaviors, such as running.
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Affiliation(s)
- Cécile J Bouvet
- EuroMov, Univ. Montpellier, Montpellier, France.
- The MARCS Institute for Brain, Behaviour and Development, Western Sydney University, Penrith, Australia.
| | - Manuel Varlet
- The MARCS Institute for Brain, Behaviour and Development, Western Sydney University, Penrith, Australia
- School of Social Sciences and Psychology, Western Sydney University, Penrith, Australia
| | - Simone Dalla Bella
- EuroMov, Univ. Montpellier, Montpellier, France
- International Laboratory for Brain, Music and Sound Research (BRAMS), Montreal, Canada
- Department of Psychology, University of Montreal, Montreal, Canada
- Department of Cognitive Psychology, WSFiZ in Warsaw, Warsaw, Poland
| | - Peter E Keller
- The MARCS Institute for Brain, Behaviour and Development, Western Sydney University, Penrith, Australia
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Bisesi E, Friberg A, Parncutt R. A Computational Model of Immanent Accent Salience in Tonal Music. Front Psychol 2019; 10:317. [PMID: 30984047 PMCID: PMC6449458 DOI: 10.3389/fpsyg.2019.00317] [Citation(s) in RCA: 3] [Impact Index Per Article: 0.6] [Reference Citation Analysis] [Abstract] [Key Words] [Track Full Text] [Download PDF] [Figures] [Journal Information] [Subscribe] [Scholar Register] [Received: 07/16/2018] [Accepted: 02/01/2019] [Indexed: 11/13/2022] Open
Abstract
Accents are local musical events that attract the attention of the listener, and can be either immanent (evident from the score) or performed (added by the performer). Immanent accents involve temporal grouping (phrasing), meter, melody, and harmony; performed accents involve changes in timing, dynamics, articulation, and timbre. In the past, grouping, metrical and melodic accents were investigated in the context of expressive music performance. We present a novel computational model of immanent accent salience in tonal music that automatically predicts the positions and saliences of metrical, melodic and harmonic accents. The model extends previous research by improving on preliminary formulations of metrical and melodic accents and introducing a new model for harmonic accents that combines harmonic dissonance and harmonic surprise. In an analysis-by-synthesis approach, model predictions were compared with data from two experiments, respectively involving 239 sonorities and 638 sonorities, and 16 musicians and 5 experts in music theory. Average pair-wise correlations between raters were lower for metrical (0.27) and melodic accents (0.37) than for harmonic accents (0.49). In both experiments, when combining all the raters into a single measure expressing their consensus, correlations between ratings and model predictions ranged from 0.43 to 0.62. When different accent categories of accents were combined together, correlations were higher than for separate categories (r = 0.66). This suggests that raters might use strategies different from individual metrical, melodic or harmonic accent models to mark the musical events.
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Affiliation(s)
- Erica Bisesi
- Centre for Systematic Musicology, University of Graz, Graz, Austria.,Laboratory "Perception and Memory", Department of Neuroscience, Institut Pasteur, Paris, France
| | - Anders Friberg
- Department of Speech, Music and Hearing, School of Electrical Engineering and Computer Science, KTH Royal Institute of Technology, Stockholm, Sweden
| | - Richard Parncutt
- Centre for Systematic Musicology, University of Graz, Graz, Austria
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Burunat I, Tsatsishvili V, Brattico E, Toiviainen P. Coupling of Action-Perception Brain Networks during Musical Pulse Processing: Evidence from Region-of-Interest-Based Independent Component Analysis. Front Hum Neurosci 2017; 11:230. [PMID: 28536514 PMCID: PMC5422442 DOI: 10.3389/fnhum.2017.00230] [Citation(s) in RCA: 18] [Impact Index Per Article: 2.6] [Reference Citation Analysis] [Abstract] [Key Words] [Track Full Text] [Download PDF] [Figures] [Journal Information] [Subscribe] [Scholar Register] [Received: 10/09/2016] [Accepted: 04/21/2017] [Indexed: 01/20/2023] Open
Abstract
Our sense of rhythm relies on orchestrated activity of several cerebral and cerebellar structures. Although functional connectivity studies have advanced our understanding of rhythm perception, this phenomenon has not been sufficiently studied as a function of musical training and beyond the General Linear Model (GLM) approach. Here, we studied pulse clarity processing during naturalistic music listening using a data-driven approach (independent component analysis; ICA). Participants' (18 musicians and 18 controls) functional magnetic resonance imaging (fMRI) responses were acquired while listening to music. A targeted region of interest (ROI) related to pulse clarity processing was defined, comprising auditory, somatomotor, basal ganglia, and cerebellar areas. The ICA decomposition was performed under different model orders, i.e., under a varying number of assumed independent sources, to avoid relying on prior model order assumptions. The components best predicted by a measure of the pulse clarity of the music, extracted computationally from the musical stimulus, were identified. Their corresponding spatial maps uncovered a network of auditory (perception) and motor (action) areas in an excitatory-inhibitory relationship at lower model orders, while mainly constrained to the auditory areas at higher model orders. Results revealed (a) a strengthened functional integration of action-perception networks associated with pulse clarity perception hidden from GLM analyses, and (b) group differences between musicians and non-musicians in pulse clarity processing, suggesting lifelong musical training as an important factor that may influence beat processing.
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Affiliation(s)
- Iballa Burunat
- Department of Music, Arts and Culture Studies, Finnish Centre for Interdisciplinary Music Research, University of JyväskyläJyväskylä, Finland
| | - Valeri Tsatsishvili
- Department of Mathematical Information Technology, University of JyväskyläJyväskylä, Finland
| | - Elvira Brattico
- Department of Clinical Medicine, Center for Music in the Brain, Aarhus University and The Royal Academy of Music Aarhus/AalborgAarhus, Denmark
| | - Petri Toiviainen
- Department of Music, Arts and Culture Studies, Finnish Centre for Interdisciplinary Music Research, University of JyväskyläJyväskylä, Finland
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Leow LA, Grahn JA. Neural mechanisms of rhythm perception: present findings and future directions. ADVANCES IN EXPERIMENTAL MEDICINE AND BIOLOGY 2014; 829:325-38. [PMID: 25358718 DOI: 10.1007/978-1-4939-1782-2_17] [Citation(s) in RCA: 16] [Impact Index Per Article: 1.6] [Reference Citation Analysis] [Abstract] [Track Full Text] [Subscribe] [Scholar Register] [Indexed: 01/13/2023]
Abstract
The capacity to synchronize movements to the beat in music is a complex, and apparently uniquely human characteristic. Synchronizing movements to the beat requires beat perception, which entails prediction of future beats in rhythmic sequences of temporal intervals. Absolute timing mechanisms, where patterns of temporal intervals are encoded as a series of absolute durations, cannot fully explain beat perception. Beat perception seems better accounted for by relative timing mechanisms, where temporal intervals of a pattern are coded relative to a periodic beat interval. Evidence from behavioral, neuroimaging, brain stimulation and neuronal cell recording studies suggests a functional dissociation between the neural substrates of absolute and relative timing. This chapter reviews current findings on relative timing in the context of rhythm and beat perception.
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Affiliation(s)
- Li-Ann Leow
- Department of Psychology, Brain and Mind Institute, University of Western Ontario, London, ON, Canada,
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Abstract
Perception of temporal patterns is fundamental to normal hearing, speech, motor control, and music. Certain types of pattern understanding are unique to humans, such as musical rhythm. Although human responses to musical rhythm are universal, there is much we do not understand about how rhythm is processed in the brain. Here, I consider findings from research into basic timing mechanisms and models through to the neuroscience of rhythm and meter. A network of neural areas, including motor regions, is regularly implicated in basic timing as well as processing of musical rhythm. However, fractionating the specific roles of individual areas in this network has remained a challenge. Distinctions in activity patterns appear between "automatic" and "cognitively controlled" timing processes, but the perception of musical rhythm requires features of both automatic and controlled processes. In addition, many experimental manipulations rely on participants directing their attention toward or away from certain stimulus features, and measuring corresponding differences in neural activity. Many temporal features, however, are implicitly processed whether attended to or not, making it difficult to create controlled baseline conditions for experimental comparisons. The variety of stimuli, paradigms, and definitions can further complicate comparisons across domains or methodologies. Despite these challenges, the high level of interest and multitude of methodological approaches from different cognitive domains (including music, language, and motor learning) have yielded new insights and hold promise for future progress.
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Affiliation(s)
- Jessica A Grahn
- Brain and Mind Institute & Department of Psychology, University of Western Ontario, London, Ontario N6A 5B7, Canada.
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10
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Abstract
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 metre) on goodness ratings and classifications of melodies. The pitches and durations of melodies were either presented 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 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 η(2) - time η(2) |) predicted the strength of pitch-time interactions (pitch × time η(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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Affiliation(s)
- Jon B Prince
- School of Psychology, Murdoch University, Murdoch, WA, Australia.
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Toiviainen P, Eerola T. Autocorrelation in meter induction: the role of accent structure. THE JOURNAL OF THE ACOUSTICAL SOCIETY OF AMERICA 2006; 119:1164-70. [PMID: 16521777 DOI: 10.1121/1.2146084] [Citation(s) in RCA: 4] [Impact Index Per Article: 0.2] [Reference Citation Analysis] [Abstract] [MESH Headings] [Track Full Text] [Subscribe] [Scholar Register] [Indexed: 05/07/2023]
Abstract
The performance of autocorrelation-based meter induction was tested with two large collections of folk melodies, consisting of approximately 13 000 melodies for which the correct meters were available. The performance was measured by the proportion of melodies whose meter was correctly classified by a discriminant function. Furthermore, it was examined whether including different melodic accent types would improve the classification performance. By determining the components of the autocorrelation functions that were significant in the classification it was found that periodicity in note onset locations was the most important cue for the determination of meter. Of the melodic accents included, Thomassen's melodic accent was found to provide the most reliable cues for the determination of meter. The discriminant function analyses suggested that periodicities longer than one measure may provide cues for meter determination that are more reliable than shorter periodicities. Overall, the method predicted notated meter with an accuracy reaching 96% for binary classification and 75% for classification into nine categories of meter.
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Affiliation(s)
- Petri Toiviainen
- Department of Music, P.O. Box 35(M), 40014 University of Jyväskylä, Jyväskylä, Finland
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Hannon EE, Snyder JS, Eerola T, Krumhansl CL. The role of melodic and temporal cues in perceiving musical meter. J Exp Psychol Hum Percept Perform 2005; 30:956-74. [PMID: 15462633 DOI: 10.1037/0096-1523.30.5.956] [Citation(s) in RCA: 63] [Impact Index Per Article: 3.3] [Reference Citation Analysis] [Abstract] [MESH Headings] [Track Full Text] [Journal Information] [Subscribe] [Scholar Register] [Indexed: 11/08/2022]
Abstract
A number of different cues allow listeners to perceive musical meter. Three experiments examined effects of melodic and temporal accents on perceived meter in excerpts from folk songs scored in 6/8 or 3/4 meter. Participants matched excerpts with 1 of 2 metrical drum accompaniments. Melodic accents included contour change, melodic leaps, registral extreme, melodic repetition, and harmonic rhythm. Two experiments with isochronous melodies showed that contour change and melodic repetition predicted judgments. For longer melodies in the 2nd experiment, variables predicted judgments best at the beginning of excerpts. The final experiment, with rhythmically varied melodies, showed that temporal accents, tempo, and contour change were the strongest predictors of meter. The authors' findings suggest that listeners combine multiple melodic and temporal features to perceive musical meter.
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Affiliation(s)
- Erin E Hannon
- Department of Psychology, Cornell University, Ithaca, NY, USA.
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Abstract
This series of experiments dealt with discrimination between two temporal patterns differing only by the insertion of an additional silent gap. In Experiment 1, patterns varied in metric and figural structure. Metric structure is described as the sense of temporal regularity that may occur between subjectively accented tones. Figural structure is described as the grouping of temporally adjacent tones separated by silences. Standard patterns were either strongly or weakly metric; comparison patterns differed from the standards by the insertion of a silence that disrupted either the metric structure alone or both the metric and the figural structures. Experiment 1 provided support for the roles of both metric and figural structures and provided support for the clock-induction model of Povel and Essens (1985) as an account of metric processing. In Experiments 2-4, discrimination of patterns with differing metric structures but identical figural structures was examined more closely. Rate of presentation of the patterns was varied. Multiple regression indicated that, independent of rate variations, discrimination improved as the absolute (not relative) duration of the silent gap increased. We argue that an additional timing mechanism, independent of pattern structure, is operative in temporal pattern discrimination. All the results were replicated across levels of music training of the listeners.
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Abstract
Rhythm and pitch are the 2 primary dimensions of music. They are interesting psychologically because simple, well-defined units combine to form highly complex and varied patterns. This article brings together the major developments in research on how these dimensions are perceived and remembered, beginning with psychophysical results on time and pitch perception. Progressively larger units are considered, moving from basic psychological categories of temporal and frequency ratios, to pulse and scale, to metrical and tonal hierarchies, to the formation of musical rhythms and melodies, and finally to the cognitive representation of large-scale musical form. Interactions between the dimensions are considered, and major theoretical proposals are described. The article identifies various links between musical structure and perceptual and cognitive processes, suggesting psychological influences on how sounds are patterned in music.
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Affiliation(s)
- C L Krumhansl
- Department of Psychology, Cornell University, Ithaca, New York 14853, USA.
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Dawe LA, Platt JR, Racine RJ. Rhythm perception and differences in accent weights for musicians and nonmusicians. PERCEPTION & PSYCHOPHYSICS 1995; 57:905-14. [PMID: 7651814 DOI: 10.3758/bf03206805] [Citation(s) in RCA: 20] [Impact Index Per Article: 0.7] [Reference Citation Analysis] [Abstract] [MESH Headings] [Track Full Text] [Subscribe] [Scholar Register] [Indexed: 01/26/2023]
Abstract
In order to investigate the contribution of harmonic-temporal and structural features to the perception of musical rhythm, three experiments were conducted in which a harmonic and a temporal accent were pitted against each other in such a way as to form five possible patterns. In three experiments, the temporal structure of various chord progressions was manipulated in an effort to determine the harmonic contributions to the inference of meter. The final experiment differed from the first two in the use of nondiatonic progressions that implied an unlikely key modulation. In all experiments, musicians and nonmusicians were requested to report perceived rhythm patterns in an attempt to determine the relative salience of various accents. Results indicated that changes in the temporal structure led to predictable change in an inferred meter, and that all diatonic chord progressions led to similar patterns of responses in which coincidences of harmonic, temporal, and metrical accents were perceptually salient events. Unusual progressions implying key modulations resulted in a qualitatively distinct pattern of results, and, in all experiments, amount of formal musical training was found to be a good predictor of the use of harmonic cues.
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Affiliation(s)
- L A Dawe
- Department of Psychology, University of Western Ontario, London, Canada
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