Music Cognition Research Research Articles

Editors’ Introduction: Connectivity and Diversity in Music Cognition

Scholarly interest in the context of music listening and its influence on music cognition and connection is flourishing after decades of a predominantly individualistic approach. This article introduces a special issue that explores research on the theme of connectivity and diversity in music cognition research arising from the ICMPC16-ESCOM11 conference. The conference itself, held online during the later stages of the COVID-19 pandemic in 2021, transcended national borders, bringing together researchers and practitioners from multiple continents in a digital context. In this introduction, we set the scene for this topic as it related to the conference. The included papers are the outcome of workshops held as part of the conference. The first paper in the special issue explores the use of embodied consciousness as part of pedagogical strategies to help music performers connect with embodied memories that can support their understanding of the work they are performing. The second paper considers uses of music in the early stages of motherhood, including a comparison between the active choice to regularly sing or listen to music and its perceived effects for the mother and her infant. The papers and associated commentaries offer a window into the rich research theme of connectivity and diversity that is likely to be influential over the years to come.

The sound of manufactured music: Reviewing the role of artificial stimuli in music cognition research.

The sound of manufactured music: Reviewing the role of artificial stimuli in music cognition research.

Grounding Creativity in Music Perception? A Multidisciplinary Conceptual Analysis

To what extent can we understand and account for music perception as a creative process? In this paper we draw on recent work in music, creativity, and the cognitive humanities to suggest that the fundamentally creative aspect of music perception is not yet satisfactorily examined in existing research. We briefly review the state of scholarship into both creativity and music perception, and identify key points of convergence, which are prominent in work that investigates the mutuality of action and perception, and the exploratory bases of the latter, among others. Inspired by a growing number of contributions in 4E music cognition research, we argue that listening to music can involve mechanisms of active bodily engagement, along with the imaginative exploration of novel possibilities for thought and action. We put forward the view that this approach is important because of the way in which it can bring to the analytical centre stage a creative dimension that may not otherwise be apparent. The contribution of this paper involves this presentation of a multidisciplinary framework for the study of music perception, highlighting the integration of perception and action, and foregrounding this conception of creative cognition as a central aspect of music perception.

The Expectancy Dynamics of Anti-Tonal Twelve-Tone Rows: A Commentary and Reanalysis of von Hippel & Huron (2020)

This commentary provides two methodological expansions of von Hippel and Huron's (2020) empirical report on (anti-)tonality in twelve-tone rows by Arnold Schoenberg, Anton Webern, and Alban Berg. First, motivated by the theoretical importance of equality between all pitch classes in twelve-tone music, a full replication of their findings of "anti-tonality" in rows by Schoenberg and Webern is offered using a revised tonal fit measure which is not biased towards row-initial and row-final sub-segments. Second, motivated by a long-standing debate in music cognition research between distributional and sequential/dynamic tonality concepts, information-theoretic measures of entropy and information content are estimated by a computational model and pitted against distributional tonal fit measures. Whereas Schoenberg's rows are characterized by low distributional tonal fit, but do not strongly capitalize on tonal expectancy dynamics, Berg's rows exhibit tonal traits in terms of low unexpectedness, and Webern's rows achieve anti-tonal traits by combining high uncertainty and low unexpectedness through prominent use of the semitone interval. This analysis offers a complementary–and arguably more nuanced–picture of dodecaphonic compositional practice.

Neural and physiological relations observed in musical beat and meter processing.

IntroductionMusic is ubiquitous and powerful in the world's cultures. Music listening involves abundant information processing (e.g., pitch, rhythm) in the central nervous system and can also induce changes in the physiology, such as heart rate and perspiration. Yet, previous studies tended to examine music information processing in the brain separately from physiological changes. In the current study, we focused on the temporal structure of music (i.e., beat and meter) and examined the physiology, neural processing, and, most importantly, the relation between the two areas.MethodsSimultaneous MEG and ECG data were collected from a group of adults (N = 15) while they passively listened to duple and triple rhythmic patterns. To characterize physiology, we measured heart rate variability (HRV), indexing the parasympathetic nervous system function (PSNS). To characterize neural processing of beat and meter, we examined the neural entertainment and calculated the beat‐to‐meter ratio to index the relation between beat‐level and meter‐level entrainment. Specifically, the current study investigated three related questions: (a) whether listening to musical rhythms affects HRV; (b) whether the neural beat‐to‐meter ratio differed between metrical conditions, and (c) whether neural beat‐to‐meter ratio is related to HRV.ResultsResults suggest that while at the group level, both HRV and neural processing are highly similar across metrical conditions, at the individual level, neural beat‐to‐meter ratio significantly predicts HRV, establishing a neural–physiological link.ConclusionThis observed link is discussed under the theoretical “neurovisceral integration model,” and it provides important new perspectives in music cognition and auditory neuroscience research.

Interprofessional education of the next generation of musician-scientists through music cognition research training: An innovative platform for health professions and biomedical research.

The growth of the music cognition field in recent years has bloomed into what can only be seen now as a highly interdisciplinary space. Laboratories conducting research on how music affects physiology and behavior have become increasingly fertile ground for interprofessional education not only in biomedical research but also across the health professions. Here we discuss how music cognition research can provide a diverse array of skill development opportunities and set the tone for productive and innovative interdisciplinary collaboration training of future clinicians and biomedical researchers.

Rhythmic Recursion? Human Sensitivity to a Lindenmayer Grammar with Self-similar Structure in a Musical Task

Processing of recursion has been proposed as the foundation of human linguistic ability. Yet this ability may be shared with other domains, such as the musical or rhythmic domain. Lindenmayer grammars (L-systems) have been proposed as a recursive grammar for use in artificial grammar experiments to test recursive processing abilities, and previous work had shown that participants are able to learn such a grammar using linguistic stimuli (syllables). In the present work, we used two experimental paradigms (a yes/no task and a two-alternative forced choice) to test whether adult participants are able to learn a recursive Lindenmayer grammar composed of drum sounds. After a brief exposure phase, we found that participants at the group level were sensitive to the exposure grammar and capable of distinguishing the grammatical and ungrammatical test strings above chance level in both tasks. While we found evidence of participants’ sensitivity to a very complex L-system grammar in a non-linguistic, potentially musical domain, the results were not robust. We discuss the discrepancy within our results and with the previous literature using L-systems in the linguistic domain. Furthermore, we propose directions for future music cognition research using L-system grammars.

Metaphors for understanding harmony

In this article, I discuss the limitations of the main conceptual metaphor for the understanding of harmony in Western music, namely, the metaphor harmony is tension and relaxation, and suggest alternative metaphors for this experience that may aid in investigations about the expressive potential of harmony. I discuss how this metaphor acquired great importance in recent research in music cognition, and has been considered fundamental in the experience of meaning and emotion in music, but has had some shortcomings in accounting for this experience. I point out that the metaphor structures mainly the syntactical aspects of the harmony, but is not sufficient to account for what more semantic aspects of this experience would be. Lastly, I suggest the metaphors of harmony as forces, color and gesture as possibly interesting alternatives that may be promising in investigations on how harmonic materials, such as chords, chord progressions and key areas, become associated with different expressive meanings.

Learning of pitch and time structures in an artificial grammar setting.

Despite the empirical evidence for the power of the cognitive capacity of implicit learning of structures and regularities in several modalities and materials, it remains controversial whether implicit learning extends to the learning of temporal structures and regularities. We investigated whether (a) an artificial grammar can be learned equally well when expressed in duration sequences as when expressed in pitch sequences, (b) learning of the artificial grammar in either duration or pitch (as the primary dimension) sequences can be influenced by the properties of the secondary dimension (invariant vs. randomized), and (c) learning can be boosted when the artificial grammar is expressed in both pitch and duration. After an exposure phase with grammatical sequences, learning in a subsequent test phase was assessed in a grammaticality judgment task. Participants in both the pitch and duration conditions showed incidental (not fully implicit) learning of the artificial grammar when the secondary dimension was invariant, but randomizing the pitch sequence prevented learning of the artificial grammar in duration sequences. Expressing the artificial grammar in both pitch and duration resulted in disproportionately better performance, suggesting an interaction between the learning of pitch and temporal structure. The findings are relevant to research investigating the learning of temporal structures and the learning of structures presented simultaneously in 2 dimensions (e.g., space and time, space and objects). By investigating learning, the findings provide further insight into the potential specificity of pitch and time processing, and their integrated versus independent processing, as previously debated in music cognition research. (PsycINFO Database Record

Boosting maintenance in working memory with temporal regularities.

Music cognition research has provided evidence for the benefit of temporally regular structures guiding attention over time. The present study investigated whether maintenance in working memory can benefit from an isochronous rhythm. Participants were asked to remember series of 6 letters for serial recall. In the rhythm condition of Experiment 1A, a wood block sound was presented 6 times with a regular stimulus-onset-asynchrony during the delay between encoding and recall. In the silent condition, no sound was presented. The presence of the regular rhythm resulted in improved memory performance (Experiment 1A.), an effect also observed under articulatory suppression (Experiment 2), suggesting that temporal regularities can enhance maintenance in working memory including attentional refreshing. Experiment 1B confirmed this interpretation by showing that the presentation of a nonisochronous rhythm did not result in improved memory performance in comparison to a silent condition. The findings are discussed in relation to current working memory models and the theoretical framework of dynamic attending. (PsycINFO Database Record

The MUSOS (MUsic SOftware System) Toolkit: A computer-based, open source application for testing memory for melodies.

Despite numerous innovative studies, rates of replication in the field of music psychology are extremely low (Frieler et al., 2013). Two key methodological challenges affecting researchers wishing to administer and reproduce studies in music cognition are the difficulty of measuring musical responses, particularly when conducting free-recall studies, and access to a reliable set of novel stimuli unrestricted by copyright or licensing issues. In this article, we propose a solution for these challenges in computer-based administration. We present a computer-based application for testing memory for melodies. Created using the software Max/MSP (Cycling '74, 2014a), the MUSOS (Music Software System) Toolkit uses a simple modular framework configurable for testing common paradigms such as recall, old-new recognition, and stem completion. The program is accompanied by a stimulus set of 156 novel, copyright-free melodies, in audio and Max/MSP file formats. Two pilot tests were conducted to establish the properties of the accompanying stimulus set that are relevant to music cognition and general memory research. By using this software, a researcher without specialist musical training may administer and accurately measure responses from common paradigms used in the study of memory for music.

Compression-based Modelling of Musical Similarity Perception

Similarity is an important concept in music cognition research since the similarity between (parts of) musical pieces determines perception of stylistic categories and structural relationships between parts of musical works. The purpose of the present research is to develop and test models of musical similarity perception inspired by a transformational approach which conceives of similarity between two perceptual objects in terms of the complexity of the cognitive operations required to transform the representation of the first object into that of the second, a process which has been formulated in information-theoretic terms. Specifically, computational simulations are developed based on compression distance in which a probabilistic model is trained on one piece of music and then used to predict, or compress, the notes in a second piece. The more predictable the second piece according to the model, the more efficiently it can be encoded and the greater the similarity between the two pieces. The present research extends an existing information-theoretic model of auditory expectation (IDyOM) to compute compression distances varying in symmetry and normalisation using high-level symbolic features representing aspects of pitch and rhythmic structure. Comparing these compression distances with listeners’ similarity ratings between pairs of melodies collected in three experiments demonstrates that the compression-based model provides a good fit to the data and allows the identification of representations, model parameters and compression-based metrics that best account for musical similarity perception. The compression-based model also shows comparable performance to the best-performing algorithms on the MIREX 2005 melodic similarity task.

Response: A commentary on: "Neural overlap in processing music and speech".

Response: A commentary on: "Neural overlap in processing music and speech".

Miscommunication of science: music cognition research in the popular press

Miscommunication of science: music cognition research in the popular press

A Discussion of the Effect of Musical Context on Perception of Succession of Musical Events, and its Relevance for Philosophical Models of Temporal Experience

The article reviewed in this commentary takes philosophical models of temporal experience as its starting point, in an exploration of how an "experience of succession" may be distinguished from a mere "succession of experience". It is proposed that context is the important factor in differentiating the two experiences, rather than duration. Context is accounted for in broad terms, with specific discussion of gesture, performance environment, and mental imagery. The discussion may usefully pave the way for future collaboration between philosophers and psychologists. However, there are multiple fundamental findings in music cognition research, vital to any consideration of the context in which musical experiences occur (e.g. meter, tonality, expectation, familiarity), that could be factored into this discussion. The ideas discussed could be developed with greater consideration of recent empirical studies in music perception. Perhaps then a theoretical model of the experience of succession of musical events could give rise to experimental hypotheses, which may then be tested in order to further refine such models.

Social implications arise in embodied music cognition research which can counter musicological "individualism".

The agenda in music research that is broadly recognized as embodied music cognition has arrived hand-in-hand with a social interpretation of music, focusing on the real-world basis of its performance, and fostering an empirical approach to musician movement regarding the communicative function and potential of those movements. However, embodied cognition emerged from traditional cognitivism, which produced a body of scientific explanation of music-theoretic concepts. The analytical object of this corpus is based on the particular imagined encounter of a listener responding to an idealized “work.” Although this problem of essentialism has been identified within mainstream musicology, the lingering effects may spill over into interdisciplinary, empirical research. This paper defines the situation according to its legacy of individualism, and offers an alternative sketch of musical activity as performance event, a model that highlights the social interaction processes at the heart of musical behavior. I describe some recent empirical work based on interaction-oriented approaches, arguing that this particular focus – on the social interaction process itself – creates a distinctive and promising agenda for further research into embodied music cognition.

Measuring individual differences in musical beat alignment perception

Objective tests of musical abilities have been used in education and performance assessment, and as criterion-based measures in music cognition research. However, attempts to rigorously measure individual differences in musical abilities are few and recent (Law & Zentner, 2013; Mullensiefen et al., 2012). We present the psychometric development of a test of beat perception ability based on Iversen and Patel’s BAT procedure (2008). The test uses realistic and ecologically valid stimuli, covers a range of musical ability levels in the non-specialist population, and is compliant with a 1-parameter Rasch measurement model. We also report results from a mass experiment on musical listening abilities and musical behaviours in the general population ( N = cca. 139 000) which showed that individual differences in beat perception abilities are closely related to self-reported behaviours and also to an interaction between an individual’s level of musical training and psychoacoustic features of the stimulus items.

The Tonal-Metric Hierarchy

Despite the plethora of research on the role of tonality and meter in music perception, there is little work on how these fundamental properties function together. The most basic question is whether the two hierarchical structures are correlated – that is, do metrically stable positions in the measure preferentially feature tonally stable pitches, and do tonally stable pitches occur more often than not at metrically stable locations? To answer this question, we analyzed a corpus of compositions by Bach, Mozart, Beethoven, and Chopin, tabulating the frequency of occurrence of each of the 12 pitch classes at all possible temporal positions in the bar. There was a reliable relation between the tonal and metric hierarchies, such that tonally stable pitch classes and metrically stable temporal positions co-occurred beyond their simple joint probability. Further, the pitch class distribution at stable metric temporal positions agreed more with the tonal hierarchy than at less metrically stable locations. This tonal-metric hierarchy was largely consistent across composers, time signatures, and modes. The existence, profile, and constancy of the tonal-metric hierarchy is relevant to several areas of music cognition research, including pitch-time integration, statistical learning, and global effects of tonality.

The Need for a Cross-Cultural Empirical Musicology

The paper by Lara Pearson shows that a case study based on qualitative description may reveal interesting aspects about the co-occurrence of hand gestures and singing in a particular music culture. However, above all the paper lets us dream about what could be possible if forces from cultural studies and music cognition research were to be combined. A cross-cultural empirical musicology holds the promise of scientific work that goes far beyond qualitative descriptions.

The psychological functions of music listening

Why do people listen to music? Over the past several decades, scholars have proposed numerous functions that listening to music might fulfill. However, different theoretical approaches, different methods, and different samples have left a heterogeneous picture regarding the number and nature of musical functions. Moreover, there remains no agreement about the underlying dimensions of these functions. Part one of the paper reviews the research contributions that have explicitly referred to musical functions. It is concluded that a comprehensive investigation addressing the basic dimensions underlying the plethora of functions of music listening is warranted. Part two of the paper presents an empirical investigation of hundreds of functions that could be extracted from the reviewed contributions. These functions were distilled to 129 non-redundant functions that were then rated by 834 respondents. Principal component analysis suggested three distinct underlying dimensions: People listen to music to regulate arousal and mood, to achieve self-awareness, and as an expression of social relatedness. The first and second dimensions were judged to be much more important than the third—a result that contrasts with the idea that music has evolved primarily as a means for social cohesion and communication. The implications of these results are discussed in light of theories on the origin and the functionality of music listening and also for the application of musical stimuli in all areas of psychology and for research in music cognition.