Music Cognition Literature - Revision history

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	<ul><li>[http://www.annualreviews.org/doi/abs/10.1146/annurev.ps.42.020191.001425?journalCode=psych Krumhansl CL. Music psychology: tonal structures in perception and memory. Annu Rev Psychol. 1991;42(1):277-303.]<ul><li>Mike's Summary: A fantastic meta-analysis of the Music Cognition literature up to 1991. Covers consonance, tuning and intonation (Parncutt, Terhardt, etc), categorical perception (Burns, Siegal, etc), AP, tonal heirarchies (Krumhansl), and the concept of "key"; also touches on some linguistic (Lerdahl and Jackendoff) and coding-theoretic approaches to music as well (Bharucha). Despite being 20 years old, this paper references a number of well-cited and significant studies for each of these subtopics of music cognition, and is a great starting point to delve into everything, especially the non-intonation related stuff (which regular temperament theory is silent on). '''This is a great starting point.'''</li></ul></li><li>[http://www.yale.edu/cogdevlab/aarticles/AcqHierTonalFunc.pdf Krumhansl CL, Keil FC. Acquisition of the hierarchy of tonal functions in music. Mem Cognit. 1982;10(3):243-51]<ul><li>Mike's Summary: This study goes into detail explaining how the tonal heirarchy is formed in children at different ages</li></ul></li><li>[http://www.utsc.utoronto.ca/~marksch/psyc56/Bharucha1994.pdf Musical Perceptions, Ch 8 - Tonality and Expectation, Jamshed Bharucha - ed. Aiello]<ul><li>Mike's Summary: This describes Bharucha's thoughts on the role of expectation and tonality; he asserts there must exist "schematic" and "veridical" expectations, the former of which are expectations underpinning the structure of the tonality, and the latter of which are things you expect upon hearing one particular piece</li></ul></li><li>[http://openscholar.purchase.edu/meagan_curtis/publications/memory-and-musical-expectation-tones-cultural-context Curtis ME, Bharucha JJ. Memory and Musical Expectation for Tones in Cultural Context. Music Perception. 2009;26(4):365-375.](Free full text)<ul><li>Mike's Summary: All in all, a mildly interesting, but weak study. I put it here so someone doesn't accidentally stumble on it again. They wanted to see if subjects would, upon hearing a tone set like C D E F A B C (e.g. C major without the G), "fill in" the missing G by misjudging that it was played in the tone set when it really wasn't. They test this with tone sets from both "Western" (C D E F G A B C) and "Indian" (C Db E F G Ab B C) source scales. However, their experiment seems to have failed - the highest probability of error occurred with "Indian" tone sets and "incongruous" test tones - not "Western" tone sets and "congruous" test tones as predicted - and this was statistically significant. However, despite this, they write "The false alarm effects reported above suggest criterion shifts,which would be expected for a process of “filling in” or expectation: tones that are filled in or expected are activated by the context, thereby biasing the judgment in favor of saying that the test tone is present." - !! I'm not sure if this is an error, or if they're trying to suggest something in the data which isn't there, or what's going on. They also measured reaction times and found that tones present in the "Western" scale (i.e. "Western/congruent" and "Indian/incongruent" situations) are processed more slowly than other tones.</li></ul></li></ul>		<ul><li>[http://www.annualreviews.org/doi/abs/10.1146/annurev.ps.42.020191.001425?journalCode=psych Krumhansl CL. Music psychology: tonal structures in perception and memory. Annu Rev Psychol. 1991;42(1):277-303.]<ul><li>Mike's Summary: A fantastic meta-analysis of the Music Cognition literature up to 1991. Covers consonance, tuning and intonation (Parncutt, Terhardt, etc), categorical perception (Burns, Siegal, etc), AP, tonal heirarchies (Krumhansl), and the concept of "key"; also touches on some linguistic (Lerdahl and Jackendoff) and coding-theoretic approaches to music as well (Bharucha). Despite being 20 years old, this paper references a number of well-cited and significant studies for each of these subtopics of music cognition, and is a great starting point to delve into everything, especially the non-intonation related stuff (which regular temperament theory is silent on). '''This is a great starting point.'''</li></ul></li><li>[http://www.yale.edu/cogdevlab/aarticles/AcqHierTonalFunc.pdf Krumhansl CL, Keil FC. Acquisition of the hierarchy of tonal functions in music. Mem Cognit. 1982;10(3):243-51]<ul><li>Mike's Summary: This study goes into detail explaining how the tonal heirarchy is formed in children at different ages</li></ul></li><li>[http://www.utsc.utoronto.ca/~marksch/psyc56/Bharucha1994.pdf Musical Perceptions, Ch 8 - Tonality and Expectation, Jamshed Bharucha - ed. Aiello]<ul><li>Mike's Summary: This describes Bharucha's thoughts on the role of expectation and tonality; he asserts there must exist "schematic" and "veridical" expectations, the former of which are expectations underpinning the structure of the tonality, and the latter of which are things you expect upon hearing one particular piece</li></ul></li><li>[http://openscholar.purchase.edu/meagan_curtis/publications/memory-and-musical-expectation-tones-cultural-context Curtis ME, Bharucha JJ. Memory and Musical Expectation for Tones in Cultural Context. Music Perception. 2009;26(4):365-375.](Free full text)<ul><li>Mike's Summary: All in all, a mildly interesting, but weak study. I put it here so someone doesn't accidentally stumble on it again. They wanted to see if subjects would, upon hearing a tone set like C D E F A B C (e.g. C major without the G), "fill in" the missing G by misjudging that it was played in the tone set when it really wasn't. They test this with tone sets from both "Western" (C D E F G A B C) and "Indian" (C Db E F G Ab B C) source scales. However, their experiment seems to have failed - the highest probability of error occurred with "Indian" tone sets and "incongruous" test tones - not "Western" tone sets and "congruous" test tones as predicted - and this was statistically significant. However, despite this, they write "The false alarm effects reported above suggest criterion shifts,which would be expected for a process of “filling in” or expectation: tones that are filled in or expected are activated by the context, thereby biasing the judgment in favor of saying that the test tone is present." - !! I'm not sure if this is an error, or if they're trying to suggest something in the data which isn't there, or what's going on. They also measured reaction times and found that tones present in the "Western" scale (i.e. "Western/congruent" and "Indian/incongruent" situations) are processed more slowly than other tones.</li></ul></li></ul>
	==Voice Leading==		==Voice Leading==
	<ul><li>Huron, David. Tone and Voice: A Derivation of the Rules of Voice Leading from Perceptual Principles. Music Perception. 2001;19(1):1-64. ([http://csml.som.ohio-state.edu/Huron/Publications/huron.voice.leading.html HTML], [http://cours.musique.umontreal.ca/MUS3321/MUS3321_DOC/Huron.ToneAndVoice.2001.pdf PDF])<ul><li>Jason's Summary: As the article's title suggests, Huron describes a number of fundamental perceptual principles (toneness, temporal continuity, minimum masking, tonal fusion, etc.) and uses them to derive several of the conventional rules of classical voice leading. The author gives basic accounts of all these, if you are not familiar with either the psychology of perception or the rules of voice leading. The article does not claim that classical voice leading rules are inviolable in creating good music, but that they are not arbitrary, elucidating how polyphonic sound is likely to be experienced by the listener.</li></ul></li></ul> [[~~Category:~~todo:link]]		<ul><li>Huron, David. Tone and Voice: A Derivation of the Rules of Voice Leading from Perceptual Principles. Music Perception. 2001;19(1):1-64. ([http://csml.som.ohio-state.edu/Huron/Publications/huron.voice.leading.html HTML], [http://cours.musique.umontreal.ca/MUS3321/MUS3321_DOC/Huron.ToneAndVoice.2001.pdf PDF])<ul><li>Jason's Summary: As the article's title suggests, Huron describes a number of fundamental perceptual principles (toneness, temporal continuity, minimum masking, tonal fusion, etc.) and uses them to derive several of the conventional rules of classical voice leading. The author gives basic accounts of all these, if you are not familiar with either the psychology of perception or the rules of voice leading. The article does not claim that classical voice leading rules are inviolable in creating good music, but that they are not arbitrary, elucidating how polyphonic sound is likely to be experienced by the listener.</li></ul></li></ul>

			= See also =
			* [[The Library]]

			{{todo\|link}}

Wikispaces>FREEZE at 00:00, 17 July 2018

2018-07-17T00:00:00Z

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← Older revision		Revision as of 20:58, 6 January 2013
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	=Psychoacoustics=		=Psychoacoustics=
			* [[@http://asadl.org/jasa/resource/1/jasman/v106/i6/p3564_s1?isAuthorized=no\|Burns EM, Houtsma AJM. The influence of musical training on the perception of sequentially presented mistuned harmonics. J. Acoust. Soc. Am. 1999;106(6):3564-.]]
			** Mike's Summary: more to come
	=Scales=		=Scales=
	* [[@http://www.brainmusic.org/EducationalActivitiesFolder/Trehub_scales1999.pdf\|Trehub SE, Schellenberg EG, Kamenetsky SB. Infants' and adults' perception of scale structure. J Exp Psychol Hum Percept Perform. 1999;25(4):965-75.]]		* [[@http://www.brainmusic.org/EducationalActivitiesFolder/Trehub_scales1999.pdf\|Trehub SE, Schellenberg EG, Kamenetsky SB. Infants' and adults' perception of scale structure. J Exp Psychol Hum Percept Perform. 1999;25(4):965-75.]]
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	<!-- ws:start:WikiTextHeadingRule:0:&lt;h1&gt; --><h1 id="toc0"><a name="Psychoacoustics"></a><!-- ws:end:WikiTextHeadingRule:0 -->Psychoacoustics</h1>		<!-- ws:start:WikiTextHeadingRule:0:&lt;h1&gt; --><h1 id="toc0"><a name="Psychoacoustics"></a><!-- ws:end:WikiTextHeadingRule:0 -->Psychoacoustics</h1>
	<br />		<ul><li><a class="wiki_link_ext" href="http://asadl.org/jasa/resource/1/jasman/v106/i6/p3564_s1?isAuthorized=no" rel="nofollow" target="_blank">Burns EM, Houtsma AJM. The influence of musical training on the perception of sequentially presented mistuned harmonics. J. Acoust. Soc. Am. 1999;106(6):3564-.</a><ul><li>Mike's Summary: more to come</li></ul></li></ul><!-- ws:start:WikiTextHeadingRule:2:&lt;h1&gt; --><h1 id="toc1"><a name="Scales"></a><!-- ws:end:WikiTextHeadingRule:2 -->Scales</h1>
	<!-- ws:start:WikiTextHeadingRule:2:&lt;h1&gt; --><h1 id="toc1"><a name="Scales"></a><!-- ws:end:WikiTextHeadingRule:2 -->Scales</h1>
	<ul><li><a class="wiki_link_ext" href="http://www.brainmusic.org/EducationalActivitiesFolder/Trehub_scales1999.pdf" rel="nofollow" target="_blank">Trehub SE, Schellenberg EG, Kamenetsky SB. Infants' and adults' perception of scale structure. J Exp Psychol Hum Percept Perform. 1999;25(4):965-75.</a><ul><li>Mike's Summary: more to come, but for now note that they're testing to see if babies like unequal scales more than equal ones, and that they test 7-EDO and orgone[7] in 11-EDO on babies!!</li></ul></li></ul><br />		<ul><li><a class="wiki_link_ext" href="http://www.brainmusic.org/EducationalActivitiesFolder/Trehub_scales1999.pdf" rel="nofollow" target="_blank">Trehub SE, Schellenberg EG, Kamenetsky SB. Infants' and adults' perception of scale structure. J Exp Psychol Hum Percept Perform. 1999;25(4):965-75.</a><ul><li>Mike's Summary: more to come, but for now note that they're testing to see if babies like unequal scales more than equal ones, and that they test 7-EDO and orgone[7] in 11-EDO on babies!!</li></ul></li></ul><br />
	<!-- ws:start:WikiTextHeadingRule:4:&lt;h1&gt; --><h1 id="toc2"><a name="Tonality"></a><!-- ws:end:WikiTextHeadingRule:4 -->Tonality</h1>		<!-- ws:start:WikiTextHeadingRule:4:&lt;h1&gt; --><h1 id="toc2"><a name="Tonality"></a><!-- ws:end:WikiTextHeadingRule:4 -->Tonality</h1>
	<ul><li><a class="wiki_link_ext" href="http://www.annualreviews.org/doi/abs/10.1146/annurev.ps.42.020191.001425?journalCode=psych" rel="nofollow" target="_blank">Krumhansl CL. Music psychology: tonal structures in perception and memory. Annu Rev Psychol. 1991;42(1):277-303.</a><ul><li>Mike's Summary: A fantastic meta-analysis of the Music Cognition literature up to 1991. Covers consonance, tuning and intonation (Parncutt, Terhardt, etc), categorical perception (Burns, Siegal, etc), AP, tonal heirarchies (Krumhansl), and the concept of &quot;key&quot;; also touches on some linguistic (Lerdahl and Jackendoff) and coding-theoretic approaches to music as well (Bharucha). Despite being 20 years old, this paper references a number of well-cited and significant studies for each of these subtopics of music cognition, and is a great starting point to delve into everything, especially the non-intonation related stuff (which regular temperament theory is silent on). <strong>This is a great starting point.</strong></li></ul></li><li><a class="wiki_link_ext" href="http://www.yale.edu/cogdevlab/aarticles/AcqHierTonalFunc.pdf" rel="nofollow" target="_blank">Krumhansl CL, Keil FC. Acquisition of the hierarchy of tonal functions in music. Mem Cognit. 1982;10(3):243-51</a><ul><li>Mike's Summary: This study goes into detail explaining how the tonal heirarchy is formed in children at different ages</li></ul></li><li><a class="wiki_link_ext" href="http://openscholar.purchase.edu/meagan_curtis/publications/memory-and-musical-expectation-tones-cultural-context" rel="nofollow" target="_blank">Curtis ME, Bharucha JJ. Memory and Musical Expectation for Tones in Cultural Context. Music Perception. 2009;26(4):365-375.</a>(Free full text)<ul><li>Mike's Summary: All in all, a mildly interesting, but weak study. I put it here so someone doesn't accidentally stumble on it again. They wanted to see if subjects would, upon hearing a tone set like C D E F A B C (e.g. C major without the G), &quot;fill in&quot; the missing G by misjudging that it was played in the tone set when it really wasn't. They test this with tone sets from both &quot;Western&quot; (C D E F G A B C) and &quot;Indian&quot; (C Db E F G Ab B C) source scales. However, their experiment seems to have failed - the highest probability of error occurred with &quot;Indian&quot; tone sets and &quot;incongruous&quot; test tones - not &quot;Western&quot; tone sets and &quot;congruous&quot; test tones as predicted - and this was statistically significant. However, despite this, they write &quot;The false alarm effects reported above suggest criterion shifts,which would be expected for a process of “filling in” or expectation: tones that are filled in or expected are activated by the context, thereby biasing the judgment in favor of saying that the test tone is present.&quot; - !! I'm not sure if this is an error, or if they're trying to suggest something in the data which isn't there, or what's going on. They also measured reaction times and found that tones present in the &quot;Western&quot; scale (i.e. &quot;Western/congruent&quot; and &quot;Indian/incongruent&quot; situations) are processed more slowly than other tones.</li></ul></li></ul><!-- ws:start:WikiTextHeadingRule:6:&lt;h2&gt; --><h2 id="toc3"><a name="Tonality-Voice Leading"></a><!-- ws:end:WikiTextHeadingRule:6 -->Voice Leading</h2>		<ul><li><a class="wiki_link_ext" href="http://www.annualreviews.org/doi/abs/10.1146/annurev.ps.42.020191.001425?journalCode=psych" rel="nofollow" target="_blank">Krumhansl CL. Music psychology: tonal structures in perception and memory. Annu Rev Psychol. 1991;42(1):277-303.</a><ul><li>Mike's Summary: A fantastic meta-analysis of the Music Cognition literature up to 1991. Covers consonance, tuning and intonation (Parncutt, Terhardt, etc), categorical perception (Burns, Siegal, etc), AP, tonal heirarchies (Krumhansl), and the concept of &quot;key&quot;; also touches on some linguistic (Lerdahl and Jackendoff) and coding-theoretic approaches to music as well (Bharucha). Despite being 20 years old, this paper references a number of well-cited and significant studies for each of these subtopics of music cognition, and is a great starting point to delve into everything, especially the non-intonation related stuff (which regular temperament theory is silent on). <strong>This is a great starting point.</strong></li></ul></li><li><a class="wiki_link_ext" href="http://www.yale.edu/cogdevlab/aarticles/AcqHierTonalFunc.pdf" rel="nofollow" target="_blank">Krumhansl CL, Keil FC. Acquisition of the hierarchy of tonal functions in music. Mem Cognit. 1982;10(3):243-51</a><ul><li>Mike's Summary: This study goes into detail explaining how the tonal heirarchy is formed in children at different ages</li></ul></li><li><a class="wiki_link_ext" href="http://openscholar.purchase.edu/meagan_curtis/publications/memory-and-musical-expectation-tones-cultural-context" rel="nofollow" target="_blank">Curtis ME, Bharucha JJ. Memory and Musical Expectation for Tones in Cultural Context. Music Perception. 2009;26(4):365-375.</a>(Free full text)<ul><li>Mike's Summary: All in all, a mildly interesting, but weak study. I put it here so someone doesn't accidentally stumble on it again. They wanted to see if subjects would, upon hearing a tone set like C D E F A B C (e.g. C major without the G), &quot;fill in&quot; the missing G by misjudging that it was played in the tone set when it really wasn't. They test this with tone sets from both &quot;Western&quot; (C D E F G A B C) and &quot;Indian&quot; (C Db E F G Ab B C) source scales. However, their experiment seems to have failed - the highest probability of error occurred with &quot;Indian&quot; tone sets and &quot;incongruous&quot; test tones - not &quot;Western&quot; tone sets and &quot;congruous&quot; test tones as predicted - and this was statistically significant. However, despite this, they write &quot;The false alarm effects reported above suggest criterion shifts,which would be expected for a process of “filling in” or expectation: tones that are filled in or expected are activated by the context, thereby biasing the judgment in favor of saying that the test tone is present.&quot; - !! I'm not sure if this is an error, or if they're trying to suggest something in the data which isn't there, or what's going on. They also measured reaction times and found that tones present in the &quot;Western&quot; scale (i.e. &quot;Western/congruent&quot; and &quot;Indian/incongruent&quot; situations) are processed more slowly than other tones.</li></ul></li></ul><!-- ws:start:WikiTextHeadingRule:6:&lt;h2&gt; --><h2 id="toc3"><a name="Tonality-Voice Leading"></a><!-- ws:end:WikiTextHeadingRule:6 -->Voice Leading</h2>
	<ul><li>Huron, David. Tone and Voice: A Derivation of the Rules of Voice Leading from Perceptual Principles. Music Perception. 2001;19(1):1-64. (<a class="wiki_link_ext" href="http://csml.som.ohio-state.edu/Huron/Publications/huron.voice.leading.html" rel="nofollow" target="_blank">HTML</a>, <a class="wiki_link_ext" href="http://cours.musique.umontreal.ca/MUS3321/MUS3321_DOC/Huron.ToneAndVoice.2001.pdf" rel="nofollow" target="_blank">PDF</a>)<ul><li>Jason's Summary: As the article's title suggests, Huron describes a number of fundamental perceptual principles (toneness, temporal continuity, minimum masking, tonal fusion, etc.) and uses them to derive several of the conventional rules of classical voice leading. The author gives basic accounts of all these, if you are not familiar with either the psychology of perception or the rules of voice leading. The article does not claim that classical voice leading rules are inviolable in creating good music, but that they are not arbitrary, elucidating how polyphonic sound is likely to be experienced by the listener.</li></ul></li></ul></body></html></pre></div>		<ul><li>Huron, David. Tone and Voice: A Derivation of the Rules of Voice Leading from Perceptual Principles. Music Perception. 2001;19(1):1-64. (<a class="wiki_link_ext" href="http://csml.som.ohio-state.edu/Huron/Publications/huron.voice.leading.html" rel="nofollow" target="_blank">HTML</a>, <a class="wiki_link_ext" href="http://cours.musique.umontreal.ca/MUS3321/MUS3321_DOC/Huron.ToneAndVoice.2001.pdf" rel="nofollow" target="_blank">PDF</a>)<ul><li>Jason's Summary: As the article's title suggests, Huron describes a number of fundamental perceptual principles (toneness, temporal continuity, minimum masking, tonal fusion, etc.) and uses them to derive several of the conventional rules of classical voice leading. The author gives basic accounts of all these, if you are not familiar with either the psychology of perception or the rules of voice leading. The article does not claim that classical voice leading rules are inviolable in creating good music, but that they are not arbitrary, elucidating how polyphonic sound is likely to be experienced by the listener.</li></ul></li></ul></body></html></pre></div>

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← Older revision		Revision as of 08:50, 29 December 2012
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	** Mike's Summary: This study goes into detail explaining how the tonal heirarchy is formed in children at different ages		** Mike's Summary: This study goes into detail explaining how the tonal heirarchy is formed in children at different ages
	* [[@http://openscholar.purchase.edu/meagan_curtis/publications/memory-and-musical-expectation-tones-cultural-context\|Curtis ME, Bharucha JJ. Memory and Musical Expectation for Tones in Cultural Context. Music Perception. 2009;26(4):365-375.]](Free full text)		* [[@http://openscholar.purchase.edu/meagan_curtis/publications/memory-and-musical-expectation-tones-cultural-context\|Curtis ME, Bharucha JJ. Memory and Musical Expectation for Tones in Cultural Context. Music Perception. 2009;26(4):365-375.]](Free full text)
	** Mike's Summary: All in all, a mildly interesting, but weak study. I put it here so someone doesn't accidentally stumble on it again. They wanted to see if subjects would, upon hearing a tone set like C D E F A B C (e.g. C major without the G), "fill in" the missing G by misjudging that it was played in the tone set when it really wasn't. They test this with tone sets from both "Western" (C D E F G A B C) and "Indian" (C Db E F G Ab B C) source scales. However, their experiment seems to have failed - the highest probability of error occurred with "Indian" tone sets and "incongruous" test tones - not "Western" tone sets and "congruous" test tones as predicted - and this was statistically significant. However, despite this, they write "The false alarm effects reported above suggest criterion shifts,which would be expected for a process of “filling in” or expectation: tones that are filled in or expected are activated by the context, thereby biasing the judgment in favor of saying that the test tone is present." - !! I'm not sure if this is an error, or if they're trying to suggest something in the data which isn't there, or what's going on. They also measured reaction times and found that tones present in the "Western" scale (i.e. "Western/congruent" and "Indian/incongruent" situations) are processed more slowly than other tones.</pre></div>		** Mike's Summary: All in all, a mildly interesting, but weak study. I put it here so someone doesn't accidentally stumble on it again. They wanted to see if subjects would, upon hearing a tone set like C D E F A B C (e.g. C major without the G), "fill in" the missing G by misjudging that it was played in the tone set when it really wasn't. They test this with tone sets from both "Western" (C D E F G A B C) and "Indian" (C Db E F G Ab B C) source scales. However, their experiment seems to have failed - the highest probability of error occurred with "Indian" tone sets and "incongruous" test tones - not "Western" tone sets and "congruous" test tones as predicted - and this was statistically significant. However, despite this, they write "The false alarm effects reported above suggest criterion shifts,which would be expected for a process of “filling in” or expectation: tones that are filled in or expected are activated by the context, thereby biasing the judgment in favor of saying that the test tone is present." - !! I'm not sure if this is an error, or if they're trying to suggest something in the data which isn't there, or what's going on. They also measured reaction times and found that tones present in the "Western" scale (i.e. "Western/congruent" and "Indian/incongruent" situations) are processed more slowly than other tones.
			==Voice Leading==
			* Huron, David. Tone and Voice: A Derivation of the Rules of Voice Leading from Perceptual Principles. Music Perception. 2001;19(1):1-64. ([[@http://csml.som.ohio-state.edu/Huron/Publications/huron.voice.leading.html\|HTML]], [[@http://cours.musique.umontreal.ca/MUS3321/MUS3321_DOC/Huron.ToneAndVoice.2001.pdf\|PDF]])
			** Summary: As the article's title suggests, Huron begins with a number of fundamental perceptual principles (toneness, temporal continuity, minimum masking, tonal fusion, etc.) and derives several of the conventional rules of classical voice leading. This should not imply that classical voice leading rules are inviolable in creating good music, but that they are not arbitrary; the article elucidates how polyphonic sound is likely to be experienced by the listener.</pre></div>
	<h4>Original HTML content:</h4>		<h4>Original HTML content:</h4>
	<div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"><pre style="margin:0px;border:none;background:none;word-wrap:break-word;width:200%;white-space: pre-wrap ! important" class="old-revision-html"><html><head><title>Music Cognition Literature</title></head><body>This page attempts to organize the music cognition literature in a way that's (hopefully) relevant to xenharmonics.<br />		<div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"><pre style="margin:0px;border:none;background:none;word-wrap:break-word;width:200%;white-space: pre-wrap ! important" class="old-revision-html"><html><head><title>Music Cognition Literature</title></head><body>This page attempts to organize the music cognition literature in a way that's (hopefully) relevant to xenharmonics.<br />
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	<ul><li><a class="wiki_link_ext" href="http://www.brainmusic.org/EducationalActivitiesFolder/Trehub_scales1999.pdf" rel="nofollow" target="_blank">Trehub SE, Schellenberg EG, Kamenetsky SB. Infants' and adults' perception of scale structure. J Exp Psychol Hum Percept Perform. 1999;25(4):965-75.</a><ul><li>Mike's Summary: more to come, but for now note that they're testing to see if babies like unequal scales more than equal ones, and that they test 7-EDO and orgone[7] in 11-EDO on babies!!</li></ul></li></ul><br />		<ul><li><a class="wiki_link_ext" href="http://www.brainmusic.org/EducationalActivitiesFolder/Trehub_scales1999.pdf" rel="nofollow" target="_blank">Trehub SE, Schellenberg EG, Kamenetsky SB. Infants' and adults' perception of scale structure. J Exp Psychol Hum Percept Perform. 1999;25(4):965-75.</a><ul><li>Mike's Summary: more to come, but for now note that they're testing to see if babies like unequal scales more than equal ones, and that they test 7-EDO and orgone[7] in 11-EDO on babies!!</li></ul></li></ul><br />
	<!-- ws:start:WikiTextHeadingRule:4:&lt;h1&gt; --><h1 id="toc2"><a name="Tonality"></a><!-- ws:end:WikiTextHeadingRule:4 -->Tonality</h1>		<!-- ws:start:WikiTextHeadingRule:4:&lt;h1&gt; --><h1 id="toc2"><a name="Tonality"></a><!-- ws:end:WikiTextHeadingRule:4 -->Tonality</h1>
	<ul><li><a class="wiki_link_ext" href="http://www.annualreviews.org/doi/abs/10.1146/annurev.ps.42.020191.001425?journalCode=psych" rel="nofollow" target="_blank">Krumhansl CL. Music psychology:tonal structures in perception and memory. Annu Rev Psychol. 1991;42(1):277-303.</a><ul><li>Mike's Summary: A fantastic meta-analysis of the Music Cognition literature up to 1991. Covers consonance, tuning and intonation (Parncutt, Terhardt, etc), categorical perception (Burns, Siegal, etc), AP, tonal heirarchies (Krumhansl), and the concept of &quot;key&quot;; also touches on some linguistic (Lerdahl and Jackendoff) and coding-theoretic approaches to music as well (Bharucha). Despite being 20 years old, this paper references a number of well-cited and significant studies for each of these subtopics of music cognition, and is a great starting point to delve into everything, especially the non-intonation related stuff (which regular temperament theory is silent on). <strong>This is a great starting point.</strong></li></ul></li><li><a class="wiki_link_ext" href="http://www.yale.edu/cogdevlab/aarticles/AcqHierTonalFunc.pdf" rel="nofollow" target="_blank">Krumhansl CL, Keil FC. Acquisition of the hierarchy of tonal functions in music. Mem Cognit. 1982;10(3):243-51</a><ul><li>Mike's Summary: This study goes into detail explaining how the tonal heirarchy is formed in children at different ages</li></ul></li><li><a class="wiki_link_ext" href="http://openscholar.purchase.edu/meagan_curtis/publications/memory-and-musical-expectation-tones-cultural-context" rel="nofollow" target="_blank">Curtis ME, Bharucha JJ. Memory and Musical Expectation for Tones in Cultural Context. Music Perception. 2009;26(4):365-375.</a>(Free full text)<ul><li>Mike's Summary: All in all, a mildly interesting, but weak study. I put it here so someone doesn't accidentally stumble on it again. They wanted to see if subjects would, upon hearing a tone set like C D E F A B C (e.g. C major without the G), &quot;fill in&quot; the missing G by misjudging that it was played in the tone set when it really wasn't. They test this with tone sets from both &quot;Western&quot; (C D E F G A B C) and &quot;Indian&quot; (C Db E F G Ab B C) source scales. However, their experiment seems to have failed - the highest probability of error occurred with &quot;Indian&quot; tone sets and &quot;incongruous&quot; test tones - not &quot;Western&quot; tone sets and &quot;congruous&quot; test tones as predicted - and this was statistically significant. However, despite this, they write &quot;The false alarm effects reported above suggest criterion shifts,which would be expected for a process of “filling in” or expectation: tones that are filled in or expected are activated by the context, thereby biasing the judgment in favor of saying that the test tone is present.&quot; - !! I'm not sure if this is an error, or if they're trying to suggest something in the data which isn't there, or what's going on. They also measured reaction times and found that tones present in the &quot;Western&quot; scale (i.e. &quot;Western/congruent&quot; and &quot;Indian/incongruent&quot; situations) are processed more slowly than other tones.</li></ul></li></ul></body></html></pre></div>		<ul><li><a class="wiki_link_ext" href="http://www.annualreviews.org/doi/abs/10.1146/annurev.ps.42.020191.001425?journalCode=psych" rel="nofollow" target="_blank">Krumhansl CL. Music psychology:tonal structures in perception and memory. Annu Rev Psychol. 1991;42(1):277-303.</a><ul><li>Mike's Summary: A fantastic meta-analysis of the Music Cognition literature up to 1991. Covers consonance, tuning and intonation (Parncutt, Terhardt, etc), categorical perception (Burns, Siegal, etc), AP, tonal heirarchies (Krumhansl), and the concept of &quot;key&quot;; also touches on some linguistic (Lerdahl and Jackendoff) and coding-theoretic approaches to music as well (Bharucha). Despite being 20 years old, this paper references a number of well-cited and significant studies for each of these subtopics of music cognition, and is a great starting point to delve into everything, especially the non-intonation related stuff (which regular temperament theory is silent on). <strong>This is a great starting point.</strong></li></ul></li><li><a class="wiki_link_ext" href="http://www.yale.edu/cogdevlab/aarticles/AcqHierTonalFunc.pdf" rel="nofollow" target="_blank">Krumhansl CL, Keil FC. Acquisition of the hierarchy of tonal functions in music. Mem Cognit. 1982;10(3):243-51</a><ul><li>Mike's Summary: This study goes into detail explaining how the tonal heirarchy is formed in children at different ages</li></ul></li><li><a class="wiki_link_ext" href="http://openscholar.purchase.edu/meagan_curtis/publications/memory-and-musical-expectation-tones-cultural-context" rel="nofollow" target="_blank">Curtis ME, Bharucha JJ. Memory and Musical Expectation for Tones in Cultural Context. Music Perception. 2009;26(4):365-375.</a>(Free full text)<ul><li>Mike's Summary: All in all, a mildly interesting, but weak study. I put it here so someone doesn't accidentally stumble on it again. They wanted to see if subjects would, upon hearing a tone set like C D E F A B C (e.g. C major without the G), &quot;fill in&quot; the missing G by misjudging that it was played in the tone set when it really wasn't. They test this with tone sets from both &quot;Western&quot; (C D E F G A B C) and &quot;Indian&quot; (C Db E F G Ab B C) source scales. However, their experiment seems to have failed - the highest probability of error occurred with &quot;Indian&quot; tone sets and &quot;incongruous&quot; test tones - not &quot;Western&quot; tone sets and &quot;congruous&quot; test tones as predicted - and this was statistically significant. However, despite this, they write &quot;The false alarm effects reported above suggest criterion shifts,which would be expected for a process of “filling in” or expectation: tones that are filled in or expected are activated by the context, thereby biasing the judgment in favor of saying that the test tone is present.&quot; - !! I'm not sure if this is an error, or if they're trying to suggest something in the data which isn't there, or what's going on. They also measured reaction times and found that tones present in the &quot;Western&quot; scale (i.e. &quot;Western/congruent&quot; and &quot;Indian/incongruent&quot; situations) are processed more slowly than other tones.</li></ul></li></ul><!-- ws:start:WikiTextHeadingRule:6:&lt;h2&gt; --><h2 id="toc3"><a name="Tonality-Voice Leading"></a><!-- ws:end:WikiTextHeadingRule:6 -->Voice Leading</h2>
			<ul><li>Huron, David. Tone and Voice: A Derivation of the Rules of Voice Leading from Perceptual Principles. Music Perception. 2001;19(1):1-64. (<a class="wiki_link_ext" href="http://csml.som.ohio-state.edu/Huron/Publications/huron.voice.leading.html" rel="nofollow" target="_blank">HTML</a>, <a class="wiki_link_ext" href="http://cours.musique.umontreal.ca/MUS3321/MUS3321_DOC/Huron.ToneAndVoice.2001.pdf" rel="nofollow" target="_blank">PDF</a>)<ul><li>Summary: As the article's title suggests, Huron begins with a number of fundamental perceptual principles (toneness, temporal continuity, minimum masking, tonal fusion, etc.) and derives several of the conventional rules of classical voice leading. This should not imply that classical voice leading rules are inviolable in creating good music, but that they are not arbitrary; the article elucidates how polyphonic sound is likely to be experienced by the listener.</li></ul></li></ul></body></html></pre></div>

Wikispaces>Ninly: Imported revision 394924278 - Original comment:

2012-12-29T00:36:38Z

**Imported revision 394924278 - Original comment: **

Wikispaces>mbattaglia1: Imported revision 394831974 - Original comment:

2012-12-28T07:12:17Z

**Imported revision 394831974 - Original comment: **

← Older revision		Revision as of 07:12, 28 December 2012
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	: This revision was by author [[User:mbattaglia1\|mbattaglia1]] and made on <tt>2012-12-28 01:17~~:19~~ UTC</tt>.<br>		: This revision was by author [[User:mbattaglia1\|mbattaglia1]] and made on <tt>2012-12-28 07:12:17 UTC</tt>.<br>
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	<div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"><pre style="margin:0px;border:none;background:none;word-wrap:break-word;white-space: pre-wrap ! important" class="old-revision-html">This page attempts to organize the music cognition literature in a way that's (hopefully) relevant to xenharmonics.		<div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"><pre style="margin:0px;border:none;background:none;word-wrap:break-word;white-space: pre-wrap ! important" class="old-revision-html">This page attempts to organize the music cognition literature in a way that's (hopefully) relevant to xenharmonics.

	A citation generator is ~~here:~~ http://mickschroeder.com/citation/ - just put the DOI in and it'll generate the correctly formated citation.		A citation generator is [[@http://mickschroeder.com/citation/\|here]] - just put the DOI in and it'll generate the correctly formated citation.

	=Psychoacoustics=		=Psychoacoustics=
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	* [[@http://www.annualreviews.org/doi/abs/10.1146/annurev.ps.42.020191.001425?journalCode=psych\|Krumhansl CL. Music psychology:tonal structures in perception and memory. Annu Rev Psychol. 1991;42(1):277-303.]]		* [[@http://www.annualreviews.org/doi/abs/10.1146/annurev.ps.42.020191.001425?journalCode=psych\|Krumhansl CL. Music psychology:tonal structures in perception and memory. Annu Rev Psychol. 1991;42(1):277-303.]]
	Mike's Summary: A fantastic meta-analysis of the Music Cognition literature up to 1991. Covers consonance, tuning and intonation (Parncutt, Terhardt, etc), categorical perception (Burns, Siegal, etc), AP, tonal heirarchies (Krumhansl), and the concept of "key"; also touches on some linguistic (Lerdahl and Jackendoff) and coding-theoretic approaches to music as well (Bharucha). Despite being 20 years old, this paper reference[[xenharmonic/Music Cognition Literature\|Visit]]s a number of well-cited and significant studies for each of these subtopics of music cognition, and is a great starting point to delve into everything, especially the non-intonation related stuff (which regular temperament theory is silent on). This is a great starting point.**		Mike's Summary: A fantastic meta-analysis of the Music Cognition literature up to 1991. Covers consonance, tuning and intonation (Parncutt, Terhardt, etc), categorical perception (Burns, Siegal, etc), AP, tonal heirarchies (Krumhansl), and the concept of "key"; also touches on some linguistic (Lerdahl and Jackendoff) and coding-theoretic approaches to music as well (Bharucha). Despite being 20 years old, this paper reference[[xenharmonic/Music Cognition Literature\|Visit]]s a number of well-cited and significant studies for each of these subtopics of music cognition, and is a great starting point to delve into everything, especially the non-intonation related stuff (which regular temperament theory is silent on). This is a great starting point.**
			* [[@http://www.yale.edu/cogdevlab/aarticles/AcqHierTonalFunc.pdf\|Krumhansl CL, Keil FC. Acquisition of the hierarchy of tonal functions in music. Mem Cognit. 1982;10(3):243-51]]
			** Mike's Summary: This study goes into detail explaining how the tonal heirarchy is formed in children at different ages
	* [[@http://openscholar.purchase.edu/meagan_curtis/publications/memory-and-musical-expectation-tones-cultural-context\|Curtis ME, Bharucha JJ. Memory and Musical Expectation for Tones in Cultural Context. Music Perception. 2009;26(4):365-375.]](Free full text)		* [[@http://openscholar.purchase.edu/meagan_curtis/publications/memory-and-musical-expectation-tones-cultural-context\|Curtis ME, Bharucha JJ. Memory and Musical Expectation for Tones in Cultural Context. Music Perception. 2009;26(4):365-375.]](Free full text)
	** Mike's Summary: All in all, a mildly interesting, but weak study. I put it here so someone doesn't accidentally stumble on it again. They wanted to see if subjects would, upon hearing a tone set like C D E F A B C (e.g. C major without the G), "fill in" the missing G by misjudging that it was played in the tone set when it really wasn't. They test this with tone sets from both "Western" (C D E F G A B C) and "Indian" (C Db E F G Ab B C) source scales. However, their experiment seems to have failed - the highest probability of error occurred with "Indian" tone sets and "incongruous" test tones - not "Western" tone sets and "congruous" test tones as predicted - and this was statistically significant. However, despite this, they write "The false alarm effects reported above suggest criterion shifts,which would be expected for a process of “filling in” or expectation: tones that are filled in or expected are activated by the context, thereby biasing the judgment in favor of saying that the test tone is present." - !! I'm not sure if this is an error, or if they're trying to suggest something in the data which isn't there, or what's going on. They also measured reaction times and found that tones present in the "Western" scale (i.e. "Western/congruent" and "Indian/incongruent" situations) are processed more slowly than other tones.</pre></div>		** Mike's Summary: All in all, a mildly interesting, but weak study. I put it here so someone doesn't accidentally stumble on it again. They wanted to see if subjects would, upon hearing a tone set like C D E F A B C (e.g. C major without the G), "fill in" the missing G by misjudging that it was played in the tone set when it really wasn't. They test this with tone sets from both "Western" (C D E F G A B C) and "Indian" (C Db E F G Ab B C) source scales. However, their experiment seems to have failed - the highest probability of error occurred with "Indian" tone sets and "incongruous" test tones - not "Western" tone sets and "congruous" test tones as predicted - and this was statistically significant. However, despite this, they write "The false alarm effects reported above suggest criterion shifts,which would be expected for a process of “filling in” or expectation: tones that are filled in or expected are activated by the context, thereby biasing the judgment in favor of saying that the test tone is present." - !! I'm not sure if this is an error, or if they're trying to suggest something in the data which isn't there, or what's going on. They also measured reaction times and found that tones present in the "Western" scale (i.e. "Western/congruent" and "Indian/incongruent" situations) are processed more slowly than other tones.</pre></div>
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	<div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"><pre style="margin:0px;border:none;background:none;word-wrap:break-word;width:200%;white-space: pre-wrap ! important" class="old-revision-html"><html><head><title>Music Cognition Literature</title></head><body>This page attempts to organize the music cognition literature in a way that's (hopefully) relevant to xenharmonics.<br />		<div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"><pre style="margin:0px;border:none;background:none;word-wrap:break-word;width:200%;white-space: pre-wrap ! important" class="old-revision-html"><html><head><title>Music Cognition Literature</title></head><body>This page attempts to organize the music cognition literature in a way that's (hopefully) relevant to xenharmonics.<br />
	<br />		<br />
	A citation generator is ~~here: <!-- ws:start:WikiTextUrlRule:38:http://mickschroeder.com/citation/ -->~~<a class="wiki_link_ext" href="http://mickschroeder.com/citation/" rel="nofollow">~~http://mickschroeder.com/citation/~~</a~~><!-- ws:end:WikiTextUrlRule:38 --~~> - just put the DOI in and it'll generate the correctly formated citation.<br />		A citation generator is <a class="wiki_link_ext" href="http://mickschroeder.com/citation/" rel="nofollow" target="_blank">here</a> - just put the DOI in and it'll generate the correctly formated citation.<br />
	<br />		<br />
	<!-- ws:start:WikiTextHeadingRule:0:&lt;h1&gt; --><h1 id="toc0"><a name="Psychoacoustics"></a><!-- ws:end:WikiTextHeadingRule:0 -->Psychoacoustics</h1>		<!-- ws:start:WikiTextHeadingRule:0:&lt;h1&gt; --><h1 id="toc0"><a name="Psychoacoustics"></a><!-- ws:end:WikiTextHeadingRule:0 -->Psychoacoustics</h1>
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	<ul><li><a class="wiki_link_ext" href="http://www.brainmusic.org/EducationalActivitiesFolder/Trehub_scales1999.pdf" rel="nofollow" target="_blank">Trehub SE, Schellenberg EG, Kamenetsky SB. Infants' and adults' perception of scale structure. J Exp Psychol Hum Percept Perform. 1999;25(4):965-75.</a><ul><li>Mike's Summary: more to come, but for now note that they're testing to see if babies like unequal scales more than equal ones, and that they test 7-EDO and orgone[7] in 11-EDO on babies!!</li></ul></li></ul><br />		<ul><li><a class="wiki_link_ext" href="http://www.brainmusic.org/EducationalActivitiesFolder/Trehub_scales1999.pdf" rel="nofollow" target="_blank">Trehub SE, Schellenberg EG, Kamenetsky SB. Infants' and adults' perception of scale structure. J Exp Psychol Hum Percept Perform. 1999;25(4):965-75.</a><ul><li>Mike's Summary: more to come, but for now note that they're testing to see if babies like unequal scales more than equal ones, and that they test 7-EDO and orgone[7] in 11-EDO on babies!!</li></ul></li></ul><br />
	<!-- ws:start:WikiTextHeadingRule:4:&lt;h1&gt; --><h1 id="toc2"><a name="Tonality"></a><!-- ws:end:WikiTextHeadingRule:4 -->Tonality</h1>		<!-- ws:start:WikiTextHeadingRule:4:&lt;h1&gt; --><h1 id="toc2"><a name="Tonality"></a><!-- ws:end:WikiTextHeadingRule:4 -->Tonality</h1>
	<ul><li><a class="wiki_link_ext" href="http://www.annualreviews.org/doi/abs/10.1146/annurev.ps.42.020191.001425?journalCode=psych" rel="nofollow" target="_blank">Krumhansl CL. Music psychology:tonal structures in perception and memory. Annu Rev Psychol. 1991;42(1):277-303.</a><ul><li>Mike's Summary: A fantastic meta-analysis of the Music Cognition literature up to 1991. Covers consonance, tuning and intonation (Parncutt, Terhardt, etc), categorical perception (Burns, Siegal, etc), AP, tonal heirarchies (Krumhansl), and the concept of &quot;key&quot;; also touches on some linguistic (Lerdahl and Jackendoff) and coding-theoretic approaches to music as well (Bharucha). Despite being 20 years old, this paper reference<a class="wiki_link" href="http://xenharmonic.wikispaces.com/Music%20Cognition%20Literature">Visit</a>s a number of well-cited and significant studies for each of these subtopics of music cognition, and is a great starting point to delve into everything, especially the non-intonation related stuff (which regular temperament theory is silent on). <strong>This is a great starting point.</strong></li></ul></li><li><a class="wiki_link_ext" href="http://openscholar.purchase.edu/meagan_curtis/publications/memory-and-musical-expectation-tones-cultural-context" rel="nofollow" target="_blank">Curtis ME, Bharucha JJ. Memory and Musical Expectation for Tones in Cultural Context. Music Perception. 2009;26(4):365-375.</a>(Free full text)<ul><li>Mike's Summary: All in all, a mildly interesting, but weak study. I put it here so someone doesn't accidentally stumble on it again. They wanted to see if subjects would, upon hearing a tone set like C D E F A B C (e.g. C major without the G), &quot;fill in&quot; the missing G by misjudging that it was played in the tone set when it really wasn't. They test this with tone sets from both &quot;Western&quot; (C D E F G A B C) and &quot;Indian&quot; (C Db E F G Ab B C) source scales. However, their experiment seems to have failed - the highest probability of error occurred with &quot;Indian&quot; tone sets and &quot;incongruous&quot; test tones - not &quot;Western&quot; tone sets and &quot;congruous&quot; test tones as predicted - and this was statistically significant. However, despite this, they write &quot;The false alarm effects reported above suggest criterion shifts,which would be expected for a process of “filling in” or expectation: tones that are filled in or expected are activated by the context, thereby biasing the judgment in favor of saying that the test tone is present.&quot; - !! I'm not sure if this is an error, or if they're trying to suggest something in the data which isn't there, or what's going on. They also measured reaction times and found that tones present in the &quot;Western&quot; scale (i.e. &quot;Western/congruent&quot; and &quot;Indian/incongruent&quot; situations) are processed more slowly than other tones.</li></ul></li></ul></body></html></pre></div>		<ul><li><a class="wiki_link_ext" href="http://www.annualreviews.org/doi/abs/10.1146/annurev.ps.42.020191.001425?journalCode=psych" rel="nofollow" target="_blank">Krumhansl CL. Music psychology:tonal structures in perception and memory. Annu Rev Psychol. 1991;42(1):277-303.</a><ul><li>Mike's Summary: A fantastic meta-analysis of the Music Cognition literature up to 1991. Covers consonance, tuning and intonation (Parncutt, Terhardt, etc), categorical perception (Burns, Siegal, etc), AP, tonal heirarchies (Krumhansl), and the concept of &quot;key&quot;; also touches on some linguistic (Lerdahl and Jackendoff) and coding-theoretic approaches to music as well (Bharucha). Despite being 20 years old, this paper reference<a class="wiki_link" href="http://xenharmonic.wikispaces.com/Music%20Cognition%20Literature">Visit</a>s a number of well-cited and significant studies for each of these subtopics of music cognition, and is a great starting point to delve into everything, especially the non-intonation related stuff (which regular temperament theory is silent on). <strong>This is a great starting point.</strong></li></ul></li><li><a class="wiki_link_ext" href="http://www.yale.edu/cogdevlab/aarticles/AcqHierTonalFunc.pdf" rel="nofollow" target="_blank">Krumhansl CL, Keil FC. Acquisition of the hierarchy of tonal functions in music. Mem Cognit. 1982;10(3):243-51</a><ul><li>Mike's Summary: This study goes into detail explaining how the tonal heirarchy is formed in children at different ages</li></ul></li><li><a class="wiki_link_ext" href="http://openscholar.purchase.edu/meagan_curtis/publications/memory-and-musical-expectation-tones-cultural-context" rel="nofollow" target="_blank">Curtis ME, Bharucha JJ. Memory and Musical Expectation for Tones in Cultural Context. Music Perception. 2009;26(4):365-375.</a>(Free full text)<ul><li>Mike's Summary: All in all, a mildly interesting, but weak study. I put it here so someone doesn't accidentally stumble on it again. They wanted to see if subjects would, upon hearing a tone set like C D E F A B C (e.g. C major without the G), &quot;fill in&quot; the missing G by misjudging that it was played in the tone set when it really wasn't. They test this with tone sets from both &quot;Western&quot; (C D E F G A B C) and &quot;Indian&quot; (C Db E F G Ab B C) source scales. However, their experiment seems to have failed - the highest probability of error occurred with &quot;Indian&quot; tone sets and &quot;incongruous&quot; test tones - not &quot;Western&quot; tone sets and &quot;congruous&quot; test tones as predicted - and this was statistically significant. However, despite this, they write &quot;The false alarm effects reported above suggest criterion shifts,which would be expected for a process of “filling in” or expectation: tones that are filled in or expected are activated by the context, thereby biasing the judgment in favor of saying that the test tone is present.&quot; - !! I'm not sure if this is an error, or if they're trying to suggest something in the data which isn't there, or what's going on. They also measured reaction times and found that tones present in the &quot;Western&quot; scale (i.e. &quot;Western/congruent&quot; and &quot;Indian/incongruent&quot; situations) are processed more slowly than other tones.</li></ul></li></ul></body></html></pre></div>

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	This is an imported revision from Wikispaces. The revision metadata is included below for reference:<br>		This is an imported revision from Wikispaces. The revision metadata is included below for reference:<br>
	: This revision was by author [[User:mbattaglia1\|mbattaglia1]] and made on <tt>2013-01-~~06 20~~:58:24 UTC</tt>.<br>		: This revision was by author [[User:mbattaglia1\|mbattaglia1]] and made on <tt>2013-01-11 07:16:25 UTC</tt>.<br>
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	* [[@http://www.yale.edu/cogdevlab/aarticles/AcqHierTonalFunc.pdf\|Krumhansl CL, Keil FC. Acquisition of the hierarchy of tonal functions in music. Mem Cognit. 1982;10(3):243-51]]		* [[@http://www.yale.edu/cogdevlab/aarticles/AcqHierTonalFunc.pdf\|Krumhansl CL, Keil FC. Acquisition of the hierarchy of tonal functions in music. Mem Cognit. 1982;10(3):243-51]]
	** Mike's Summary: This study goes into detail explaining how the tonal heirarchy is formed in children at different ages		** Mike's Summary: This study goes into detail explaining how the tonal heirarchy is formed in children at different ages
			* [[@http://www.utsc.utoronto.ca/~marksch/psyc56/Bharucha1994.pdf\|Musical Perceptions, Ch 8 - Tonality and Expectation, Jamshed Bharucha - ed. Aiello]]
			** Mike's Summary: This describes Bharucha's thoughts on the role of expectation and tonality; he asserts there must exist "schematic" and "veridical" expectations, the former of which are expectations underpinning the structure of the tonality, and the latter of which are things you expect upon hearing one particular piece
	* [[@http://openscholar.purchase.edu/meagan_curtis/publications/memory-and-musical-expectation-tones-cultural-context\|Curtis ME, Bharucha JJ. Memory and Musical Expectation for Tones in Cultural Context. Music Perception. 2009;26(4):365-375.]](Free full text)		* [[@http://openscholar.purchase.edu/meagan_curtis/publications/memory-and-musical-expectation-tones-cultural-context\|Curtis ME, Bharucha JJ. Memory and Musical Expectation for Tones in Cultural Context. Music Perception. 2009;26(4):365-375.]](Free full text)
	** Mike's Summary: All in all, a mildly interesting, but weak study. I put it here so someone doesn't accidentally stumble on it again. They wanted to see if subjects would, upon hearing a tone set like C D E F A B C (e.g. C major without the G), "fill in" the missing G by misjudging that it was played in the tone set when it really wasn't. They test this with tone sets from both "Western" (C D E F G A B C) and "Indian" (C Db E F G Ab B C) source scales. However, their experiment seems to have failed - the highest probability of error occurred with "Indian" tone sets and "incongruous" test tones - not "Western" tone sets and "congruous" test tones as predicted - and this was statistically significant. However, despite this, they write "The false alarm effects reported above suggest criterion shifts,which would be expected for a process of “filling in” or expectation: tones that are filled in or expected are activated by the context, thereby biasing the judgment in favor of saying that the test tone is present." - !! I'm not sure if this is an error, or if they're trying to suggest something in the data which isn't there, or what's going on. They also measured reaction times and found that tones present in the "Western" scale (i.e. "Western/congruent" and "Indian/incongruent" situations) are processed more slowly than other tones.		** Mike's Summary: All in all, a mildly interesting, but weak study. I put it here so someone doesn't accidentally stumble on it again. They wanted to see if subjects would, upon hearing a tone set like C D E F A B C (e.g. C major without the G), "fill in" the missing G by misjudging that it was played in the tone set when it really wasn't. They test this with tone sets from both "Western" (C D E F G A B C) and "Indian" (C Db E F G Ab B C) source scales. However, their experiment seems to have failed - the highest probability of error occurred with "Indian" tone sets and "incongruous" test tones - not "Western" tone sets and "congruous" test tones as predicted - and this was statistically significant. However, despite this, they write "The false alarm effects reported above suggest criterion shifts,which would be expected for a process of “filling in” or expectation: tones that are filled in or expected are activated by the context, thereby biasing the judgment in favor of saying that the test tone is present." - !! I'm not sure if this is an error, or if they're trying to suggest something in the data which isn't there, or what's going on. They also measured reaction times and found that tones present in the "Western" scale (i.e. "Western/congruent" and "Indian/incongruent" situations) are processed more slowly than other tones.
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	<ul><li><a class="wiki_link_ext" href="http://www.brainmusic.org/EducationalActivitiesFolder/Trehub_scales1999.pdf" rel="nofollow" target="_blank">Trehub SE, Schellenberg EG, Kamenetsky SB. Infants' and adults' perception of scale structure. J Exp Psychol Hum Percept Perform. 1999;25(4):965-75.</a><ul><li>Mike's Summary: more to come, but for now note that they're testing to see if babies like unequal scales more than equal ones, and that they test 7-EDO and orgone[7] in 11-EDO on babies!!</li></ul></li></ul><br />		<ul><li><a class="wiki_link_ext" href="http://www.brainmusic.org/EducationalActivitiesFolder/Trehub_scales1999.pdf" rel="nofollow" target="_blank">Trehub SE, Schellenberg EG, Kamenetsky SB. Infants' and adults' perception of scale structure. J Exp Psychol Hum Percept Perform. 1999;25(4):965-75.</a><ul><li>Mike's Summary: more to come, but for now note that they're testing to see if babies like unequal scales more than equal ones, and that they test 7-EDO and orgone[7] in 11-EDO on babies!!</li></ul></li></ul><br />
	<!-- ws:start:WikiTextHeadingRule:4:&lt;h1&gt; --><h1 id="toc2"><a name="Tonality"></a><!-- ws:end:WikiTextHeadingRule:4 -->Tonality</h1>		<!-- ws:start:WikiTextHeadingRule:4:&lt;h1&gt; --><h1 id="toc2"><a name="Tonality"></a><!-- ws:end:WikiTextHeadingRule:4 -->Tonality</h1>
	<ul><li><a class="wiki_link_ext" href="http://www.annualreviews.org/doi/abs/10.1146/annurev.ps.42.020191.001425?journalCode=psych" rel="nofollow" target="_blank">Krumhansl CL. Music psychology: tonal structures in perception and memory. Annu Rev Psychol. 1991;42(1):277-303.</a><ul><li>Mike's Summary: A fantastic meta-analysis of the Music Cognition literature up to 1991. Covers consonance, tuning and intonation (Parncutt, Terhardt, etc), categorical perception (Burns, Siegal, etc), AP, tonal heirarchies (Krumhansl), and the concept of &quot;key&quot;; also touches on some linguistic (Lerdahl and Jackendoff) and coding-theoretic approaches to music as well (Bharucha). Despite being 20 years old, this paper references a number of well-cited and significant studies for each of these subtopics of music cognition, and is a great starting point to delve into everything, especially the non-intonation related stuff (which regular temperament theory is silent on). <strong>This is a great starting point.</strong></li></ul></li><li><a class="wiki_link_ext" href="http://www.yale.edu/cogdevlab/aarticles/AcqHierTonalFunc.pdf" rel="nofollow" target="_blank">Krumhansl CL, Keil FC. Acquisition of the hierarchy of tonal functions in music. Mem Cognit. 1982;10(3):243-51</a><ul><li>Mike's Summary: This study goes into detail explaining how the tonal heirarchy is formed in children at different ages</li></ul></li><li><a class="wiki_link_ext" href="http://openscholar.purchase.edu/meagan_curtis/publications/memory-and-musical-expectation-tones-cultural-context" rel="nofollow" target="_blank">Curtis ME, Bharucha JJ. Memory and Musical Expectation for Tones in Cultural Context. Music Perception. 2009;26(4):365-375.</a>(Free full text)<ul><li>Mike's Summary: All in all, a mildly interesting, but weak study. I put it here so someone doesn't accidentally stumble on it again. They wanted to see if subjects would, upon hearing a tone set like C D E F A B C (e.g. C major without the G), &quot;fill in&quot; the missing G by misjudging that it was played in the tone set when it really wasn't. They test this with tone sets from both &quot;Western&quot; (C D E F G A B C) and &quot;Indian&quot; (C Db E F G Ab B C) source scales. However, their experiment seems to have failed - the highest probability of error occurred with &quot;Indian&quot; tone sets and &quot;incongruous&quot; test tones - not &quot;Western&quot; tone sets and &quot;congruous&quot; test tones as predicted - and this was statistically significant. However, despite this, they write &quot;The false alarm effects reported above suggest criterion shifts,which would be expected for a process of “filling in” or expectation: tones that are filled in or expected are activated by the context, thereby biasing the judgment in favor of saying that the test tone is present.&quot; - !! I'm not sure if this is an error, or if they're trying to suggest something in the data which isn't there, or what's going on. They also measured reaction times and found that tones present in the &quot;Western&quot; scale (i.e. &quot;Western/congruent&quot; and &quot;Indian/incongruent&quot; situations) are processed more slowly than other tones.</li></ul></li></ul><!-- ws:start:WikiTextHeadingRule:6:&lt;h2&gt; --><h2 id="toc3"><a name="Tonality-Voice Leading"></a><!-- ws:end:WikiTextHeadingRule:6 -->Voice Leading</h2>		<ul><li><a class="wiki_link_ext" href="http://www.annualreviews.org/doi/abs/10.1146/annurev.ps.42.020191.001425?journalCode=psych" rel="nofollow" target="_blank">Krumhansl CL. Music psychology: tonal structures in perception and memory. Annu Rev Psychol. 1991;42(1):277-303.</a><ul><li>Mike's Summary: A fantastic meta-analysis of the Music Cognition literature up to 1991. Covers consonance, tuning and intonation (Parncutt, Terhardt, etc), categorical perception (Burns, Siegal, etc), AP, tonal heirarchies (Krumhansl), and the concept of &quot;key&quot;; also touches on some linguistic (Lerdahl and Jackendoff) and coding-theoretic approaches to music as well (Bharucha). Despite being 20 years old, this paper references a number of well-cited and significant studies for each of these subtopics of music cognition, and is a great starting point to delve into everything, especially the non-intonation related stuff (which regular temperament theory is silent on). <strong>This is a great starting point.</strong></li></ul></li><li><a class="wiki_link_ext" href="http://www.yale.edu/cogdevlab/aarticles/AcqHierTonalFunc.pdf" rel="nofollow" target="_blank">Krumhansl CL, Keil FC. Acquisition of the hierarchy of tonal functions in music. Mem Cognit. 1982;10(3):243-51</a><ul><li>Mike's Summary: This study goes into detail explaining how the tonal heirarchy is formed in children at different ages</li></ul></li><li><a class="wiki_link_ext" href="http://www.utsc.utoronto.ca/~marksch/psyc56/Bharucha1994.pdf" rel="nofollow" target="_blank">Musical Perceptions, Ch 8 - Tonality and Expectation, Jamshed Bharucha - ed. Aiello</a><ul><li>Mike's Summary: This describes Bharucha's thoughts on the role of expectation and tonality; he asserts there must exist &quot;schematic&quot; and &quot;veridical&quot; expectations, the former of which are expectations underpinning the structure of the tonality, and the latter of which are things you expect upon hearing one particular piece</li></ul></li><li><a class="wiki_link_ext" href="http://openscholar.purchase.edu/meagan_curtis/publications/memory-and-musical-expectation-tones-cultural-context" rel="nofollow" target="_blank">Curtis ME, Bharucha JJ. Memory and Musical Expectation for Tones in Cultural Context. Music Perception. 2009;26(4):365-375.</a>(Free full text)<ul><li>Mike's Summary: All in all, a mildly interesting, but weak study. I put it here so someone doesn't accidentally stumble on it again. They wanted to see if subjects would, upon hearing a tone set like C D E F A B C (e.g. C major without the G), &quot;fill in&quot; the missing G by misjudging that it was played in the tone set when it really wasn't. They test this with tone sets from both &quot;Western&quot; (C D E F G A B C) and &quot;Indian&quot; (C Db E F G Ab B C) source scales. However, their experiment seems to have failed - the highest probability of error occurred with &quot;Indian&quot; tone sets and &quot;incongruous&quot; test tones - not &quot;Western&quot; tone sets and &quot;congruous&quot; test tones as predicted - and this was statistically significant. However, despite this, they write &quot;The false alarm effects reported above suggest criterion shifts,which would be expected for a process of “filling in” or expectation: tones that are filled in or expected are activated by the context, thereby biasing the judgment in favor of saying that the test tone is present.&quot; - !! I'm not sure if this is an error, or if they're trying to suggest something in the data which isn't there, or what's going on. They also measured reaction times and found that tones present in the &quot;Western&quot; scale (i.e. &quot;Western/congruent&quot; and &quot;Indian/incongruent&quot; situations) are processed more slowly than other tones.</li></ul></li></ul><!-- ws:start:WikiTextHeadingRule:6:&lt;h2&gt; --><h2 id="toc3"><a name="Tonality-Voice Leading"></a><!-- ws:end:WikiTextHeadingRule:6 -->Voice Leading</h2>
	<ul><li>Huron, David. Tone and Voice: A Derivation of the Rules of Voice Leading from Perceptual Principles. Music Perception. 2001;19(1):1-64. (<a class="wiki_link_ext" href="http://csml.som.ohio-state.edu/Huron/Publications/huron.voice.leading.html" rel="nofollow" target="_blank">HTML</a>, <a class="wiki_link_ext" href="http://cours.musique.umontreal.ca/MUS3321/MUS3321_DOC/Huron.ToneAndVoice.2001.pdf" rel="nofollow" target="_blank">PDF</a>)<ul><li>Jason's Summary: As the article's title suggests, Huron describes a number of fundamental perceptual principles (toneness, temporal continuity, minimum masking, tonal fusion, etc.) and uses them to derive several of the conventional rules of classical voice leading. The author gives basic accounts of all these, if you are not familiar with either the psychology of perception or the rules of voice leading. The article does not claim that classical voice leading rules are inviolable in creating good music, but that they are not arbitrary, elucidating how polyphonic sound is likely to be experienced by the listener.</li></ul></li></ul></body></html></pre></div>		<ul><li>Huron, David. Tone and Voice: A Derivation of the Rules of Voice Leading from Perceptual Principles. Music Perception. 2001;19(1):1-64. (<a class="wiki_link_ext" href="http://csml.som.ohio-state.edu/Huron/Publications/huron.voice.leading.html" rel="nofollow" target="_blank">HTML</a>, <a class="wiki_link_ext" href="http://cours.musique.umontreal.ca/MUS3321/MUS3321_DOC/Huron.ToneAndVoice.2001.pdf" rel="nofollow" target="_blank">PDF</a>)<ul><li>Jason's Summary: As the article's title suggests, Huron describes a number of fundamental perceptual principles (toneness, temporal continuity, minimum masking, tonal fusion, etc.) and uses them to derive several of the conventional rules of classical voice leading. The author gives basic accounts of all these, if you are not familiar with either the psychology of perception or the rules of voice leading. The article does not claim that classical voice leading rules are inviolable in creating good music, but that they are not arbitrary, elucidating how polyphonic sound is likely to be experienced by the listener.</li></ul></li></ul></body></html></pre></div>

← Older revision		Revision as of 00:47, 3 January 2013
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	<h2>IMPORTED REVISION FROM WIKISPACES</h2>		<h2>IMPORTED REVISION FROM WIKISPACES</h2>
	This is an imported revision from Wikispaces. The revision metadata is included below for reference:<br>		This is an imported revision from Wikispaces. The revision metadata is included below for reference:<br>
	: This revision was by author [[User:~~Ninly~~\|~~Ninly~~]] and made on <tt>~~2012~~-12-~~29 08~~:53:53 UTC</tt>.<br>		: This revision was by author [[User:mbattaglia1\|mbattaglia1]] and made on <tt>2013-01-03 00:47:36 UTC</tt>.<br>
	: The original revision id was <tt>~~394952564~~</tt>.<br>		: The original revision id was <tt>395503976</tt>.<br>
	: The revision comment was: <tt></tt><br>		: The revision comment was: <tt></tt><br>
	The revision contents are below, presented both in the original Wikispaces Wikitext format, and in HTML exactly as Wikispaces rendered it.<br>		The revision contents are below, presented both in the original Wikispaces Wikitext format, and in HTML exactly as Wikispaces rendered it.<br>
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	==Voice Leading==		==Voice Leading==
	* Huron, David. Tone and Voice: A Derivation of the Rules of Voice Leading from Perceptual Principles. Music Perception. 2001;19(1):1-64. ([[@http://csml.som.ohio-state.edu/Huron/Publications/huron.voice.leading.html\|HTML]], [[@http://cours.musique.umontreal.ca/MUS3321/MUS3321_DOC/Huron.ToneAndVoice.2001.pdf\|PDF]])		* Huron, David. Tone and Voice: A Derivation of the Rules of Voice Leading from Perceptual Principles. Music Perception. 2001;19(1):1-64. ([[@http://csml.som.ohio-state.edu/Huron/Publications/huron.voice.leading.html\|HTML]], [[@http://cours.musique.umontreal.ca/MUS3321/MUS3321_DOC/Huron.ToneAndVoice.2001.pdf\|PDF]])
	** Summary: As the article's title suggests, Huron describes a number of fundamental perceptual principles (toneness, temporal continuity, minimum masking, tonal fusion, etc.) and uses them to derive several of the conventional rules of classical voice leading. The author gives basic accounts of all these, if you are not familiar with either the psychology of perception or the rules of voice leading. The article does not claim that classical voice leading rules are inviolable in creating good music, but that they are not arbitrary, elucidating how polyphonic sound is likely to be experienced by the listener.</pre></div>		** Jason's Summary: As the article's title suggests, Huron describes a number of fundamental perceptual principles (toneness, temporal continuity, minimum masking, tonal fusion, etc.) and uses them to derive several of the conventional rules of classical voice leading. The author gives basic accounts of all these, if you are not familiar with either the psychology of perception or the rules of voice leading. The article does not claim that classical voice leading rules are inviolable in creating good music, but that they are not arbitrary, elucidating how polyphonic sound is likely to be experienced by the listener.</pre></div>
	<h4>Original HTML content:</h4>		<h4>Original HTML content:</h4>
	<div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"><pre style="margin:0px;border:none;background:none;word-wrap:break-word;width:200%;white-space: pre-wrap ! important" class="old-revision-html"><html><head><title>Music Cognition Literature</title></head><body>This page attempts to organize the music cognition literature in a way that's (hopefully) relevant to xenharmonics.<br />		<div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"><pre style="margin:0px;border:none;background:none;word-wrap:break-word;width:200%;white-space: pre-wrap ! important" class="old-revision-html"><html><head><title>Music Cognition Literature</title></head><body>This page attempts to organize the music cognition literature in a way that's (hopefully) relevant to xenharmonics.<br />
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	<!-- ws:start:WikiTextHeadingRule:4:&lt;h1&gt; --><h1 id="toc2"><a name="Tonality"></a><!-- ws:end:WikiTextHeadingRule:4 -->Tonality</h1>		<!-- ws:start:WikiTextHeadingRule:4:&lt;h1&gt; --><h1 id="toc2"><a name="Tonality"></a><!-- ws:end:WikiTextHeadingRule:4 -->Tonality</h1>
	<ul><li><a class="wiki_link_ext" href="http://www.annualreviews.org/doi/abs/10.1146/annurev.ps.42.020191.001425?journalCode=psych" rel="nofollow" target="_blank">Krumhansl CL. Music psychology: tonal structures in perception and memory. Annu Rev Psychol. 1991;42(1):277-303.</a><ul><li>Mike's Summary: A fantastic meta-analysis of the Music Cognition literature up to 1991. Covers consonance, tuning and intonation (Parncutt, Terhardt, etc), categorical perception (Burns, Siegal, etc), AP, tonal heirarchies (Krumhansl), and the concept of &quot;key&quot;; also touches on some linguistic (Lerdahl and Jackendoff) and coding-theoretic approaches to music as well (Bharucha). Despite being 20 years old, this paper references a number of well-cited and significant studies for each of these subtopics of music cognition, and is a great starting point to delve into everything, especially the non-intonation related stuff (which regular temperament theory is silent on). <strong>This is a great starting point.</strong></li></ul></li><li><a class="wiki_link_ext" href="http://www.yale.edu/cogdevlab/aarticles/AcqHierTonalFunc.pdf" rel="nofollow" target="_blank">Krumhansl CL, Keil FC. Acquisition of the hierarchy of tonal functions in music. Mem Cognit. 1982;10(3):243-51</a><ul><li>Mike's Summary: This study goes into detail explaining how the tonal heirarchy is formed in children at different ages</li></ul></li><li><a class="wiki_link_ext" href="http://openscholar.purchase.edu/meagan_curtis/publications/memory-and-musical-expectation-tones-cultural-context" rel="nofollow" target="_blank">Curtis ME, Bharucha JJ. Memory and Musical Expectation for Tones in Cultural Context. Music Perception. 2009;26(4):365-375.</a>(Free full text)<ul><li>Mike's Summary: All in all, a mildly interesting, but weak study. I put it here so someone doesn't accidentally stumble on it again. They wanted to see if subjects would, upon hearing a tone set like C D E F A B C (e.g. C major without the G), &quot;fill in&quot; the missing G by misjudging that it was played in the tone set when it really wasn't. They test this with tone sets from both &quot;Western&quot; (C D E F G A B C) and &quot;Indian&quot; (C Db E F G Ab B C) source scales. However, their experiment seems to have failed - the highest probability of error occurred with &quot;Indian&quot; tone sets and &quot;incongruous&quot; test tones - not &quot;Western&quot; tone sets and &quot;congruous&quot; test tones as predicted - and this was statistically significant. However, despite this, they write &quot;The false alarm effects reported above suggest criterion shifts,which would be expected for a process of “filling in” or expectation: tones that are filled in or expected are activated by the context, thereby biasing the judgment in favor of saying that the test tone is present.&quot; - !! I'm not sure if this is an error, or if they're trying to suggest something in the data which isn't there, or what's going on. They also measured reaction times and found that tones present in the &quot;Western&quot; scale (i.e. &quot;Western/congruent&quot; and &quot;Indian/incongruent&quot; situations) are processed more slowly than other tones.</li></ul></li></ul><!-- ws:start:WikiTextHeadingRule:6:&lt;h2&gt; --><h2 id="toc3"><a name="Tonality-Voice Leading"></a><!-- ws:end:WikiTextHeadingRule:6 -->Voice Leading</h2>		<ul><li><a class="wiki_link_ext" href="http://www.annualreviews.org/doi/abs/10.1146/annurev.ps.42.020191.001425?journalCode=psych" rel="nofollow" target="_blank">Krumhansl CL. Music psychology: tonal structures in perception and memory. Annu Rev Psychol. 1991;42(1):277-303.</a><ul><li>Mike's Summary: A fantastic meta-analysis of the Music Cognition literature up to 1991. Covers consonance, tuning and intonation (Parncutt, Terhardt, etc), categorical perception (Burns, Siegal, etc), AP, tonal heirarchies (Krumhansl), and the concept of &quot;key&quot;; also touches on some linguistic (Lerdahl and Jackendoff) and coding-theoretic approaches to music as well (Bharucha). Despite being 20 years old, this paper references a number of well-cited and significant studies for each of these subtopics of music cognition, and is a great starting point to delve into everything, especially the non-intonation related stuff (which regular temperament theory is silent on). <strong>This is a great starting point.</strong></li></ul></li><li><a class="wiki_link_ext" href="http://www.yale.edu/cogdevlab/aarticles/AcqHierTonalFunc.pdf" rel="nofollow" target="_blank">Krumhansl CL, Keil FC. Acquisition of the hierarchy of tonal functions in music. Mem Cognit. 1982;10(3):243-51</a><ul><li>Mike's Summary: This study goes into detail explaining how the tonal heirarchy is formed in children at different ages</li></ul></li><li><a class="wiki_link_ext" href="http://openscholar.purchase.edu/meagan_curtis/publications/memory-and-musical-expectation-tones-cultural-context" rel="nofollow" target="_blank">Curtis ME, Bharucha JJ. Memory and Musical Expectation for Tones in Cultural Context. Music Perception. 2009;26(4):365-375.</a>(Free full text)<ul><li>Mike's Summary: All in all, a mildly interesting, but weak study. I put it here so someone doesn't accidentally stumble on it again. They wanted to see if subjects would, upon hearing a tone set like C D E F A B C (e.g. C major without the G), &quot;fill in&quot; the missing G by misjudging that it was played in the tone set when it really wasn't. They test this with tone sets from both &quot;Western&quot; (C D E F G A B C) and &quot;Indian&quot; (C Db E F G Ab B C) source scales. However, their experiment seems to have failed - the highest probability of error occurred with &quot;Indian&quot; tone sets and &quot;incongruous&quot; test tones - not &quot;Western&quot; tone sets and &quot;congruous&quot; test tones as predicted - and this was statistically significant. However, despite this, they write &quot;The false alarm effects reported above suggest criterion shifts,which would be expected for a process of “filling in” or expectation: tones that are filled in or expected are activated by the context, thereby biasing the judgment in favor of saying that the test tone is present.&quot; - !! I'm not sure if this is an error, or if they're trying to suggest something in the data which isn't there, or what's going on. They also measured reaction times and found that tones present in the &quot;Western&quot; scale (i.e. &quot;Western/congruent&quot; and &quot;Indian/incongruent&quot; situations) are processed more slowly than other tones.</li></ul></li></ul><!-- ws:start:WikiTextHeadingRule:6:&lt;h2&gt; --><h2 id="toc3"><a name="Tonality-Voice Leading"></a><!-- ws:end:WikiTextHeadingRule:6 -->Voice Leading</h2>
	<ul><li>Huron, David. Tone and Voice: A Derivation of the Rules of Voice Leading from Perceptual Principles. Music Perception. 2001;19(1):1-64. (<a class="wiki_link_ext" href="http://csml.som.ohio-state.edu/Huron/Publications/huron.voice.leading.html" rel="nofollow" target="_blank">HTML</a>, <a class="wiki_link_ext" href="http://cours.musique.umontreal.ca/MUS3321/MUS3321_DOC/Huron.ToneAndVoice.2001.pdf" rel="nofollow" target="_blank">PDF</a>)<ul><li>Summary: As the article's title suggests, Huron describes a number of fundamental perceptual principles (toneness, temporal continuity, minimum masking, tonal fusion, etc.) and uses them to derive several of the conventional rules of classical voice leading. The author gives basic accounts of all these, if you are not familiar with either the psychology of perception or the rules of voice leading. The article does not claim that classical voice leading rules are inviolable in creating good music, but that they are not arbitrary, elucidating how polyphonic sound is likely to be experienced by the listener.</li></ul></li></ul></body></html></pre></div>		<ul><li>Huron, David. Tone and Voice: A Derivation of the Rules of Voice Leading from Perceptual Principles. Music Perception. 2001;19(1):1-64. (<a class="wiki_link_ext" href="http://csml.som.ohio-state.edu/Huron/Publications/huron.voice.leading.html" rel="nofollow" target="_blank">HTML</a>, <a class="wiki_link_ext" href="http://cours.musique.umontreal.ca/MUS3321/MUS3321_DOC/Huron.ToneAndVoice.2001.pdf" rel="nofollow" target="_blank">PDF</a>)<ul><li>Jason's Summary: As the article's title suggests, Huron describes a number of fundamental perceptual principles (toneness, temporal continuity, minimum masking, tonal fusion, etc.) and uses them to derive several of the conventional rules of classical voice leading. The author gives basic accounts of all these, if you are not familiar with either the psychology of perception or the rules of voice leading. The article does not claim that classical voice leading rules are inviolable in creating good music, but that they are not arbitrary, elucidating how polyphonic sound is likely to be experienced by the listener.</li></ul></li></ul></body></html></pre></div>

← Older revision		Revision as of 08:53, 29 December 2012
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	This is an imported revision from Wikispaces. The revision metadata is included below for reference:<br>		This is an imported revision from Wikispaces. The revision metadata is included below for reference:<br>
	: This revision was by author [[User:Ninly\|Ninly]] and made on <tt>2012-12-29 08:53:05 UTC</tt>.<br>		: This revision was by author [[User:Ninly\|Ninly]] and made on <tt>2012-12-29 08:53:53 UTC</tt>.<br>
	: The original revision id was <tt>~~394952504~~</tt>.<br>		: The original revision id was <tt>394952564</tt>.<br>
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	The revision contents are below, presented both in the original Wikispaces Wikitext format, and in HTML exactly as Wikispaces rendered it.<br>		The revision contents are below, presented both in the original Wikispaces Wikitext format, and in HTML exactly as Wikispaces rendered it.<br>
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	=Tonality=		=Tonality=
	* [[@http://www.annualreviews.org/doi/abs/10.1146/annurev.ps.42.020191.001425?journalCode=psych\|Krumhansl CL. Music psychology:tonal structures in perception and memory. Annu Rev Psychol. 1991;42(1):277-303.]]		* [[@http://www.annualreviews.org/doi/abs/10.1146/annurev.ps.42.020191.001425?journalCode=psych\|Krumhansl CL. Music psychology: tonal structures in perception and memory. Annu Rev Psychol. 1991;42(1):277-303.]]
	Mike's Summary: A fantastic meta-analysis of the Music Cognition literature up to 1991. Covers consonance, tuning and intonation (Parncutt, Terhardt, etc), categorical perception (Burns, Siegal, etc), AP, tonal heirarchies (Krumhansl), and the concept of "key"; also touches on some linguistic (Lerdahl and Jackendoff) and coding-theoretic approaches to music as well (Bharucha). Despite being 20 years old, this paper references a number of well-cited and significant studies for each of these subtopics of music cognition, and is a great starting point to delve into everything, especially the non-intonation related stuff (which regular temperament theory is silent on). This is a great starting point.**		Mike's Summary: A fantastic meta-analysis of the Music Cognition literature up to 1991. Covers consonance, tuning and intonation (Parncutt, Terhardt, etc), categorical perception (Burns, Siegal, etc), AP, tonal heirarchies (Krumhansl), and the concept of "key"; also touches on some linguistic (Lerdahl and Jackendoff) and coding-theoretic approaches to music as well (Bharucha). Despite being 20 years old, this paper references a number of well-cited and significant studies for each of these subtopics of music cognition, and is a great starting point to delve into everything, especially the non-intonation related stuff (which regular temperament theory is silent on). This is a great starting point.**
	* [[@http://www.yale.edu/cogdevlab/aarticles/AcqHierTonalFunc.pdf\|Krumhansl CL, Keil FC. Acquisition of the hierarchy of tonal functions in music. Mem Cognit. 1982;10(3):243-51]]		* [[@http://www.yale.edu/cogdevlab/aarticles/AcqHierTonalFunc.pdf\|Krumhansl CL, Keil FC. Acquisition of the hierarchy of tonal functions in music. Mem Cognit. 1982;10(3):243-51]]
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	<ul><li><a class="wiki_link_ext" href="http://www.brainmusic.org/EducationalActivitiesFolder/Trehub_scales1999.pdf" rel="nofollow" target="_blank">Trehub SE, Schellenberg EG, Kamenetsky SB. Infants' and adults' perception of scale structure. J Exp Psychol Hum Percept Perform. 1999;25(4):965-75.</a><ul><li>Mike's Summary: more to come, but for now note that they're testing to see if babies like unequal scales more than equal ones, and that they test 7-EDO and orgone[7] in 11-EDO on babies!!</li></ul></li></ul><br />		<ul><li><a class="wiki_link_ext" href="http://www.brainmusic.org/EducationalActivitiesFolder/Trehub_scales1999.pdf" rel="nofollow" target="_blank">Trehub SE, Schellenberg EG, Kamenetsky SB. Infants' and adults' perception of scale structure. J Exp Psychol Hum Percept Perform. 1999;25(4):965-75.</a><ul><li>Mike's Summary: more to come, but for now note that they're testing to see if babies like unequal scales more than equal ones, and that they test 7-EDO and orgone[7] in 11-EDO on babies!!</li></ul></li></ul><br />
	<!-- ws:start:WikiTextHeadingRule:4:&lt;h1&gt; --><h1 id="toc2"><a name="Tonality"></a><!-- ws:end:WikiTextHeadingRule:4 -->Tonality</h1>		<!-- ws:start:WikiTextHeadingRule:4:&lt;h1&gt; --><h1 id="toc2"><a name="Tonality"></a><!-- ws:end:WikiTextHeadingRule:4 -->Tonality</h1>
	<ul><li><a class="wiki_link_ext" href="http://www.annualreviews.org/doi/abs/10.1146/annurev.ps.42.020191.001425?journalCode=psych" rel="nofollow" target="_blank">Krumhansl CL. Music psychology:tonal structures in perception and memory. Annu Rev Psychol. 1991;42(1):277-303.</a><ul><li>Mike's Summary: A fantastic meta-analysis of the Music Cognition literature up to 1991. Covers consonance, tuning and intonation (Parncutt, Terhardt, etc), categorical perception (Burns, Siegal, etc), AP, tonal heirarchies (Krumhansl), and the concept of &quot;key&quot;; also touches on some linguistic (Lerdahl and Jackendoff) and coding-theoretic approaches to music as well (Bharucha). Despite being 20 years old, this paper references a number of well-cited and significant studies for each of these subtopics of music cognition, and is a great starting point to delve into everything, especially the non-intonation related stuff (which regular temperament theory is silent on). <strong>This is a great starting point.</strong></li></ul></li><li><a class="wiki_link_ext" href="http://www.yale.edu/cogdevlab/aarticles/AcqHierTonalFunc.pdf" rel="nofollow" target="_blank">Krumhansl CL, Keil FC. Acquisition of the hierarchy of tonal functions in music. Mem Cognit. 1982;10(3):243-51</a><ul><li>Mike's Summary: This study goes into detail explaining how the tonal heirarchy is formed in children at different ages</li></ul></li><li><a class="wiki_link_ext" href="http://openscholar.purchase.edu/meagan_curtis/publications/memory-and-musical-expectation-tones-cultural-context" rel="nofollow" target="_blank">Curtis ME, Bharucha JJ. Memory and Musical Expectation for Tones in Cultural Context. Music Perception. 2009;26(4):365-375.</a>(Free full text)<ul><li>Mike's Summary: All in all, a mildly interesting, but weak study. I put it here so someone doesn't accidentally stumble on it again. They wanted to see if subjects would, upon hearing a tone set like C D E F A B C (e.g. C major without the G), &quot;fill in&quot; the missing G by misjudging that it was played in the tone set when it really wasn't. They test this with tone sets from both &quot;Western&quot; (C D E F G A B C) and &quot;Indian&quot; (C Db E F G Ab B C) source scales. However, their experiment seems to have failed - the highest probability of error occurred with &quot;Indian&quot; tone sets and &quot;incongruous&quot; test tones - not &quot;Western&quot; tone sets and &quot;congruous&quot; test tones as predicted - and this was statistically significant. However, despite this, they write &quot;The false alarm effects reported above suggest criterion shifts,which would be expected for a process of “filling in” or expectation: tones that are filled in or expected are activated by the context, thereby biasing the judgment in favor of saying that the test tone is present.&quot; - !! I'm not sure if this is an error, or if they're trying to suggest something in the data which isn't there, or what's going on. They also measured reaction times and found that tones present in the &quot;Western&quot; scale (i.e. &quot;Western/congruent&quot; and &quot;Indian/incongruent&quot; situations) are processed more slowly than other tones.</li></ul></li></ul><!-- ws:start:WikiTextHeadingRule:6:&lt;h2&gt; --><h2 id="toc3"><a name="Tonality-Voice Leading"></a><!-- ws:end:WikiTextHeadingRule:6 -->Voice Leading</h2>		<ul><li><a class="wiki_link_ext" href="http://www.annualreviews.org/doi/abs/10.1146/annurev.ps.42.020191.001425?journalCode=psych" rel="nofollow" target="_blank">Krumhansl CL. Music psychology: tonal structures in perception and memory. Annu Rev Psychol. 1991;42(1):277-303.</a><ul><li>Mike's Summary: A fantastic meta-analysis of the Music Cognition literature up to 1991. Covers consonance, tuning and intonation (Parncutt, Terhardt, etc), categorical perception (Burns, Siegal, etc), AP, tonal heirarchies (Krumhansl), and the concept of &quot;key&quot;; also touches on some linguistic (Lerdahl and Jackendoff) and coding-theoretic approaches to music as well (Bharucha). Despite being 20 years old, this paper references a number of well-cited and significant studies for each of these subtopics of music cognition, and is a great starting point to delve into everything, especially the non-intonation related stuff (which regular temperament theory is silent on). <strong>This is a great starting point.</strong></li></ul></li><li><a class="wiki_link_ext" href="http://www.yale.edu/cogdevlab/aarticles/AcqHierTonalFunc.pdf" rel="nofollow" target="_blank">Krumhansl CL, Keil FC. Acquisition of the hierarchy of tonal functions in music. Mem Cognit. 1982;10(3):243-51</a><ul><li>Mike's Summary: This study goes into detail explaining how the tonal heirarchy is formed in children at different ages</li></ul></li><li><a class="wiki_link_ext" href="http://openscholar.purchase.edu/meagan_curtis/publications/memory-and-musical-expectation-tones-cultural-context" rel="nofollow" target="_blank">Curtis ME, Bharucha JJ. Memory and Musical Expectation for Tones in Cultural Context. Music Perception. 2009;26(4):365-375.</a>(Free full text)<ul><li>Mike's Summary: All in all, a mildly interesting, but weak study. I put it here so someone doesn't accidentally stumble on it again. They wanted to see if subjects would, upon hearing a tone set like C D E F A B C (e.g. C major without the G), &quot;fill in&quot; the missing G by misjudging that it was played in the tone set when it really wasn't. They test this with tone sets from both &quot;Western&quot; (C D E F G A B C) and &quot;Indian&quot; (C Db E F G Ab B C) source scales. However, their experiment seems to have failed - the highest probability of error occurred with &quot;Indian&quot; tone sets and &quot;incongruous&quot; test tones - not &quot;Western&quot; tone sets and &quot;congruous&quot; test tones as predicted - and this was statistically significant. However, despite this, they write &quot;The false alarm effects reported above suggest criterion shifts,which would be expected for a process of “filling in” or expectation: tones that are filled in or expected are activated by the context, thereby biasing the judgment in favor of saying that the test tone is present.&quot; - !! I'm not sure if this is an error, or if they're trying to suggest something in the data which isn't there, or what's going on. They also measured reaction times and found that tones present in the &quot;Western&quot; scale (i.e. &quot;Western/congruent&quot; and &quot;Indian/incongruent&quot; situations) are processed more slowly than other tones.</li></ul></li></ul><!-- ws:start:WikiTextHeadingRule:6:&lt;h2&gt; --><h2 id="toc3"><a name="Tonality-Voice Leading"></a><!-- ws:end:WikiTextHeadingRule:6 -->Voice Leading</h2>
	<ul><li>Huron, David. Tone and Voice: A Derivation of the Rules of Voice Leading from Perceptual Principles. Music Perception. 2001;19(1):1-64. (<a class="wiki_link_ext" href="http://csml.som.ohio-state.edu/Huron/Publications/huron.voice.leading.html" rel="nofollow" target="_blank">HTML</a>, <a class="wiki_link_ext" href="http://cours.musique.umontreal.ca/MUS3321/MUS3321_DOC/Huron.ToneAndVoice.2001.pdf" rel="nofollow" target="_blank">PDF</a>)<ul><li>Summary: As the article's title suggests, Huron describes a number of fundamental perceptual principles (toneness, temporal continuity, minimum masking, tonal fusion, etc.) and uses them to derive several of the conventional rules of classical voice leading. The author gives basic accounts of all these, if you are not familiar with either the psychology of perception or the rules of voice leading. The article does not claim that classical voice leading rules are inviolable in creating good music, but that they are not arbitrary, elucidating how polyphonic sound is likely to be experienced by the listener.</li></ul></li></ul></body></html></pre></div>		<ul><li>Huron, David. Tone and Voice: A Derivation of the Rules of Voice Leading from Perceptual Principles. Music Perception. 2001;19(1):1-64. (<a class="wiki_link_ext" href="http://csml.som.ohio-state.edu/Huron/Publications/huron.voice.leading.html" rel="nofollow" target="_blank">HTML</a>, <a class="wiki_link_ext" href="http://cours.musique.umontreal.ca/MUS3321/MUS3321_DOC/Huron.ToneAndVoice.2001.pdf" rel="nofollow" target="_blank">PDF</a>)<ul><li>Summary: As the article's title suggests, Huron describes a number of fundamental perceptual principles (toneness, temporal continuity, minimum masking, tonal fusion, etc.) and uses them to derive several of the conventional rules of classical voice leading. The author gives basic accounts of all these, if you are not familiar with either the psychology of perception or the rules of voice leading. The article does not claim that classical voice leading rules are inviolable in creating good music, but that they are not arbitrary, elucidating how polyphonic sound is likely to be experienced by the listener.</li></ul></li></ul></body></html></pre></div>

← Older revision		Revision as of 00:36, 29 December 2012
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	<h2>IMPORTED REVISION FROM WIKISPACES</h2>		<h2>IMPORTED REVISION FROM WIKISPACES</h2>
	This is an imported revision from Wikispaces. The revision metadata is included below for reference:<br>		This is an imported revision from Wikispaces. The revision metadata is included below for reference:<br>
	: This revision was by author [[User:~~mbattaglia1~~\|~~mbattaglia1~~]] and made on <tt>2012-12-~~28 07~~:12:17 UTC</tt>.<br>		: This revision was by author [[User:Ninly\|Ninly]] and made on <tt>2012-12-29 00:36:38 UTC</tt>.<br>
	: The original revision id was <tt>~~394831974~~</tt>.<br>		: The original revision id was <tt>394924278</tt>.<br>
	: The revision comment was: <tt></tt><br>		: The revision comment was: <tt></tt><br>
	The revision contents are below, presented both in the original Wikispaces Wikitext format, and in HTML exactly as Wikispaces rendered it.<br>		The revision contents are below, presented both in the original Wikispaces Wikitext format, and in HTML exactly as Wikispaces rendered it.<br>
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	=Tonality=		=Tonality=
	* [[@http://www.annualreviews.org/doi/abs/10.1146/annurev.ps.42.020191.001425?journalCode=psych\|Krumhansl CL. Music psychology:tonal structures in perception and memory. Annu Rev Psychol. 1991;42(1):277-303.]]		* [[@http://www.annualreviews.org/doi/abs/10.1146/annurev.ps.42.020191.001425?journalCode=psych\|Krumhansl CL. Music psychology:tonal structures in perception and memory. Annu Rev Psychol. 1991;42(1):277-303.]]
	Mike's Summary: A fantastic meta-analysis of the Music Cognition literature up to 1991. Covers consonance, tuning and intonation (Parncutt, Terhardt, etc), categorical perception (Burns, Siegal, etc), AP, tonal heirarchies (Krumhansl), and the concept of "key"; also touches on some linguistic (Lerdahl and Jackendoff) and coding-theoretic approaches to music as well (Bharucha). Despite being 20 years old, this paper ~~reference[[xenharmonic/Music Cognition Literature\|Visit]]s~~ a number of well-cited and significant studies for each of these subtopics of music cognition, and is a great starting point to delve into everything, especially the non-intonation related stuff (which regular temperament theory is silent on). This is a great starting point.**		Mike's Summary: A fantastic meta-analysis of the Music Cognition literature up to 1991. Covers consonance, tuning and intonation (Parncutt, Terhardt, etc), categorical perception (Burns, Siegal, etc), AP, tonal heirarchies (Krumhansl), and the concept of "key"; also touches on some linguistic (Lerdahl and Jackendoff) and coding-theoretic approaches to music as well (Bharucha). Despite being 20 years old, this paper references a number of well-cited and significant studies for each of these subtopics of music cognition, and is a great starting point to delve into everything, especially the non-intonation related stuff (which regular temperament theory is silent on). This is a great starting point.**
	* [[@http://www.yale.edu/cogdevlab/aarticles/AcqHierTonalFunc.pdf\|Krumhansl CL, Keil FC. Acquisition of the hierarchy of tonal functions in music. Mem Cognit. 1982;10(3):243-51]]		* [[@http://www.yale.edu/cogdevlab/aarticles/AcqHierTonalFunc.pdf\|Krumhansl CL, Keil FC. Acquisition of the hierarchy of tonal functions in music. Mem Cognit. 1982;10(3):243-51]]
	** Mike's Summary: This study goes into detail explaining how the tonal heirarchy is formed in children at different ages		** Mike's Summary: This study goes into detail explaining how the tonal heirarchy is formed in children at different ages
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	<ul><li><a class="wiki_link_ext" href="http://www.brainmusic.org/EducationalActivitiesFolder/Trehub_scales1999.pdf" rel="nofollow" target="_blank">Trehub SE, Schellenberg EG, Kamenetsky SB. Infants' and adults' perception of scale structure. J Exp Psychol Hum Percept Perform. 1999;25(4):965-75.</a><ul><li>Mike's Summary: more to come, but for now note that they're testing to see if babies like unequal scales more than equal ones, and that they test 7-EDO and orgone[7] in 11-EDO on babies!!</li></ul></li></ul><br />		<ul><li><a class="wiki_link_ext" href="http://www.brainmusic.org/EducationalActivitiesFolder/Trehub_scales1999.pdf" rel="nofollow" target="_blank">Trehub SE, Schellenberg EG, Kamenetsky SB. Infants' and adults' perception of scale structure. J Exp Psychol Hum Percept Perform. 1999;25(4):965-75.</a><ul><li>Mike's Summary: more to come, but for now note that they're testing to see if babies like unequal scales more than equal ones, and that they test 7-EDO and orgone[7] in 11-EDO on babies!!</li></ul></li></ul><br />
	<!-- ws:start:WikiTextHeadingRule:4:&lt;h1&gt; --><h1 id="toc2"><a name="Tonality"></a><!-- ws:end:WikiTextHeadingRule:4 -->Tonality</h1>		<!-- ws:start:WikiTextHeadingRule:4:&lt;h1&gt; --><h1 id="toc2"><a name="Tonality"></a><!-- ws:end:WikiTextHeadingRule:4 -->Tonality</h1>
	<ul><li><a class="wiki_link_ext" href="http://www.annualreviews.org/doi/abs/10.1146/annurev.ps.42.020191.001425?journalCode=psych" rel="nofollow" target="_blank">Krumhansl CL. Music psychology:tonal structures in perception and memory. Annu Rev Psychol. 1991;42(1):277-303.</a><ul><li>Mike's Summary: A fantastic meta-analysis of the Music Cognition literature up to 1991. Covers consonance, tuning and intonation (Parncutt, Terhardt, etc), categorical perception (Burns, Siegal, etc), AP, tonal heirarchies (Krumhansl), and the concept of &quot;key&quot;; also touches on some linguistic (Lerdahl and Jackendoff) and coding-theoretic approaches to music as well (Bharucha). Despite being 20 years old, this paper ~~reference<a class="wiki_link" href="http://xenharmonic.wikispaces.com/Music%20Cognition%20Literature">Visit</a>s~~ a number of well-cited and significant studies for each of these subtopics of music cognition, and is a great starting point to delve into everything, especially the non-intonation related stuff (which regular temperament theory is silent on). <strong>This is a great starting point.</strong></li></ul></li><li><a class="wiki_link_ext" href="http://www.yale.edu/cogdevlab/aarticles/AcqHierTonalFunc.pdf" rel="nofollow" target="_blank">Krumhansl CL, Keil FC. Acquisition of the hierarchy of tonal functions in music. Mem Cognit. 1982;10(3):243-51</a><ul><li>Mike's Summary: This study goes into detail explaining how the tonal heirarchy is formed in children at different ages</li></ul></li><li><a class="wiki_link_ext" href="http://openscholar.purchase.edu/meagan_curtis/publications/memory-and-musical-expectation-tones-cultural-context" rel="nofollow" target="_blank">Curtis ME, Bharucha JJ. Memory and Musical Expectation for Tones in Cultural Context. Music Perception. 2009;26(4):365-375.</a>(Free full text)<ul><li>Mike's Summary: All in all, a mildly interesting, but weak study. I put it here so someone doesn't accidentally stumble on it again. They wanted to see if subjects would, upon hearing a tone set like C D E F A B C (e.g. C major without the G), &quot;fill in&quot; the missing G by misjudging that it was played in the tone set when it really wasn't. They test this with tone sets from both &quot;Western&quot; (C D E F G A B C) and &quot;Indian&quot; (C Db E F G Ab B C) source scales. However, their experiment seems to have failed - the highest probability of error occurred with &quot;Indian&quot; tone sets and &quot;incongruous&quot; test tones - not &quot;Western&quot; tone sets and &quot;congruous&quot; test tones as predicted - and this was statistically significant. However, despite this, they write &quot;The false alarm effects reported above suggest criterion shifts,which would be expected for a process of “filling in” or expectation: tones that are filled in or expected are activated by the context, thereby biasing the judgment in favor of saying that the test tone is present.&quot; - !! I'm not sure if this is an error, or if they're trying to suggest something in the data which isn't there, or what's going on. They also measured reaction times and found that tones present in the &quot;Western&quot; scale (i.e. &quot;Western/congruent&quot; and &quot;Indian/incongruent&quot; situations) are processed more slowly than other tones.</li></ul></li></ul></body></html></pre></div>		<ul><li><a class="wiki_link_ext" href="http://www.annualreviews.org/doi/abs/10.1146/annurev.ps.42.020191.001425?journalCode=psych" rel="nofollow" target="_blank">Krumhansl CL. Music psychology:tonal structures in perception and memory. Annu Rev Psychol. 1991;42(1):277-303.</a><ul><li>Mike's Summary: A fantastic meta-analysis of the Music Cognition literature up to 1991. Covers consonance, tuning and intonation (Parncutt, Terhardt, etc), categorical perception (Burns, Siegal, etc), AP, tonal heirarchies (Krumhansl), and the concept of &quot;key&quot;; also touches on some linguistic (Lerdahl and Jackendoff) and coding-theoretic approaches to music as well (Bharucha). Despite being 20 years old, this paper references a number of well-cited and significant studies for each of these subtopics of music cognition, and is a great starting point to delve into everything, especially the non-intonation related stuff (which regular temperament theory is silent on). <strong>This is a great starting point.</strong></li></ul></li><li><a class="wiki_link_ext" href="http://www.yale.edu/cogdevlab/aarticles/AcqHierTonalFunc.pdf" rel="nofollow" target="_blank">Krumhansl CL, Keil FC. Acquisition of the hierarchy of tonal functions in music. Mem Cognit. 1982;10(3):243-51</a><ul><li>Mike's Summary: This study goes into detail explaining how the tonal heirarchy is formed in children at different ages</li></ul></li><li><a class="wiki_link_ext" href="http://openscholar.purchase.edu/meagan_curtis/publications/memory-and-musical-expectation-tones-cultural-context" rel="nofollow" target="_blank">Curtis ME, Bharucha JJ. Memory and Musical Expectation for Tones in Cultural Context. Music Perception. 2009;26(4):365-375.</a>(Free full text)<ul><li>Mike's Summary: All in all, a mildly interesting, but weak study. I put it here so someone doesn't accidentally stumble on it again. They wanted to see if subjects would, upon hearing a tone set like C D E F A B C (e.g. C major without the G), &quot;fill in&quot; the missing G by misjudging that it was played in the tone set when it really wasn't. They test this with tone sets from both &quot;Western&quot; (C D E F G A B C) and &quot;Indian&quot; (C Db E F G Ab B C) source scales. However, their experiment seems to have failed - the highest probability of error occurred with &quot;Indian&quot; tone sets and &quot;incongruous&quot; test tones - not &quot;Western&quot; tone sets and &quot;congruous&quot; test tones as predicted - and this was statistically significant. However, despite this, they write &quot;The false alarm effects reported above suggest criterion shifts,which would be expected for a process of “filling in” or expectation: tones that are filled in or expected are activated by the context, thereby biasing the judgment in favor of saying that the test tone is present.&quot; - !! I'm not sure if this is an error, or if they're trying to suggest something in the data which isn't there, or what's going on. They also measured reaction times and found that tones present in the &quot;Western&quot; scale (i.e. &quot;Western/congruent&quot; and &quot;Indian/incongruent&quot; situations) are processed more slowly than other tones.</li></ul></li></ul></body></html></pre></div>

Music Cognition Literature - Revision history

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