Future Directions of Music Cognition

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https://kb.osu.edu/handle/1811/93124

Future Directions of Music Cognition
February 22 - May 31, 2021
Ohio State University, Virtual
https://doi.org/10.18061/FDMC.2021

Full Proceedings
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Editorial Introduction

Introduction to Future Directions of Music Cognition proceedings
Albrecht, Joshua; Warrenburg, Lindsay; Reymore, Lindsey; Shanahan, Daniel pp. 1-3
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Section 1: Speaker Series

On the future of music research
Huron, David pp. 5-24
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Use-inspired music cognition: Designing cognitively informed musical interventions for the brain
Loui, Psyche pp. 25-31
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Section 2: Corpus Studies

Tempering the clavier: Examining the intervallic content of Bach's Well-Tempered Clavier through the lens of historical temperaments
Blake, Andrew pp. 33-37
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Using corpus studies to find the origins of the madrigal
Cumming, Julie E.; McKay, Cory pp. 38-42
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How should corpus studies of harmony in popular music handle the minor tonic?
de Clercq, Trevor pp. 43-48
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A statistical model for melody reduction
Hu, Tianxue; Arthur, Claire pp. 49-53
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Voice-leading in Palestrina's masses: A comparison of interval-succession definitions
Light, Laney; Arthur, Claire pp. 54-58
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Tagging film music: A corpus study of Max Steiner's film scores
Lyon, Jeff; Yorgason, Brent pp. 59-62
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Implications of thematic reuse in Haydn's sonata forms
Miyake, Jan pp. 63-67
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Musical instrument, personality and interpretation: Music cognition at a college-conservatory
O' Connor, Rachel; Wu Fu, Puo (Roger) pp. 68-72
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Phrase extension in Haydn's string quartet minuets: A preliminary corpus study
O'Hara, William pp. 73-77
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Streaming complexity in the Renaissance Mass Ordinary cycle
Upham, Finn; Cumming, Julie pp. 78-82
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Deployments of change and novelty in a corpus of popular music
White, Christopher Wm. pp. 83-87
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A new corpus of texture, timbre, and change in 20th-century American popular music
White, Christopher Wm.; Fulmer, Jeffrey; Cordova, Brian; Black, Alexandria; Danitz, Chloe; Evans, William; Fischer, Aidan; Greene, Rashaad; He, Jinhan; Kenyon, Emily; Miller, Joan; Moylan, Madeline; Ring, Abigail; Schwitzgebel, Emily; Wang, Yatong pp. 88-90
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Corpus Abstracts
pp. 91-95
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Section 3: Emotion

A comparison of presence and emotion between immersive virtual reality and desktop displays for musical multimedia
Al Alam, Thery; Dibben, Nicola pp. 97-101
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Dropping the bass: The relationship between heart rate and expectation in electronic dance music (A preliminary report)
Chen, Emily; Yohannes, Ellena; Burgess, Samantha; Shanahan, Daniel pp. 102-104
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Hearing, seeing, liking: The effects of audio-visual listening conditions on perceptual ratings
Lopez, Gerardo; VanHandel, Leigh pp. 105-108
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Regulating functional and hedonic emotions in the pursuit of musical practice goals
Madden, Gerard Breaden; Jabusch, Hans-Christian pp. 109-113
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Virtual Harmony: Music interaction with virtual reality to reduce stress
Miskinis, Alena; Lin, Xiangxu; Kanaan, Shadi pp. 114-118
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Pleasurable music selects for enhanced music memory, hence music emotions: The evolutionary forces laid bare
Riggle, Mark S. pp. 119-124
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Cortical representations of auditory perception using graph independent component analysis on EEG
Sankhe, Pranav; Madan, Ritik pp. 125-127
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Sound and feeling: Musical training moderates the association between adult ADHD and emotion regulation
Tate, Michael; Greenberg, David M.; O'Neill, Sarah pp. 128-132
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Stimulus accessibility and music theory/therapy
Wang, Anna Yu pp. 133-138
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Sonic intimacy in the music of Billie Eilish and recordings that induce ASMR
Warrenburg, Lindsay; Centa, Nathan; Li, Xintong; Park, Hansae; Sari, Diana; Xie, Feiyu pp. 139-144
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Emotion Abstracts
pp. 145-147
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Section 4: Pedagogy

Does Gestalt hearing exist?
Chenette, Timothy; Phillips, Alexandra; Wood, Emily pp. 149-153
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What is "musical ability" and how do we measure it?
Okada, Brooke M.; Slevc, L. Robert pp. 154-157
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Does cognitive load differ among sight-singers? An exploratory study using pupillometry and interviews
Pomerleau-Turcotte, Justine; Moreno Sala, Maria Teresa; Dubé, Francis; Vachon, François pp. 158-162
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Reaching across the aisle: The essential need for collaboration among researchers, medical personnel, therapists, musicians, and educators
Summa-Chadwick, Martha pp. 163-165
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Pedagogy Abstracts
pp. 166-167
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Section 5: Perception

The effect of gesture on the perception of linearity in instrumental music
Gardner, Samuel; Berezina-Blackburn, Vita; Shanahan, Daniel pp. 169-173
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Rethinking gesture theory via embodiment and acousmatic music
Ho, Hubert pp. 174-176
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Identifying Beatles songs from their chord progressions: New evidence of the effect of specialized harmonic familiarity, melodic cues, and transposition on the identification of songs from chord progressions
Kuusi, Tuire; Jimenez, Ivan; Schulkind, Matthew D. pp. 177-181
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Music surface and musical structure: The role of abstraction in musical processing
Schmuckler, Mark A. pp. 182-187
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Post-tonal harmonic tension and theoretical hybridity
Teo, Yvonne pp. 188-191
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Section 6: Rhythm & Meter

Pitch cues to hierarchical metric structure in children's poetry
Breen, Mara; Fitzroy, Ahren pp. 193-197
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Information specification during singing: A theoretical approach to music performance
Delasanta, Lana J. pp. 198-202
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Form and intertextuality in movie music videos
Ferguson, Brent pp. 203-207
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Computational models of temporal expectations
Fink, Lauren K. pp. 208-213
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Social music: Investigating the link between personal liking and perceived groove
Kowalewski, Douglas; Kratzer, Taylor; Friedman, Ronald pp. 214-219
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Effect of metrical primes on perceived complexity of 2:3 and 3:4 polyrhythms
Lookenbill, Zachary; VanHandel, Leigh pp. 220-224
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Find your groove: a pilot study on the influences of beat salience and social connectedness on groove perception
Percival, Hannah pp. 225-227
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Rhythm contour drives musical memory
Schmuckler, Mark A.; Moranis, Rebecca pp. 228-232
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Rhythm Abstracts
pp. 233-234
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Section 7: Timbre

An investigation of loudness effect on pitch and timbre discrimination
Bulla, Wesley A.; Chon, Song Hui pp. 236-240
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Evaluating Tenney's critical band using a computational model of the human cochlea
Fakhrtabatabaie, Ashkan; Jennings, Skyler G. pp. 241-245
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Timbre's function in the perception of affective intentions: Contextual information and effects of learning
Heng, Lena; McAdams, Stephen pp. 246-249
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Chord spacing and quality: Lessons from timbre research
Kahrs, Noah; Chiu, Matt pp. 250-255
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A new auditory theory and its implications for the study of timbre
Maxwell, Braden N.; Fritzinger, Johanna B.; Carney, Laurel H. pp. 256-261
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Kuvunga: Timbre, interlocking, and composite melodies in Zambian Luvale ngoma
Winikoff, Jason Reid pp. 262-266
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Timbre Abstracts
pp. 267-269
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Editorial Coda

Coda: Charting Future Directions of Music Cognition in turbulent times
Albrecht, Joshua pp. 270-276
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Now showing 1 - 20 of 55

Future Directions of Music Cognition 2021 Full Proceedings
(Ohio State University. Libraries, 2021-12-16) Albrecht, Joshua; Warrenburg, Lindsay; Reymore, Lindsey; Shanahan, Daniel
Tagging film music: A corpus study of Max Steiner's film scores
(Ohio State University. Libraries, 2021-12-16) Lyon, Jeff; Yorgason, Brent
The Max Steiner Digital Thematic Catalog is an ongoing corpus study project which will incorporate thematic data from all of Steiner's existing film scores (from 1930–1965). This film music corpus is significant because Steiner's work is representative of over three decades of Hollywood film scoring practices. Here we describe our methods and procedures in tagging film music data for an online database. Consistent metadata and tagging will help researchers to more effectively use the data in this corpus.
Voice-leading in Palestrina's masses: A comparison of interval-succession definitions
(Ohio State University. Libraries, 2021-12-16) Light, Laney; Arthur, Claire
Computational musicology methods allow us to perform a systematic analysis of all intervals in a corpus, but are all note successions equally important? In traditional music theory, the pulse beats tend to be given greater "weight" or relevance. In Renaissance music, it is unclear whether voice-leading guidelines should apply to any consecutive intervals (note level), or merely those that traverse from one pulse beat to the next (pulse level, defined by the whole note or semibreve). Since this question bears important implications for computational musicology, we set out to empirically evaluate it via a corpus study of Palestrina's masses. We investigated the voice-leading patterns in Palestrina's corpus of 104 masses using music21. For each pair of voices, we systematically investigated whether Palestrina's voice-leading patterns differed at the note level compared to the pulse level. Our results showed that the distribution of voice-leading patterns was significantly different at the pulse level than the note level. Violations of traditional "rules" prohibiting parallel or similar motion between perfect intervals were more common at the pulse level than the note level (p < .05), while factors associated with breaking the rules (e.g., having more voices in the texture) were similar between the two levels.
A statistical model for melody reduction
(Ohio State University. Libraries, 2021-12-16) Hu, Tianxue; Arthur, Claire
A commonly-cited reason for the poor performance of automatic chord estimation (ACE) systems within music information retrieval (MIR) is that non-chord tones (i.e., notes outside the supporting harmony) contribute to error during the labeling process (e.g., Chen & Su, 2018; Masada & Bunescu, 2017). Despite the prevalence of machine-learning approaches in MIR, there are cases where alternative approaches provide a simpler alternative while allowing for insights into musicological practices. In this project, we present a statistical model for predicting chord tones based on music theory rules. Our model is currently focused on predicting chord tones in classical music, since composition in this style is highly constrained, theoretically making the placement of chord tones highly predictable. Indeed, music theorists have labeling systems for every variety of non-chord tone, primarily classified by the note's metric position and intervals of approach and departure. Using metric position, duration, and melodic intervals as predictors, we build a statistical model for predicting chord tones using the TAVERN dataset (Devaney et al. 2015). While our probabilistic approach is similar to other efforts in the domain of automatic harmonic analysis (e.g., Temperley 1997; Temperley & Sleator 1999), our focus is on melodic reduction rather than predicting harmony. However, we hope to pursue applications for ACE in the future. Finally, we implement our melody-reduction model using an existing symbolic visualization tool, to assist with melody reduction and non-chord tone identification for computational musicology researchers and music theorists.
How should corpus studies of harmony in popular music handle the minor tonic?
(Ohio State University. Libraries, 2021-12-16) de Clercq, Trevor
Corpus studies of harmony in popular music normally assume a singular tonic pitch assigned to scale-degree 1, which highlights similarities in chord organization between parallel keys. Recently, Nobile (2020) posits a "double-tonic complex" in rock, where two tonics—a major chord and its relative minor—are active simultaneously, such that similarities in chord organization manifest between relative keys. Using Kullback-Leibler divergence as a metric, I assess in a corpus of classical music and a corpus of popular music how well chord organization given a minor tonic is modeled by chord organization in the parallel and relative major. I show that chord organization in the classical corpus is modeled well by the parallel key encoding, but chord organization in the popular music corpus shows mixed results. I thus suggest that corpus studies of harmony in popular music should account for the two different ways (parallel and relative) that chord organization given a minor tonic corresponds to a major key. Possible strategies include separate analyses, dual encodings, and six-based minor.
Coda: Charting Future Directions of Music Cognition in turbulent times
(Ohio State University. Libraries, 2021-12-16) Albrecht, Joshua
The Future Directions of Music Cognition conference and speaker series incorporated hundreds of scholars presenting their research and dialoguing about what future directions the field of music cognition may take. This proceedings volume fairly represents much of the activity at the conference proper. However, it is difficult for a conference about the future of an academic field to live up to its name during a time of such rapid societal change. This article attempts to somewhat address this gap by thinking through the implications of current events on future directions of music cognition. It is a speculative investigation of three primary issues: social justice and anti-racism, the changing role of science in society, and the challenges of fostering an environment of healthy dialogue in inhospitable times.
Section 7: Timbre Abstracts
(Ohio State University. Libraries, 2021-12-16)
Kuvunga: Timbre, interlocking, and composite melodies in Zambian Luvale ngoma
(Ohio State University. Libraries, 2021-12-16) Winikoff, Jason Reid
This paper is an attempt to explicate the concept of "kuvunga," an important term to Zambian Luvale drummers. Drums kuvunga when they produce a composite melody. While these composites have long been understood as vital to African percussion, the processes that create them – both performed and perceived – have been relatively ignored. To help illustrate these processes, I introduce new analytic terminology that organizes rhythms along timbral lines. When these types of rhythms interact in specific ways, the drums kuvunga. In this study I will explain how Luvale musicians achieve this interlocking resultant by manipulating timbre through technical control. I combine research on auditory stream segregation, African musicology, and ethnographic methods to show that making drums kuvunga involves performed and perceived attention to timbre. Ultimately, my analysis draws attention to the vitality of timbre in African percussion, explicates the emergence of an important perceptual construct, and provides a new set of analytic tools.
A new auditory theory and its implications for the study of timbre
(Ohio State University. Libraries, 2021-12-16) Maxwell, Braden N.; Fritzinger, Johanna B.; Carney, Laurel H.
A relatively new auditory theory describes how representations of the spectrum are transformed and sharpened in the early (below the cortex, or sub-cortical) auditory system (Carney, 2018). The current article introduces this theory and considers implications for timbre using computer model simulations. Models suggest that between two locations in the early auditory system, the auditory nerve and the midbrain, the neural representation of spectral peaks (the representation in overall activity along the tonotopic axis) becomes more precise. This peak-sharpening process depends on timing patterns of nerve activity called neural fluctuations. Neural fluctuations are comparable to temporal amplitude modulation but are, in some cases, created and modified within the auditory system rather than simply reflecting the stimulus itself. After the peak-sharpening process, a center of mass of the most prominent spectral peaks - as encoded in the midbrain - serves as a neural representation of brightness. This work suggests that brightness may be fundamentally related to the concepts of locally prominent spectral peaks (spectral irregularity) and temporal modulation.
Chord spacing and quality: Lessons from timbre research
(Ohio State University. Libraries, 2021-12-16) Kahrs, Noah; Chiu, Matt
Although chords are often represented by pitch-class (chroma) content in computational research, chord spacing is often a more salient feature. This paper addresses this disparity between models and cognition by extending the discrete Fourier transform (DFT) theory of chord quality from pitch-classes to pitches. In doing so, we note a structural similarity between music theory's chord quality and audio engineering's timbral cepstrum: both are DFTs, performed in the pitch or frequency domains, respectively. We thus treat chord spacing as a hybrid of pitch-class and timbre. To investigate the potential benefits of the DFT on pitch space (P-DFT), we perform two computational experiments. The first explores the P-DFT model theoretically by correlating chord distances calculated with a pitch-class model against those calculated with spacing. The second compares P-DFT estimations of chord distances against listener responses (Kuusi, 2005). Our results show that spacing is a salient feature of chords, and that it can be productively described by timbre-influenced methods.
Using corpus studies to find the origins of the madrigal
(Ohio State University. Libraries, 2021-12-16) Cumming, Julie E.; McKay, Cory
A recurring topic in musicology is the origin of the madrigal. Did it come from the frottola, the motet and chanson, or other Italian traditions? MS Florence, BNC, 164-167 (c. 1520) has four sections, each devoted to a different genre: madrigals, other Italian-texted genres, chansons, and motets. These sections provide evidence of genre classification from the period. We encoded the 82 pieces in the manuscript and used jSymbolic to extract 801 features from each file. We then used Weka to train classifiers to identify the pieces in the different sections. This allowed us to test the claims of earlier scholars as to similarity or difference between the madrigals and the other genres. The classifiers could distinguish the other Italian-texted genres from the madrigals only 72% of the time, compared to 100% of the time for the motets and chansons, suggesting that the madrigals are more similar to other Italian-texted pieces than to the other genres. Features based on rhythm were particularly effective in separating the genres, especially in discriminating madrigals from motets.
Timbre's function in the perception of affective intentions: Contextual information and effects of learning
(Ohio State University. Libraries, 2021-12-16) Heng, Lena; McAdams, Stephen
Timbre has been identified by music perception scholars as a component in the communication of affect in music. While its function as a carrier of perceptually useful information about sound source mechanics has been established, less is understood about whether and how it functions as a carrier of information for communicating affect in music. To investigate these issues, listeners trained in Chinese and Western musical traditions were presented with phrases, measures, and individual notes of recorded excerpts interpreted with a variety of affective intentions by performers on instruments from the two cultures. These excerpts were analyzed to determine acoustic features that are correlated with timbre characteristics. Analysis revealed consistent use of temporal, spectral, and spectrotemporal attributes in judging affective intent in music, suggesting purposeful use of these properties within the sounds by listeners. Comparison between listeners' perceptions across notes and longer segments also revealed greater accuracy in perception with increased musical context. How timbre is used for musical communication appears to be implicated differently across musical traditions. The important role timbre plays also appears to vary for different positions within a musical phrase, suggesting that patterns of change over time are crucial in emotional communication.
Evaluating Tenney's critical band using a computational model of the human cochlea
(Ohio State University. Libraries, 2021-12-16) Fakhrtabatabaie, Ashkan; Jennings, Skyler G.
To understand and formalize the perceptual outcomes produced by certain orchestration techniques, researchers studying the psychology of timbre rely largely on combining the listeners perception reports with audio analysis of musical excerpts. Despite their ability to predict many aspects of auditory perception, mathematical auditory models have been scarcely explored in understanding the neurophysiological basis of music perception. If implemented, these models can quickly simulate physiological responses thought to mediate the perception of various timbral effects. Using a computational auditory model (Zilany et al., 2014), we present a physiological analysis of an excerpt from Critical Band (Tenney, 1988/2000), which uses loudness fluctuations as a structural element to create implicit timbral phenomena such as beat frequency and roughness. In this study, the results of the score analysis, audio analysis, and auditory model predictions were compared. The score analysis (Fakhrtabatabaie, 2020) suggested an implicit timbral component that the audio analysis of a computer realization of the score was not able to demonstrate. However, the auditory model prediction supported the timbral effect observed in the score analysis. The results of this study suggest that the auditory model can successfully provide a neurophysiological correlate of an aspect of perception of a complex musical stimulus. The use of an auditory model in future research may help with interpreting the score and predicting what perceptual experiments are likely to reveal.
An investigation of loudness effect on pitch and timbre discrimination
(Ohio State University. Libraries, 2021-12-16) Bulla, Wesley A.; Chon, Song Hui
This study was a first-step investigation of the efficacy of signal loudness when engaging in listening tasks. Based on physiological principles, pitch and timbre discrimination were hypothesized to be more accurate when stimuli were at low excitation levels. Discrimination tests were carried out at near audible threshold and at a robust somewhat loud listening level. Comparative metrics and non-parametric analyses indicated a consistent negative influence of signal strength on measured performance. While promising, more work is needed to determine the practicality and application of the findings.
Section 6: Rhythm & Meter Abstracts
(Ohio State University. Libraries, 2021-12-16)
Rhythm contour drives musical memory
(Ohio State University. Libraries, 2021-12-16) Schmuckler, Mark A.; Moranis, Rebecca
Two experiments examined listeners' use of contour information to drive memory for rhythmic patterns; these experiments were distinguished by the use of metric rhythms (Experiment 1) and ametric rhythms (Experiment 2). Both experiments employed a typical short-term memory task in which listeners heard a standard rhythm followed by a comparison rhythm. Comparison rhythms could be one of three types: an exact repetition of the standard rhythm, a same contour rhythm in which the relative durations of successive notes were comparable to the standard, and a different contour rhythm in which the relative durations of successive notes were modified relative to the standard. Analyses of d primes for same/different detection revealed that, for both studies, listeners performed better when the comparisons had different rhythm contours, relative to comparisons with the same rhythm contours. These findings converge with results investigating melodic contour, and suggest that listeners both form and use contours of novel rhythmic patterns.
Find your groove: a pilot study on the influences of beat salience and social connectedness on groove perception
(Ohio State University. Libraries, 2021-12-16) Percival, Hannah
Is beat salience an accurate way to measure groove? Does personal identification with the music affect groove ratings? Weigl (2016) lists 24 17-second clips from Rock/Pop/Electronic Dance Music genres in categories of high, medium, and low beat salience. To determine if beat salience influences groove perception, participants in my pilot study completed a Likert scale for each of Weigl's clips, ranging from "1 = no need to move" to "7 = dance party!"; the results suggest that this phrasing is an effective operationalized proxy for groove and beat salience. Participants also filled out social surveys to see if a propensity towards social connectedness would influence groove perception (GP). There was a weak correlation between GP and feeling connected to the musical environment. This connected feeling was correlated with prior emotional engagement with music. Self-construal as an independent or interdependent person did not have any correlation with GP; this result suggests that the intersection of musical and social elements in groove should focus on the musical environment, rather than self-construal elements.
Effect of metrical primes on perceived complexity of 2:3 and 3:4 polyrhythms
(Ohio State University. Libraries, 2021-12-16) Lookenbill, Zachary; VanHandel, Leigh
Previous empirical studies concerning the perception of polyrhythms have isolated the rhythms from a metrical context to observe the meter associated with each rhythm. These studies show the important effect pitch and tempo have on identifying meter (Handel & Oshinsky, 1981; Handel & Lawson, 1983). For example, listeners tend to tap the 3-pulse layer in a 2:3 polyrhythm except at fast tempos where the 2-pulse layer is preferred. (Handel & Oshinsky, 1981). This study extends prior research on polyrhythms by focusing on the metrical context in which they are presented, emulating realistic musical environments. The current methodology has participants rating the complexity of the pattern and how well the polyrhythm fits with the metrical prime. My hypothesis is that a metrical prime will overwhelm any previous preference for meter, and patterns placed in simple meters will be perceived as less complex than in compound meters. Results indicate listeners do have a preference of meter in both 2:3 and 3:4 polyrhythms. Listeners also rated the complexity of the stimuli lower in simple meters for 2:3, but this relationship is not clear in 3:4. Discussion considers the implication of the results on music pedagogy and performance of polyrhythms.
Social music: Investigating the link between personal liking and perceived groove
(Ohio State University. Libraries, 2021-12-16) Kowalewski, Douglas; Kratzer, Taylor; Friedman, Ronald
Integrating methods from experimental social psychology and music perception, we tested the hypothesis that when listeners personally like a musician, they will be more inclined to experience his or her music as both provoking movement and as subjectively pleasurable, the two core features of perceived groove. In Experiment 1, participants were exposed to a set of moderately-syncopated, high-groove drum-breaks which they were led to believe were either produced by a relatively likable or unlikable musician. In line with predictions, participants led to find the musician more versus less likable rated the same drum-breaks as more evocative of both the urge to move and of feelings of pleasure. When participants in a follow-up study (Experiment 2) were administered the exact same manipulation of likability, but exposed to highly syncopated, low-groove drum-breaks, these effects were eradicated, suggesting that the results of Experiment 1 were not merely due to demand characteristics or response biases. Together, these findings support the notion that listeners are more responsive to "participating in the music" when they are relatively motivated to affiliate with the musician(s). Methodological limitations and directions for future research on the social psychology of "the groove" are discussed.
Computational models of temporal expectations
(Ohio State University. Libraries, 2021-12-16) Fink, Lauren K.
With Western, tonal music, the expectedness of any given note or chord can be estimated using various methodologies, from perceptual distance to information content. However, in the realm of rhythm and meter, the same sort of predictive capability is lacking. To date, most computational models have focused on predicting meter (a global cognitive framework for listening), rather than fluctuations in metric attention or expectations at each moment in time. This theoretical contribution reviews existing models, noting current capabilities and outlining necessities for future work.

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