Term
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Definition
old definition- beauty of form, thoughts and feelings expressed through melody, harmony and rhythm
-more recent definition- arranging of sounds in time
- original definition was too ethnocentric- based on western music- as music can have more functions than to expres beauty thoughts and feelings, and other cultures do not arrange sounds in terms of western conceptions of melody harmony and rhythm |
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Term
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Definition
-coherent succession of pitches
-people more sensitive to relative pitch relations than absolute pitches
--ex. can recognize happy birthday in any key as happy birthday, but can't say what the keys are |
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Term
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Definition
sequential pitch relations
- defined by successive pitch intervals and by number of semitones between 2 notes |
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Term
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Definition
up and down changes in pitch over time
- retained longer in memory than pitch interval
- sensitivity may be related to speech intonation (prosody) sensitivity
--rising pitch at end of sentence is question, falling pitch is a statement
--research shows people with musical training were better at processing emotional connotation of speech in an unfamiliar language |
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Term
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Definition
melodies are constrained by scales that define the pitches available
-structures of scale reflect psychological preferences
-they have 5-7 notes which reflects the limits of working memory and are defined as consonant intervals |
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Term
| melodic expectancies (bottom up vs. top down) |
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Definition
-bottom up expectancies are hard wired, or innate
--studies show that part of this is made up of:
----pitch proximity- notes that are proximate (close by) are judged to be good continuations of melody
----pitch reversal- change in pitch contour direction after large interval leap
---- these are both true across cultures which suggests they're hard wired
-top down expectancies are based upon experience
--listening to music makes you expect to hear notes that are more important in a scale
--constraint of scale or key
--constraint of remembered music |
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Term
| psychological constraints of scale or key |
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Definition
in music theory, the tonic (doh) "home of the key"; the dominant (so) is next stable followed by the mediant (mi)
- this is the case for major and minor scales
evidence for stability of tones in a key comes from a study
-the study established a key using a scale or cadence chord progression, then they played a tone and asked subjects how well the probe tone fit with the previous |
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Term
| limits of temporal discrimination |
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Definition
this is perceived when interonset intervals (IOI) are between 100 ms (10 notes) and 1500ms (one note every 1.5 seconds)
-anything below this sounds like one event, and above it sounds like disconnected events
-we can perceive temporal patterns with these IOIs up to 5 seconds in length which is the size of the auditory sense memory |
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Term
| Rhythm, Measure, Meter, Grouping |
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Definition
- the pattern of relative durations
-recurring beat pattern
-type of measure expressed in fraction (# of beats, type of beat (ex. 4/4 time))
-perceived associations between events- such as phrases and sections |
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Term
| perception of musical time |
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Definition
beats nested hierarchically in meter, but listeners tend to perceive just one level of metrical hierarchy
-this level is called the tactus
-metrical patterns (regular) are recognized and reproduced more accurately than non-metrical patterns
-pulse: most tempos of musical pieces fall within the range of tempos for other human rhythms (e.g. walking, heart rate) |
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Term
| what brain mechanisms allow us to synchronize with music? |
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Definition
| large & jones found that meter is tracked by a small set of oscillatory neural units that are 'tuned' to different pulses- these units entrain (lock on and track) different tempos |
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Term
| psychological constraints of remembering melody |
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Definition
mere exposure to music makes us like it because it's implicitly (unconsciously) stored- and thus it is predictable to a certain degree which we like
2 experiments were done on this
experiment 1
- study phase played 40 popular melodies
-test phase- 40 melodies from study phase, and 40 new ones
- group 1 asked if the had heard the music before to test explicit mem.
-group 2 was asked if they liked it to test implicit mem.
-result was that most people recognized the music in group 1 and prior exposure increased liking in group 2
experiment 2- same but in test phase the old 40 melodies were in different timbre
-results- group 1- timbre change hurt recognition of melodies
-group 2 timbre change didn't hurt increased liking of old melodies |
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