Niels Chr. Hansen | Aarhus University (original) (raw)
Papers by Niels Chr. Hansen
Frontiers in Psychology
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Psychological Science, 2021
Abstract Anticipating the future is essential for efficient perception and action planning. Yet, ... more Abstract
Anticipating the future is essential for efficient perception and action planning. Yet, the role of anticipation in event segmentation is understudied because empirical research has focused on retrospective cues such as surprise. We address this question in the context of musical phrase-boundary perception. A computational model of cognitive sequence processing was used to control the information-dynamic properties of tone sequences. In an implicit, self-paced listening task (n=38), undergraduates dwelled longer on tones generating high entropy (i.e., high uncertainty) than those generating low entropy (i.e., low uncertainty). Similarly, sequences that ended on tones generating high entropy were rated as sounding more complete (n=31). These entropy effects were independent of both the surprise (i.e., information content) and phrase position of target tones in the original musical stimuli. Our results indicate that events generating high entropy prospectively contribute to segmentation processes in auditory sequence perception, independent of the properties of the subsequent event.
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European Journal of Neuroscience, 2020
Auditory prediction error responses elicited by surprising sounds can be reliably recorded with m... more Auditory prediction error responses elicited by surprising sounds can be reliably recorded with musical stimuli that are more complex and realistic than those typically employed in EEG or MEG oddball paradigms. However, these responses are reduced as the predictive uncertainty of the stimuli increases. In this study, we investigate whether this effect is modulated by musical expertise. Magnetic mismatch negativity (MMNm) responses were recorded from 26 musicians and 24 non-musicians while they listened to low-and high-uncertainty melodic sequences in a musical multi-feature paradigm that included pitch, slide, intensity and timbre deviants. When compared to non-musicians, musically trained participants had significantly larger pitch and slide MMNm responses. However, both groups showed comparable reductions in pitch and slide MMNm amplitudes in the high-uncertainty condition compared with the low-uncertainty condition. In a separate, behavioural deviance detection experiment, musicians were more accurate and confident about their responses than non-musicians, but deviance detection in both groups was similarly affected by the uncertainty of the melodies. In both experiments, the interaction between uncertainty and expertise was not significant, suggesting that the effect is comparable in both groups. Consequently, our results replicate the modulatory effect of predictive uncertainty on prediction error; show that it is present across different types of listeners ; and suggest that expertise-related and stimulus-driven modulations of predictive precision are dissociable and independent. K E Y W O R D S expertise, mismatch negativity, music, precision
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Neuroimage, 2020
Neural responses to auditory surprise are typically studied with highly unexpected, disruptive so... more Neural responses to auditory surprise are typically studied with highly unexpected, disruptive sounds. Consequently , little is known about auditory prediction in everyday contexts that are characterized by fine-grained, non-disruptive fluctuations of auditory surprise. To address this issue, we used IDyOM, a computational model of auditory expectation, to obtain continuous surprise estimates for a set of newly composed melodies. Our main goal was to assess whether the neural correlates of non-disruptive surprising sounds in a musical context are affected by musical expertise. Using magnetoencephalography (MEG), auditory responses were recorded from musicians and non-musicians while they listened to the melodies. Consistent with a previous study, the amplitude of the N1m component increased with higher levels of computationally estimated surprise. This effect, however, was not different between the two groups. Further analyses offered an explanation for this finding: Pitch interval size itself, rather than probabilistic prediction, was responsible for the modulation of the N1m, thus pointing to low-level sensory adaptation as the underlying mechanism. In turn, the formation of auditory regularities and proper probabilistic prediction were reflected in later components: The mismatch negativity (MMNm) and the P3am, respectively. Overall, our findings reveal a hierarchy of expectations in the auditory system and highlight the need to properly account for sensory adaptation in research addressing statistical learning.
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Frontiers in Psychology, 2020
While absolute pitch (AP)-the ability to name musical pitches globally and without reference-is r... more While absolute pitch (AP)-the ability to name musical pitches globally and without reference-is rare in expert musicians, anecdotal evidence suggests that some musicians may better identify pitches played on their primary instrument than pitches played on other instruments. We call this phenomenon "instrument-specific absolute pitch" (ISAP). In this paper we present a theory of ISAP. Specifically, we offer the hypothesis that some expert musicians without global AP may be able to more accurately identify pitches played on their primary instrument(s), and we propose timbral cues and articulatory motor imagery as two underlying mechanisms. Depending on whether informative timbral cues arise from performer-or instrument-specific idiosyncrasies or from timbre-facilitated tonotopic representations, we predict that performance may be enhanced for notes played by oneself, notes played on one's own personal instrument, and/or notes played on any exemplar of one's own instrument type. Sounds of one's primary instrument may moreover activate kinesthetic memory and motor imagery, aiding pitch identification. In order to demonstrate how our theory can be tested, we report the methodology and analysis of two exemplary experiments conducted on two case-study participants who are professional oboists. The aim of the first experiment was to determine whether the oboists demonstrated ISAP ability, while the purpose of the second experiment was to provide a preliminary investigation of the underlying mechanisms. The results of the first experiment revealed that only one of the two oboists showed an advantage for identifying oboe tones over piano tones. For this oboist demonstrating ISAP, the second experiment demonstrated that pitch-naming accuracy decreased and variance around the correct pitch value increased as an effect of transposition and motor interference, but not of instrument or performer. These preliminary data suggest that some musicians possess ISAP while others do not. Timbral cues and motor imagery may both play roles in the acquisition of this ability. Based on our case study findings, we provide methodological considerations and recommendations for future empirical testing of our theory of ISAP.
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Empirical Musicology Review, 2020
This commentary provides two methodological expansions of von Hippel and Huron's (2020) empirical... more This commentary provides two methodological expansions of von Hippel and Huron's (2020) empirical report on (anti-)tonality in twelve-tone rows by Arnold Schoenberg, Anton Webern, and Alban Berg. First, motivated by the theoretical importance of equality between all pitch classes in twelve-tone music, a full replication of their findings of "anti-tonality" in rows by Schoenberg and Webern is offered using a revised tonal fit measure which is not biased towards row-initial and row-final sub-segments. Second, motivated by a long-standing debate in music cognition research between distributional and sequential/dynamic tonality concepts, information-theoretic measures of entropy and information content are estimated by a computational model and pitted against distributional tonal fit measures. Whereas Schoenberg's rows are characterized by low distributional tonal fit, but do not strongly capitalize on tonal expectancy dynamics, Berg's rows exhibit tonal traits in terms of low unexpectedness, and Webern's rows achieve anti-tonal traits by combining high uncertainty and low unexpectedness through prominent use of the semitone interval. This analysis offers a complementary-and arguably more nuanced-picture of dodecaphonic compositional practice.
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Human Brain Mapping, 2020
Learning of complex auditory sequences such as music can be thought of as optimizing an internal ... more Learning of complex auditory sequences such as music can be thought of as optimizing an internal model of regularities through unpredicted events (or "prediction errors"). We used dynamic causal modeling (DCM) and parametric empirical Bayes on functional magnetic resonance imaging (fMRI) data to identify modulation of effective brain connectivity that takes place during perceptual learning of complex tone patterns. Our approach differs from previous studies in two aspects. First, we used a complex oddball paradigm based on tone patterns as opposed to simple deviant tones. Second, the use of fMRI allowed us to identify cortical regions with high spatial accuracy. These regions served as empirical regions-of-interest for the analysis of effective connectivity. Deviant patterns induced an increased blood oxygenation level-dependent response, compared to standards, in early auditory (Heschl's gyrus [HG]) and association auditory areas (planum temporale [PT]) bilaterally. Within this network, we found a left-lateralized increase in feedforward connectivity from HG to PT during deviant responses and an increase in excitation within left HG. In contrast to previous findings, we did not find frontal activity, nor did we find modulations of backward connections in response to oddball sounds. Our results suggest that complex auditory prediction errors are encoded by changes in feedforward and intrinsic connections, confined to superior temporal gyrus.
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Cortex, 2019
Theories of predictive processing propose that prediction error responses are modulated by the ce... more Theories of predictive processing propose that prediction error responses are modulated by the certainty of the predictive model or precision. While there is some evidence for this phenomenon in the visual and, to a lesser extent, the auditory modality, little is known about whether it operates in the complex auditory contexts of daily life. Here, we examined how prediction error responses behave in a more complex and ecologically valid auditory context than those typically studied. We created musical tone sequences with different degrees of pitch uncertainty to manipulate the precision of participants’ auditory expectations. Magnetoencephalography was used to measure the magnetic counterpart of the mismatch negativity (MMNm) as a neural marker of prediction error in a multi-feature paradigm. Pitch, slide, intensity and timbre deviants were included. We compared high-entropy stimuli, consisting of a set of non-repetitive melodies, with low-entropy stimuli consisting of a simple, repetitive pitch pattern. Pitch entropy was quantitatively assessed with an information-theoretic model of auditory expectation. We found a reduction in pitch and slide MMNm amplitudes in the high-entropy as compared to the low-entropy context. No significant differences were found for intensity and timbre MMNm amplitudes. Furthermore, in a separate behavioral experiment investigating the detection of pitch deviants, similar decreases were found for accuracy measures in response to more fine-grained increases in pitch entropy. Our results are consistent with a precision modulation of auditory prediction error in a musical context, and suggest that this effect is specific to features that depend on the manipulated dimension—pitch information, in this case. Preprint versions available at: https://doi.org/10.1101/422949.
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Empirical Musicology Review, 2018
This commentary discusses Sun and Cuthbert's (2018) exploratory analysis of emotional word painti... more This commentary discusses Sun and Cuthbert's (2018) exploratory analysis of emotional word painting in a corpus of English-language popular and folk songs. The authors are complimented for their application of computational tools to an impressively large sample of a somewhat understudied musical genre, and for their detailed level of analysis mapping musical features to the semantic content of individual words. This work, however, suffers from a lack of a priori predictions which causes multiple comparison issues leading to a dramatic reduction in statistical power. The selection of musical features and analytical strategies also seems arbitrary at times due to the absence of motivating hypotheses. It is argued that the ethological literature on affective vocal communication in animals might offer an avenue for future hypothesis-driven research on this topic.
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Music & Science, 2019
While musicologists have long noted that triplet rhythms evoke sensations of rotation in listener... more While musicologists have long noted that triplet rhythms evoke sensations of rotation in listeners, no theory has been proposed to account for this apparent association. To investigate this phenomenon, 33 excerpts of “spinning, rotating, twirling, or swirling” music were crowd-sourced from an online discussion forum. Analysis revealed a prominence of fast, repeated, isochronous patterns using stepwise pitch movement, with significantly more compound meters than generally found in Western music. Inspired by ecological acoustics, an Ecological Theory of Rotating Sounds (ETRoS) is proposed to explain these associations. The theory maps patterns of loudness fluctuations to trajectories of rotating sound sources. Two experiments tested the theory. In Experiment A, listeners rated how much binary, ternary, quaternary, and quinary figures (of 2–5 notes) evoked sensations of rotation. Experiment B used a two-alternative forced-choice paradigm pitting ecological quaternary stimuli (strong-medium-weak-medium) against unecological stimuli with permuted stress values more typical of Western music (strong-weak-medium-weak). Results indicate that perceived rotation increases with tempo and is poorly evoked by binary rhythms. Loudness patterns consistent with rotating trajectories were perceived as more rotating than unecological patterns—but only when pitch was also moving. Altogether, moderate support is provided for an acoustic-ecological account of rotating sounds.
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Proceedings of ICMPC15/ESCOM10, 2018
Among the most impressive human behaviors are closely synchronized actions involving large groups... more Among the most impressive human behaviors are closely synchronized actions involving large groups of people—as seen in military displays, synchronized swimming, and much dance. Since coordinated movement promotes cooperation among participants and increases the extent to which observers attribute group rapport and cohesion, there are good a priori reasons to aspire to such behaviors on an individual and group level. Interestingly, synchronized displays are often accompanied by music. This raises the question of which musical features might facilitate precise movement coordination. Musicians recognize that beat subdivision (either imagined or actual) facilitates synchronization. Compared with isochronous rhythms exhibiting the same event density, dotted rhythms necessitate beat subdivision as a criterion for accurate performance. Accordingly, one might predict that dotted rhythms improve group synchronization. A corpus analysis is reported whose purpose was to test the conjecture that dotted rhythms appear more often in music associated with group synchronization (specifically marches) than in other types of music. Two hundred marches were randomly sampled along with a matched sample of 200 control pieces written by the same composer, employing the same instrumental genre, and using the same metric class. The four pairs of notes preceding the first four sounded downbeats were examined. Surprisingly, the results indicate that dotted rhythms are not significantly more common in marches. Double-dotted rhythms were also not more common for slower than for faster tempos. If indeed dotted rhythms contribute to the impressiveness of march displays by facilitating synchronization, Westerns march music does not significantly seem to capitalize on this phenomenon.
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Converging research efforts have proposed that musical sounds become rewarding through predictive... more Converging research efforts have proposed that musical sounds become rewarding through predictive processes in the brain's pleasure networks, including dopamine release in the midbrain (Blood and Zatorre, 2001; Gebauer et al., 2012). In this commentary we address the subtle, yet important distinction between two types of “prediction error” that are sometimes conflated in the music neuroscience literature: (i) reward prediction error (RPE) pertaining to (psychological) expectations of how emotionally rewarding a piece of music will be and (ii) prediction error (PE) pertaining to neuronal computation of sensory input relating to the brain's predictions about music itself. Ultimately, “What is the next chord?” (PE) and “How much will I like the next chord?” (RPE) are distinct—potentially orthogonal—questions. While many sources of fundamental pleasure like food, sex, and drugs are readily quantifiable and show a largely monotonic relationship between stimulus amount and pleasure magnitude (until a given saturation point), sources of higher-order pleasures like music cannot be unambiguously quantified (Berridge and Kringelbach, 2008). More music does not in itself imply greater pleasure. Rather, the pleasure potential of music relies on the interplay of prior learning and dynamic changes in stimulus structure over time (Huron, 2006). We propose that predictive coding under the free-energy principle (Friston, 2009)—under which the brain continuously minimizes PE in the interaction with its environment—has the potential to bridge PE and RPE, thus elucidating domain-specific aspects of musical appreciation.
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The neuropeptide oxytocin has been shown to affect social interaction. Meanwhile, the underlying ... more The neuropeptide oxytocin has been shown to affect social interaction. Meanwhile, the underlying mechanism remains highly debated. Using an interpersonal finger-tapping paradigm, we investigated whether oxytocin affects the ability to synchronise with and adapt to the behaviour of others. Dyads received either oxytocin or a non-active placebo, intranasally. We show that in conditions where one dyad-member was tapping to another unresponsive dyad-member – i.e. one was following another who was leading/self-pacing – dyads given oxytocin were more synchronised than dyads given placebo. However, there was no effect when following a regular metronome or when both tappers were mutually adapting to each other. Furthermore, relative to their self-paced tapping partners, oxytocin followers were less variable than placebo followers. Our data suggests that oxytocin improves synchronisation to an unresponsive partner's behaviour through a reduction in tapping-variability. Hence, oxytocin may facilitate social interaction by enhancing sensorimotor predictions supporting interpersonal synchronisation. The study thus provides novel perspectives on how neurobiological processes relate to socio-psychological behaviour and contributes to the growing evidence that synchronisation and prediction are central to social cognition.
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Musical expertise entails meticulous stylistic specialisation and enculturation. Even so, researc... more Musical expertise entails meticulous stylistic specialisation and enculturation. Even so, research on musical training effects has focused on generalised comparisons between musicians and non-musicians, and cross-cultural work addressing specialised expertise has traded cultural specificity and sensitivity for other methodological limitations. This study aimed to experimentally dissociate the effects of specialised stylistic training and general musical expertise on the perception of melodies. Non-musicians and professional musicians specialising in classical music or jazz listened to sampled renditions of saxophone solos improvised by Charlie Parker in the bebop style. Ratings of explicit uncertainty and expectedness for different continuations of each melodic excerpt were collected. An information -theoretic model of expectation enabled selection of stimuli affording highly certain continuations in the bebop style, but highly uncertain continuations in the context of general tonal expectations, and vice versa. The results showed that expert musicians have acquired probabilistic characteristics of music influencing their experience of expectedness and predictive uncertainty. While classical musicians had internalised key aspects of the bebop style implicitly, only jazz musicians' explicit uncertainty ratings reflected the computational estimates, and jazz-specific expertise modulated the relationship between explicit and inferred uncertainty data. In spite of this, there was no evidence that non-musicians and classical musicians used a stylistically irrelevant cognitive model of general tonal music providing support for the theory of cognitive firewalls between stylistic models in pre-dictive processing of music.
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Research has used the normalized pairwise variability index (nPVI) to examine relationships betwe... more Research has used the normalized pairwise variability index (nPVI) to examine relationships between musical rhythm and durational contrast in composers’ native languages. Applying this methodology, linearly increasing nPVI in Austro-German, but not Italian music has recently been ascribed to waning Italian and increasing German influence on Austro-German music after the Baroque Era. The inapplicability of controlled experimental methods to historical data necessitates further replication with more sensitive methods and new repertoire. Using novel polynomial modelling procedures, we demonstrate an initial increase and a subsequent decrease in nPVI inmusic by 34 French composers. Moreover, previous findings for 21 Austro-German (linear increase) and 15 Italian composers (no change) are replicated. Our results provide promissory quantitative support for accounts from historical musicology of an Italian-dominated Baroque (1600-1750), a Classical Era (1750-1820) with Austro-German centres of gravity (e.g., Mannheim, Vienna), and a Romantic Era (1820-1900) with greater national independence. Future studies should aim to replicate these findings with larger corpora with greater historical representability.
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Music Education Research, 2010
Despite the obvious importance of deciding which career to pursue, little is known about the infl... more Despite the obvious importance of deciding which career to pursue, little is known about the influence of personality on career choice. Here we investigated the relation between sensation seeking, a supposedly innate personality trait, and career choice in classical and ...
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Music Education Research, 2010
Despite the obvious importance of deciding which career to pursue, little is known about the infl... more Despite the obvious importance of deciding which career to pursue, little is known about the influence of personality on career choice. Here we investigated the relation between sensation seeking, a supposedly innate personality trait, and career choice in classical and ...
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![Research paper thumbnail of Nye perspektiver på studiet af musikalsk ekspertise [New perspectives on the scientific study of musical expertise]](https://attachments.academia-assets.com/39149893/thumbnails/1.jpg)
](The study of musical expertise within musicology is underpinned by the long-held Romantic concept... more The study of musical expertise within musicology is underpinned by the long-held Romantic concept of genius. This has influenced the topics explored and methods chosen and has promoted an unsubstantiated notion of musical expertise as elusive, innate, all-or-nothing, beneficial, and creative. The focus has been on social contexts, while cognitive and physiological traits have been less considered. Recent expertise findings from experimental psychology and neuroscience studies show that such traits may shed some new light on the matter. Based on anticipatory expertise – i.e. our ability to predict musical continuation – this paper outlines a research framework comprising seven analytical perspectives (origin, mental representations, anticipatory certainty, anticipatory flexibility, conscious availability, memory components, neural correlates). Each of these comes with a corresponding research question, a distinct view on musical learning, and a set of methods drawing, for instance, on advanced computational modelling, psychological experiments, and modern neuroimaging techniques. The proposed framework may help reshape our understanding of what characterises musical expertise. Further, it has implications for the development of strategies for music teaching, practising and dissemination as well as for the understanding of past, present and future music reception processes.
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Frontiers in Psychology
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Psychological Science, 2021
Abstract Anticipating the future is essential for efficient perception and action planning. Yet, ... more Abstract
Anticipating the future is essential for efficient perception and action planning. Yet, the role of anticipation in event segmentation is understudied because empirical research has focused on retrospective cues such as surprise. We address this question in the context of musical phrase-boundary perception. A computational model of cognitive sequence processing was used to control the information-dynamic properties of tone sequences. In an implicit, self-paced listening task (n=38), undergraduates dwelled longer on tones generating high entropy (i.e., high uncertainty) than those generating low entropy (i.e., low uncertainty). Similarly, sequences that ended on tones generating high entropy were rated as sounding more complete (n=31). These entropy effects were independent of both the surprise (i.e., information content) and phrase position of target tones in the original musical stimuli. Our results indicate that events generating high entropy prospectively contribute to segmentation processes in auditory sequence perception, independent of the properties of the subsequent event.
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European Journal of Neuroscience, 2020
Auditory prediction error responses elicited by surprising sounds can be reliably recorded with m... more Auditory prediction error responses elicited by surprising sounds can be reliably recorded with musical stimuli that are more complex and realistic than those typically employed in EEG or MEG oddball paradigms. However, these responses are reduced as the predictive uncertainty of the stimuli increases. In this study, we investigate whether this effect is modulated by musical expertise. Magnetic mismatch negativity (MMNm) responses were recorded from 26 musicians and 24 non-musicians while they listened to low-and high-uncertainty melodic sequences in a musical multi-feature paradigm that included pitch, slide, intensity and timbre deviants. When compared to non-musicians, musically trained participants had significantly larger pitch and slide MMNm responses. However, both groups showed comparable reductions in pitch and slide MMNm amplitudes in the high-uncertainty condition compared with the low-uncertainty condition. In a separate, behavioural deviance detection experiment, musicians were more accurate and confident about their responses than non-musicians, but deviance detection in both groups was similarly affected by the uncertainty of the melodies. In both experiments, the interaction between uncertainty and expertise was not significant, suggesting that the effect is comparable in both groups. Consequently, our results replicate the modulatory effect of predictive uncertainty on prediction error; show that it is present across different types of listeners ; and suggest that expertise-related and stimulus-driven modulations of predictive precision are dissociable and independent. K E Y W O R D S expertise, mismatch negativity, music, precision
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Neuroimage, 2020
Neural responses to auditory surprise are typically studied with highly unexpected, disruptive so... more Neural responses to auditory surprise are typically studied with highly unexpected, disruptive sounds. Consequently , little is known about auditory prediction in everyday contexts that are characterized by fine-grained, non-disruptive fluctuations of auditory surprise. To address this issue, we used IDyOM, a computational model of auditory expectation, to obtain continuous surprise estimates for a set of newly composed melodies. Our main goal was to assess whether the neural correlates of non-disruptive surprising sounds in a musical context are affected by musical expertise. Using magnetoencephalography (MEG), auditory responses were recorded from musicians and non-musicians while they listened to the melodies. Consistent with a previous study, the amplitude of the N1m component increased with higher levels of computationally estimated surprise. This effect, however, was not different between the two groups. Further analyses offered an explanation for this finding: Pitch interval size itself, rather than probabilistic prediction, was responsible for the modulation of the N1m, thus pointing to low-level sensory adaptation as the underlying mechanism. In turn, the formation of auditory regularities and proper probabilistic prediction were reflected in later components: The mismatch negativity (MMNm) and the P3am, respectively. Overall, our findings reveal a hierarchy of expectations in the auditory system and highlight the need to properly account for sensory adaptation in research addressing statistical learning.
Bookmarks Related papers MentionsView impact
Frontiers in Psychology, 2020
While absolute pitch (AP)-the ability to name musical pitches globally and without reference-is r... more While absolute pitch (AP)-the ability to name musical pitches globally and without reference-is rare in expert musicians, anecdotal evidence suggests that some musicians may better identify pitches played on their primary instrument than pitches played on other instruments. We call this phenomenon "instrument-specific absolute pitch" (ISAP). In this paper we present a theory of ISAP. Specifically, we offer the hypothesis that some expert musicians without global AP may be able to more accurately identify pitches played on their primary instrument(s), and we propose timbral cues and articulatory motor imagery as two underlying mechanisms. Depending on whether informative timbral cues arise from performer-or instrument-specific idiosyncrasies or from timbre-facilitated tonotopic representations, we predict that performance may be enhanced for notes played by oneself, notes played on one's own personal instrument, and/or notes played on any exemplar of one's own instrument type. Sounds of one's primary instrument may moreover activate kinesthetic memory and motor imagery, aiding pitch identification. In order to demonstrate how our theory can be tested, we report the methodology and analysis of two exemplary experiments conducted on two case-study participants who are professional oboists. The aim of the first experiment was to determine whether the oboists demonstrated ISAP ability, while the purpose of the second experiment was to provide a preliminary investigation of the underlying mechanisms. The results of the first experiment revealed that only one of the two oboists showed an advantage for identifying oboe tones over piano tones. For this oboist demonstrating ISAP, the second experiment demonstrated that pitch-naming accuracy decreased and variance around the correct pitch value increased as an effect of transposition and motor interference, but not of instrument or performer. These preliminary data suggest that some musicians possess ISAP while others do not. Timbral cues and motor imagery may both play roles in the acquisition of this ability. Based on our case study findings, we provide methodological considerations and recommendations for future empirical testing of our theory of ISAP.
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Empirical Musicology Review, 2020
This commentary provides two methodological expansions of von Hippel and Huron's (2020) empirical... more This commentary provides two methodological expansions of von Hippel and Huron's (2020) empirical report on (anti-)tonality in twelve-tone rows by Arnold Schoenberg, Anton Webern, and Alban Berg. First, motivated by the theoretical importance of equality between all pitch classes in twelve-tone music, a full replication of their findings of "anti-tonality" in rows by Schoenberg and Webern is offered using a revised tonal fit measure which is not biased towards row-initial and row-final sub-segments. Second, motivated by a long-standing debate in music cognition research between distributional and sequential/dynamic tonality concepts, information-theoretic measures of entropy and information content are estimated by a computational model and pitted against distributional tonal fit measures. Whereas Schoenberg's rows are characterized by low distributional tonal fit, but do not strongly capitalize on tonal expectancy dynamics, Berg's rows exhibit tonal traits in terms of low unexpectedness, and Webern's rows achieve anti-tonal traits by combining high uncertainty and low unexpectedness through prominent use of the semitone interval. This analysis offers a complementary-and arguably more nuanced-picture of dodecaphonic compositional practice.
Bookmarks Related papers MentionsView impact
Human Brain Mapping, 2020
Learning of complex auditory sequences such as music can be thought of as optimizing an internal ... more Learning of complex auditory sequences such as music can be thought of as optimizing an internal model of regularities through unpredicted events (or "prediction errors"). We used dynamic causal modeling (DCM) and parametric empirical Bayes on functional magnetic resonance imaging (fMRI) data to identify modulation of effective brain connectivity that takes place during perceptual learning of complex tone patterns. Our approach differs from previous studies in two aspects. First, we used a complex oddball paradigm based on tone patterns as opposed to simple deviant tones. Second, the use of fMRI allowed us to identify cortical regions with high spatial accuracy. These regions served as empirical regions-of-interest for the analysis of effective connectivity. Deviant patterns induced an increased blood oxygenation level-dependent response, compared to standards, in early auditory (Heschl's gyrus [HG]) and association auditory areas (planum temporale [PT]) bilaterally. Within this network, we found a left-lateralized increase in feedforward connectivity from HG to PT during deviant responses and an increase in excitation within left HG. In contrast to previous findings, we did not find frontal activity, nor did we find modulations of backward connections in response to oddball sounds. Our results suggest that complex auditory prediction errors are encoded by changes in feedforward and intrinsic connections, confined to superior temporal gyrus.
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Cortex, 2019
Theories of predictive processing propose that prediction error responses are modulated by the ce... more Theories of predictive processing propose that prediction error responses are modulated by the certainty of the predictive model or precision. While there is some evidence for this phenomenon in the visual and, to a lesser extent, the auditory modality, little is known about whether it operates in the complex auditory contexts of daily life. Here, we examined how prediction error responses behave in a more complex and ecologically valid auditory context than those typically studied. We created musical tone sequences with different degrees of pitch uncertainty to manipulate the precision of participants’ auditory expectations. Magnetoencephalography was used to measure the magnetic counterpart of the mismatch negativity (MMNm) as a neural marker of prediction error in a multi-feature paradigm. Pitch, slide, intensity and timbre deviants were included. We compared high-entropy stimuli, consisting of a set of non-repetitive melodies, with low-entropy stimuli consisting of a simple, repetitive pitch pattern. Pitch entropy was quantitatively assessed with an information-theoretic model of auditory expectation. We found a reduction in pitch and slide MMNm amplitudes in the high-entropy as compared to the low-entropy context. No significant differences were found for intensity and timbre MMNm amplitudes. Furthermore, in a separate behavioral experiment investigating the detection of pitch deviants, similar decreases were found for accuracy measures in response to more fine-grained increases in pitch entropy. Our results are consistent with a precision modulation of auditory prediction error in a musical context, and suggest that this effect is specific to features that depend on the manipulated dimension—pitch information, in this case. Preprint versions available at: https://doi.org/10.1101/422949.
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Empirical Musicology Review, 2018
This commentary discusses Sun and Cuthbert's (2018) exploratory analysis of emotional word painti... more This commentary discusses Sun and Cuthbert's (2018) exploratory analysis of emotional word painting in a corpus of English-language popular and folk songs. The authors are complimented for their application of computational tools to an impressively large sample of a somewhat understudied musical genre, and for their detailed level of analysis mapping musical features to the semantic content of individual words. This work, however, suffers from a lack of a priori predictions which causes multiple comparison issues leading to a dramatic reduction in statistical power. The selection of musical features and analytical strategies also seems arbitrary at times due to the absence of motivating hypotheses. It is argued that the ethological literature on affective vocal communication in animals might offer an avenue for future hypothesis-driven research on this topic.
Bookmarks Related papers MentionsView impact
Music & Science, 2019
While musicologists have long noted that triplet rhythms evoke sensations of rotation in listener... more While musicologists have long noted that triplet rhythms evoke sensations of rotation in listeners, no theory has been proposed to account for this apparent association. To investigate this phenomenon, 33 excerpts of “spinning, rotating, twirling, or swirling” music were crowd-sourced from an online discussion forum. Analysis revealed a prominence of fast, repeated, isochronous patterns using stepwise pitch movement, with significantly more compound meters than generally found in Western music. Inspired by ecological acoustics, an Ecological Theory of Rotating Sounds (ETRoS) is proposed to explain these associations. The theory maps patterns of loudness fluctuations to trajectories of rotating sound sources. Two experiments tested the theory. In Experiment A, listeners rated how much binary, ternary, quaternary, and quinary figures (of 2–5 notes) evoked sensations of rotation. Experiment B used a two-alternative forced-choice paradigm pitting ecological quaternary stimuli (strong-medium-weak-medium) against unecological stimuli with permuted stress values more typical of Western music (strong-weak-medium-weak). Results indicate that perceived rotation increases with tempo and is poorly evoked by binary rhythms. Loudness patterns consistent with rotating trajectories were perceived as more rotating than unecological patterns—but only when pitch was also moving. Altogether, moderate support is provided for an acoustic-ecological account of rotating sounds.
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Proceedings of ICMPC15/ESCOM10, 2018
Among the most impressive human behaviors are closely synchronized actions involving large groups... more Among the most impressive human behaviors are closely synchronized actions involving large groups of people—as seen in military displays, synchronized swimming, and much dance. Since coordinated movement promotes cooperation among participants and increases the extent to which observers attribute group rapport and cohesion, there are good a priori reasons to aspire to such behaviors on an individual and group level. Interestingly, synchronized displays are often accompanied by music. This raises the question of which musical features might facilitate precise movement coordination. Musicians recognize that beat subdivision (either imagined or actual) facilitates synchronization. Compared with isochronous rhythms exhibiting the same event density, dotted rhythms necessitate beat subdivision as a criterion for accurate performance. Accordingly, one might predict that dotted rhythms improve group synchronization. A corpus analysis is reported whose purpose was to test the conjecture that dotted rhythms appear more often in music associated with group synchronization (specifically marches) than in other types of music. Two hundred marches were randomly sampled along with a matched sample of 200 control pieces written by the same composer, employing the same instrumental genre, and using the same metric class. The four pairs of notes preceding the first four sounded downbeats were examined. Surprisingly, the results indicate that dotted rhythms are not significantly more common in marches. Double-dotted rhythms were also not more common for slower than for faster tempos. If indeed dotted rhythms contribute to the impressiveness of march displays by facilitating synchronization, Westerns march music does not significantly seem to capitalize on this phenomenon.
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Converging research efforts have proposed that musical sounds become rewarding through predictive... more Converging research efforts have proposed that musical sounds become rewarding through predictive processes in the brain's pleasure networks, including dopamine release in the midbrain (Blood and Zatorre, 2001; Gebauer et al., 2012). In this commentary we address the subtle, yet important distinction between two types of “prediction error” that are sometimes conflated in the music neuroscience literature: (i) reward prediction error (RPE) pertaining to (psychological) expectations of how emotionally rewarding a piece of music will be and (ii) prediction error (PE) pertaining to neuronal computation of sensory input relating to the brain's predictions about music itself. Ultimately, “What is the next chord?” (PE) and “How much will I like the next chord?” (RPE) are distinct—potentially orthogonal—questions. While many sources of fundamental pleasure like food, sex, and drugs are readily quantifiable and show a largely monotonic relationship between stimulus amount and pleasure magnitude (until a given saturation point), sources of higher-order pleasures like music cannot be unambiguously quantified (Berridge and Kringelbach, 2008). More music does not in itself imply greater pleasure. Rather, the pleasure potential of music relies on the interplay of prior learning and dynamic changes in stimulus structure over time (Huron, 2006). We propose that predictive coding under the free-energy principle (Friston, 2009)—under which the brain continuously minimizes PE in the interaction with its environment—has the potential to bridge PE and RPE, thus elucidating domain-specific aspects of musical appreciation.
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The neuropeptide oxytocin has been shown to affect social interaction. Meanwhile, the underlying ... more The neuropeptide oxytocin has been shown to affect social interaction. Meanwhile, the underlying mechanism remains highly debated. Using an interpersonal finger-tapping paradigm, we investigated whether oxytocin affects the ability to synchronise with and adapt to the behaviour of others. Dyads received either oxytocin or a non-active placebo, intranasally. We show that in conditions where one dyad-member was tapping to another unresponsive dyad-member – i.e. one was following another who was leading/self-pacing – dyads given oxytocin were more synchronised than dyads given placebo. However, there was no effect when following a regular metronome or when both tappers were mutually adapting to each other. Furthermore, relative to their self-paced tapping partners, oxytocin followers were less variable than placebo followers. Our data suggests that oxytocin improves synchronisation to an unresponsive partner's behaviour through a reduction in tapping-variability. Hence, oxytocin may facilitate social interaction by enhancing sensorimotor predictions supporting interpersonal synchronisation. The study thus provides novel perspectives on how neurobiological processes relate to socio-psychological behaviour and contributes to the growing evidence that synchronisation and prediction are central to social cognition.
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Musical expertise entails meticulous stylistic specialisation and enculturation. Even so, researc... more Musical expertise entails meticulous stylistic specialisation and enculturation. Even so, research on musical training effects has focused on generalised comparisons between musicians and non-musicians, and cross-cultural work addressing specialised expertise has traded cultural specificity and sensitivity for other methodological limitations. This study aimed to experimentally dissociate the effects of specialised stylistic training and general musical expertise on the perception of melodies. Non-musicians and professional musicians specialising in classical music or jazz listened to sampled renditions of saxophone solos improvised by Charlie Parker in the bebop style. Ratings of explicit uncertainty and expectedness for different continuations of each melodic excerpt were collected. An information -theoretic model of expectation enabled selection of stimuli affording highly certain continuations in the bebop style, but highly uncertain continuations in the context of general tonal expectations, and vice versa. The results showed that expert musicians have acquired probabilistic characteristics of music influencing their experience of expectedness and predictive uncertainty. While classical musicians had internalised key aspects of the bebop style implicitly, only jazz musicians' explicit uncertainty ratings reflected the computational estimates, and jazz-specific expertise modulated the relationship between explicit and inferred uncertainty data. In spite of this, there was no evidence that non-musicians and classical musicians used a stylistically irrelevant cognitive model of general tonal music providing support for the theory of cognitive firewalls between stylistic models in pre-dictive processing of music.
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Research has used the normalized pairwise variability index (nPVI) to examine relationships betwe... more Research has used the normalized pairwise variability index (nPVI) to examine relationships between musical rhythm and durational contrast in composers’ native languages. Applying this methodology, linearly increasing nPVI in Austro-German, but not Italian music has recently been ascribed to waning Italian and increasing German influence on Austro-German music after the Baroque Era. The inapplicability of controlled experimental methods to historical data necessitates further replication with more sensitive methods and new repertoire. Using novel polynomial modelling procedures, we demonstrate an initial increase and a subsequent decrease in nPVI inmusic by 34 French composers. Moreover, previous findings for 21 Austro-German (linear increase) and 15 Italian composers (no change) are replicated. Our results provide promissory quantitative support for accounts from historical musicology of an Italian-dominated Baroque (1600-1750), a Classical Era (1750-1820) with Austro-German centres of gravity (e.g., Mannheim, Vienna), and a Romantic Era (1820-1900) with greater national independence. Future studies should aim to replicate these findings with larger corpora with greater historical representability.
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Music Education Research, 2010
Despite the obvious importance of deciding which career to pursue, little is known about the infl... more Despite the obvious importance of deciding which career to pursue, little is known about the influence of personality on career choice. Here we investigated the relation between sensation seeking, a supposedly innate personality trait, and career choice in classical and ...
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Music Education Research, 2010
Despite the obvious importance of deciding which career to pursue, little is known about the infl... more Despite the obvious importance of deciding which career to pursue, little is known about the influence of personality on career choice. Here we investigated the relation between sensation seeking, a supposedly innate personality trait, and career choice in classical and ...
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The study of musical expertise within musicology is underpinned by the long-held Romantic concept... more The study of musical expertise within musicology is underpinned by the long-held Romantic concept of genius. This has influenced the topics explored and methods chosen and has promoted an unsubstantiated notion of musical expertise as elusive, innate, all-or-nothing, beneficial, and creative. The focus has been on social contexts, while cognitive and physiological traits have been less considered. Recent expertise findings from experimental psychology and neuroscience studies show that such traits may shed some new light on the matter. Based on anticipatory expertise – i.e. our ability to predict musical continuation – this paper outlines a research framework comprising seven analytical perspectives (origin, mental representations, anticipatory certainty, anticipatory flexibility, conscious availability, memory components, neural correlates). Each of these comes with a corresponding research question, a distinct view on musical learning, and a set of methods drawing, for instance, on advanced computational modelling, psychological experiments, and modern neuroimaging techniques. The proposed framework may help reshape our understanding of what characterises musical expertise. Further, it has implications for the development of strategies for music teaching, practising and dissemination as well as for the understanding of past, present and future music reception processes.
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