Modeling the perception of tonal structure with neural nets (original) (raw)
Related papers
2007
This chapter explores the relationship between music perception as it is studied in the laboratory and as it occurs in the real world. We first examine general principles by which listeners group musical tones into perceptual configurations, and how these principles are implemented in music composition and performance. We then show that, for certain types of configuration, the music as it is perceived can differ substantially from the music that is notated in the score, or as might be imagined from reading the score. Furthermore, there are striking differences between listeners in the perception of certain musical passages. Implications of these findings are discussed.
Perceptual Mechanisms in Music Processing
Music Perception, 2001
To gain a better understanding of the processes by which human listeners construct musical percepts within the Western tonal system, we conducted two experiments in which the perception of brief tone series was studied. The tone series consisted of (fragments from) different orderings of the collection C4 E4 F##4 G4 Bþþ4 and were preceded by two chords to induce a key. Two different tasks were used: (1) rating the melodic "goodness" of the tone series and (2) playing a few tones that complete the tone series. In Experiment 1, tone series of different lengths were presented in blocks. In Experiments 2a and 2b, increasing fragments of tone series were presented to examine the development of musical percepts. The majority of the data can be explained by two perceptual mechanisms: chord recognition and anchoring. Chord recognition is the mechanism that describes a series of tones in terms of a chord, a mental unit stored in long-term memory. Anchoring is the mechanism by which...
PACS: 43.75. Cd Music perception and cognition 43.75. St Musical performance, training, and analysis 43.75. Xz Automatic music recognition, classification, and information retrieval 43.75. Zz Analysis, synthesis, and processing of musical sounds Keywords: music cognition, auditory system, music perception, musical expectancy
Modeling tonality: Applications to music cognition
Proceedings of the Twenty-Third Annual Conference …, 2001
CogSci 2001 207 new ways to re-conceptualize and reorganize musical in-formation. A hierarchical model, the Spiral Array gen-erates representations for pitches, intervals, chords and keys within a single spatial framework, thus allowing comparisons among elements from different ...
Zeitschrift der Gesellschaft für Musiktheorie [Journal of the German-Speaking Society of Music Theory], 2005
Physics of Life …, 2008
We present a review on perception and cognition models designed for or applicable to music. An emphasis is put on computational implementations. We include findings from different disciplines: neuroscience, psychology, cognitive science, artificial intelligence, and musicology. The article summarizes the methodology that these disciplines use to approach the phenomena of music understanding, the localization of musical processes in the brain, and the flow of cognitive operations involved in turning physical signals into musical symbols, going from the transducers to the memory systems of the brain. We discuss formal models developed to emulate, explain and predict phenomena involved in early auditory processing, pitch processing, grouping, source separation, and music structure computation. We cover generic computational architectures of attention, memory, and expectation that can be instantiated and tuned to deal with specific musical phenomena. Criteria for the evaluation of such models are presented and discussed. Thereby, we lay out the general framework that provides the basis for the discussion of domain-specific music models in Part II.