Automatic processing of abstract musical tonality
Automatic processing of abstract musical tonality
复制标题
DOI：
10.3389/fnhum.2014.00988
复制
发表时间：
2014-12-09
影响因子：
2.9
通讯作者：
Shinn-Cunningham, Barbara G.
中科院分区：
文献类型：
--
作者：
Choi, Inyong;Bharadwaj, Hari M.;Shinn-Cunningham, Barbara G.
音乐感知建立在对和声、旋律和节奏的期待之上。在使用脑电图测量的事件相关电位（ERP）中观察到对违反这种期望的神经反应。大多数以前的ERR研究表明，对音乐违规的敏感性使用的刺激是时间上有规律的和音乐结构的，不太频繁的偏离事件，不同于特定的期望，在一些功能，如音高，和声，或节奏。在这里，我们询问对西方音阶的期望是否足够强烈，足以引发ERR偏差成分。具体来说，我们探讨了音高是否与既定的规模上下文不一致引起越轨的组件，即使同样罕见的音高，适合到既定的上下文不，甚至当他们的时间是不可预测的。我们使用马尔可夫链创建时间不规则的伪随机序列的注意到从两个全音阶之一。马尔可夫的音高转换概率导致了音阶中有利于音符的序列，但缺乏清晰的旋律、和声或节奏结构。在随机位置，序列包含的探测音要么在既定的规模内，要么是关键。我们的受试者忽略了音符序列，观看一部自选的带字幕的无声电影。与入键探针相比，出键探针引起了显著更大的P2 ERR分量。结果表明，随机音符序列建立了音乐键的“一阶”统计特性的预期，即使在听众不主动监测序列
Music perception builds on expectancy in harmony, melody, and rhythm. Neural responses to the violations of such expectations are observed in event related potentials (ERPs) measured using electroencephalography. Most previous ERR studies demonstrating sensitivity to musical violations used stimuli that were temporally regular and musically structured, with less-frequent deviant events that differed from a specific expectation in some feature such as pitch, harmony, or rhythm. Here, we asked whether expectancies about Western musical scale are strong enough to elicit ERR deviance components. Specifically, we explored whether pitches inconsistent with an established scale context elicit deviant components even though equally rare pitches that fit into the established context do not, and even when their timing is unpredictable. We used Markov chains to create temporally irregular pseudo-random sequences of notes chosen from one of two diatonic scales. The Markov pitch-transition probabilities resulted in sequences that favored notes within the scale, but that lacked clear melodic, harmonic, or rhythmic structure. At the random positions, the sequence contained probe tones that were either within the established scale or were out of key. Our subjects ignored the note sequences, watching a self-selected silent movie with subtitles. Compared to the in-key probes, the out-of-key probes elicited a significantly larger P2 ERR component. Results show that random note sequences establish expectations of the "first-order" statistical property of musical key, even in listeners not actively monitoring the sequences