The relationship between perceptual organization and emotional effect of music : Cognitive modeling and cross-cultural investigation

旋律知觉中的韵律和音调组织过程之间的相互作用进行了研究。10位音乐家听了12首旋律中每一首的五种变化，并判断了基调和节奏。原始条件试验保留了原始的时间和音高模式的旋律。时间或音高模式在第一或第二阶段被移动，并与另一模式重新组合，以创建时间移位和音高移位条件。结果表明，在不同的时移条件下，受试者的音调理解存在差异，而在不同的音高条件下，受试者的格律理解没有差异。这些结果表明，虽然音调组织的影响，格律组织，音调组织并不影响格律组织。也就是说，在旋律感知的过程中，音调组织是基于格律组织的结果。然后，我们构建了一个计算模型，通过逐步递增的一系列计算，预测任何给定的旋律（西方音调）序列的一个合理的键和音调。在一项实验中，13名受过音乐训练的参与者听了30首巴赫赋格曲主题和随机旋律，并被要求识别看似合理的键并对键的音调进行评级。我们的计算模型的增量预测与人类参与者的行为进行了比较，以及来自Krumhansl和Longuet-Higgins & Steedman开发的模型的预测。我们的计算模型提供了最适合的认知模型的过程中，参与者的音调组织的旋律感知。

The interplay between the processes of metrical and tonal organization in melody perception was investigated. Ten musicians listened to five variations of excerpts from each of 12 melodies and judged the keys and rhythms. Original-condition-trials retained the original temporal and pitch patterns of the melodies. Either temporal or pitch pattern was shifted in phase one or two notes and recombined with the other pattern to create the temporal-shift and the pitch-shift conditions. The result showed that the listeners' key interpretation varied among the temporal shift conditions, but their metrical interpretation did not vary among the pitch-shift conditions. These results suggested that, though tonal organization is influenced by metrical organization, tonal organization does not influence metrical organization. That is, in the process of melody perception tonal organization is based on the result of metrical organization.We, then, constructed a computational model that predicted a plausible key and tonality for any given melody (Western-tonal) sequence, through a step-wise, incremental series of computations. In an experiment, 13 musically trained participants listened to 30 Bach fugue subjects and random melodies and were asked to identify plausible keys and rate the tonality of the keys. The incremental predictions of our computational model were compared to the behavior of the human participants, as well as to predictions derived from models developed by Krumhansl and Longuet-Higgins & Steedman. Our computational model provided the best fitting cognitive model of the process of participants' tonal organization in melody perception.