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

研究了旋律知觉中韵律和调性组织过程之间的相互作用。十位音乐家听了12首旋律中每一首的五个变奏曲，并判断了音调和节奏。原始条件试验保留了旋律的原始时间和音调模式。时间或音调模式在第一阶段或第二阶段移动，并与另一模式重组，以创造时间移动和音调移动的条件。结果表明，在不同的时移条件下，听者的关键解释不同，而在音调变化条件下，他们的韵律解释不同。这些结果表明，尽管声调组织受到韵律组织的影响，但声调组织并不影响韵律组织。也就是说，在旋律感知的过程中，音调的组织是基于韵律组织的结果。然后，我们通过一系列循序渐进的计算，构建了一个计算模型，该模型预测任何给定的旋律(西调)序列的可信的基调和调性。在一项实验中，13名受过音乐训练的参与者听了30个巴赫赋格受试者和随机的旋律，并被要求识别可信的键并对键的调性进行评级。我们将计算模型的增量预测与人类参与者的行为进行了比较，并与Kramhansl和Longuet-Higgins&Steedman开发的模型得出的预测进行了比较。我们的计算模型为参与者在旋律知觉中的音调组织过程提供了最合适的认知模型。

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.