Chord Priming Beyond Associative Networks
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Chord Priming Beyond Associative Networks
by Nart Bedin ATALAY
Middle East Technical University
Informatics Institute
Department of Cognitive Science
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Music, Sound Waves, Mental Structure (2)
Mental Representation of Music:
Tone, Chord, Meter, Melody, Harmony, Rhythm, Meter, From… etc.
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Listening, Analysis, Literate, Illiterate (3)
Listening as Analysis
Listening as Reconstruction
Literate Listening
Illiterate Listening
Remembering Melodies
Distinguishing Different Styles
Reacting Emotionally
Memorization
Identification
Transformation
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Representation of Harmony (4)
MUSACT Bharucha (1987) GTTM Lerdahl & Jackendoff (1983)
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Basics (5)
12 Notes
Chord
Key An abstract concept that defines notes and chords of a piece
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The Circle of Fifths
Harmony The study of well-formed and preferred chord progressions
Basics (6)
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Interactive Activation – Constraint Satisfaction Network
Input: Notes Layer Output: Notes - Chords - Keys Layers
MUSACT (7)
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MUSACT, The Circle (9)
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Psychological Data (10)
PRIME TARGET
related
unrelated
(G Major)(C Major Well-Formed)
(C Major Ill-Formed)
Reaction Time: Subjects react faster to well-formed targets than ill-formed targets when prime and target are related; subjects react faster to ill-formed targets than well-formed targets when prime and target unrelated.
Second Chord - Well-Formed? Ill-formed?
Accuracy: Subjects tend to describe ill-formed targets as well-formed when prime and target are related; subjects tend to describe well-formed targets as ill-formed when they are unrelated.
Bharucha & Stoeckig (1986, 1987)
(F# Major)
Single Chord
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Hypothetical Experimental Data and Behavior of MUSACT (11)
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Chord priming is not related with psycho-physical similarity of prime and target. (Bharucha & Stoeckig: 1987)
Chord priming is independent from the type of priming which is a result of similarity between prime and target. (Tekman & Bharucha: 1998)
Chord priming is independent from explicit knowledge of prime and target. (Justus & Bharucha: 1998)
Chord Priming Experiments (12)
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Acquisition (13)
MUSACT is an end state representation of learned harmonic knowledge.
Expectation as a pattern recognition with incomplete stimuli. Autoassociative network. Nodes represent chromatic scale. The network learns the similarity between scales. (Bharucha & Olney: 1989)
Acquisition of harmonic knowledge by exposure to chord sequences. A sequential network. The network is exposed to the sequences which embody the transition probabilities of chords. The network learned the conditional probability distributions of chord functions. (Bharucha & Todd: 1989)
Building architecture of MUSACT by only exposing to the sequences. Unsupervised Self-Organizing Maps. The sequences are consistent with the statistical distributions of chords. (Tillman, Bigand & Bharucha: 2002)
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Harmonic Priming Effect (14)
PRIME TARGET
related
unrelated
(C Major Well-Formed)
(C Major Ill-Formed)
Chord Sequence
C - a - d - G - C - F - C F- g – a – C –F – Bb – F - C
There is an effect of harmonic function on the expectation of chords. (Bigand & Pineau: 1997)
The effect of harmonic function and the effect of local priming are separate effects but not independent. (Tillmann, Bigand & Pineau: 1998)
Scrambling the chords in the sequence does not change the priming effect. Tillmann & Bigand 2001
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Explanation of MUSACT (15)
MUSACT has done well with global priming experiments.
Harmonic function: Addition of single chord activations through time.
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Neapolitean Sixth As A Chordal Function (16)
a b w c (well-formed) a b c w (ill-formed)
w functions as a member of the set A only in some conditions
MUSACT fails to capture this. Why?
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Psychological Experiment (17)
PRIME TARGET
related
unrelated
(C Major Well-Formed)
(C Major Ill-Formed)
Chord Sequence
Single Chord
Unrelated becomes Neapolitan Sixth in Chord Sequence
Result: Subjects show priming effect with N6 chord in chord sequences
We need another explanation for the representation of chords. It should combine all results within a single
architecture. It should represent N6 sixth as an emergent property.
Musicology Cognitive Science