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 [email protected]

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Chord Priming Beyond Associative Networks. by Nart Bedin ATALAY Middle East Technical University Informatics Institute Department of Cognitive Science [email protected]. Music,Sound Waves, Mental Structure (2). Mental Representation of Music: - PowerPoint PPT Presentation

Transcript of Chord Priming Beyond Associative Networks

Page 1: Chord Priming Beyond Associative Networks

Chord Priming Beyond Associative Networks

by Nart Bedin ATALAY

Middle East Technical University

Informatics Institute

Department of Cognitive Science

[email protected]

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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