Chord Priming Beyond Associative Networks
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Transcript of Chord Priming Beyond Associative Networks
Chord Priming Beyond Associative Networks
by Nart Bedin ATALAY
Middle East Technical University
Informatics Institute
Department of Cognitive Science
Music, Sound Waves, Mental Structure (2)
Mental Representation of Music:
Tone, Chord, Meter, Melody, Harmony, Rhythm, Meter, From… etc.
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
Representation of Harmony (4)
MUSACT Bharucha (1987) GTTM Lerdahl & Jackendoff (1983)
Basics (5)
12 Notes
Chord
Key An abstract concept that defines notes and chords of a piece
The Circle of Fifths
Harmony The study of well-formed and preferred chord progressions
Basics (6)
Interactive Activation – Constraint Satisfaction Network
Input: Notes Layer Output: Notes - Chords - Keys Layers
MUSACT (7)
MUSACT, The Circle (9)
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
Hypothetical Experimental Data and Behavior of MUSACT (11)
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)
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)
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
Explanation of MUSACT (15)
MUSACT has done well with global priming experiments.
Harmonic function: Addition of single chord activations through time.
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?
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