The Experts below are selected from a list of 7506 Experts worldwide ranked by ideXlab platform
Emmanuel Bigand - One of the best experts on this subject based on the ideXlab platform.
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mel cepstrum ann ova the difficult dialog between mir and Music Cognition
International Symposium Conference on Music Information Retrieval, 2012Co-Authors: Jean Julien Aucouturier, Emmanuel BigandAbstract:Mel is a MIR researcher (the audio type) who's always been convinced that his field of research had something to contribute to the study of Music Cognition. His feeling, however, hasn't been much shared by the reviewers of the many psychology journals he tried submitting his views to. Their critics, rejecting his data as irrelevant, have frustrated him the more he tried to rebut, the more defensive both sides of the debate became. He was close to give up his hopes of interdisciplinary dialog when, in one final and desperate rejection letter, he sensed an unusual touch of interest in the editor's response. She, a cognitive psychologist named Ann, was clearly open to discussion. This was the opportunity that Mel had always hoped for: clarifying what psychologists really think of audio MIR, correcting misconceptions that he himself made about Cognition, and maybe, developing a vision of how both fields could work together. The following is the imaginary dialog that ensued. Meet Dr Mel Cepstrum, the MIR researcher, and Prof. Ann Ova, the psychologist.
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ISMIR - Mel Cepstrum & Ann Ova: The Difficult Dialog Between MIR and Music Cognition.
2012Co-Authors: Jean Julien Aucouturier, Emmanuel BigandAbstract:Mel is a MIR researcher (the audio type) who's always been convinced that his field of research had something to contribute to the study of Music Cognition. His feeling, however, hasn't been much shared by the reviewers of the many psychology journals he tried submitting his views to. Their critics, rejecting his data as irrelevant, have frustrated him the more he tried to rebut, the more defensive both sides of the debate became. He was close to give up his hopes of interdisciplinary dialog when, in one final and desperate rejection letter, he sensed an unusual touch of interest in the editor's response. She, a cognitive psychologist named Ann, was clearly open to discussion. This was the opportunity that Mel had always hoped for: clarifying what psychologists really think of audio MIR, correcting misconceptions that he himself made about Cognition, and maybe, developing a vision of how both fields could work together. The following is the imaginary dialog that ensued. Meet Dr Mel Cepstrum, the MIR researcher, and Prof. Ann Ova, the psychologist.
Marcus T. Pearce - One of the best experts on this subject based on the ideXlab platform.
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Cultural Distance: A Computational Approach to Exploring Cultural Influences on Music Cognition
The Oxford Handbook of Music and the Brain, 2018Co-Authors: Michael H. Thaut, Steven M. Demorest, Donald A. Hodges, Steven J. Morrison, Marcus T. PearceAbstract:Although Music is a universal phenomenon, the structural features that characterize specific Music traditions reflect the unique cultures in which those traditions reside. Consequently, encounters with Music from other cultures can present difficulties if the structures and patterns of that Music are too different from those of one’s home culture. This chapter proposes cultural distance as a way to conceptualize the cognitive dimension of cross-cultural Music interactions. It hypothesizes that an individual’s efficacy at processing a particular culture’s Music depends on the degree to which the statistical patterns of pitch and rhythm in that tradition resemble those of one’s own Music. The chapter employs a computational model (IDyOM) to determine the intervallic and rhythmic patterns within culture-specific Music corpora and the extent of difference between cultures and between specific pieces within a culture. This computational approach offers a more fine-grained correlational means for modeling similarities and differences in cross-cultural Music Cognition research.
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Music Cognition as Mental Time Travel
Scientific reports, 2013Co-Authors: Freya Bailes, Roger T. Dean, Marcus T. PearceAbstract:As we experience a temporal flux of events our expectations of future events change. Such expectations seem to be central to our perception of affect in Music, but we have little understanding of how expectations change as recent information is integrated. When Music establishes a pitch centre (tonality), we rapidly learn to anticipate its continuation. What happens when anticipations are challenged by new events? Here we show that providing a melodic challenge to an established tonality leads to progressive changes in the impact of the features of the stimulus on listeners' expectations. The results demonstrate that retrospective analysis of recent events can establish new patterns of expectation that converge towards probabilistic interpretations of the temporal stream. These studies point to wider applications of understanding the impact of information flow on future prediction and its behavioural utility.
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CogSci - Music Cognition: Bridging computation and insights from cognitive neuroscience
Cognitive Science, 2013Co-Authors: Marcus T. Pearce, Martin Rohrmeier, Psyche Loui, Petri Toiviainen, Elvira Brattico, Edward W. Large, Ji Chul KimAbstract:Music Cognition: Bridging computation and insights from cognitive neuroscience Marcus Pearce (marcus.pearce@eecs.qmul.ac.uk) Martin Rohrmeier (mr1@mit.edu) Centre for Digital Music and Research Centre in Psychology, Queen Mary, University of London, E1 4NS, UK. MIT Intelligence Initiative, Department of Linguistics and Philosophy, Massachusetts Institute of Technology, Cambridge, MA, USA Psyche Loui (ploui@bidmc.harvard.edu) Edward Large (large@ccs.fau.edu) Ji Chul Kim ( kim@ccs.fau.edu ) Beth Israel Deaconess Medical Center and Harvard Medical School, Boston, MA, USA. Center for Complex Systems & Brain Sciences Florida Atlantic University Petri Toiviainen (petri.toiviainen@jyu.fi) Elvira Brattico ( brattico@mappi.helsinki.fi) University of Jyvaskyla, Finland Aalto University, Finland Keywords: Music Cognition; cognitive neuroscience; computational modelling; processing; prediction; grammar Petri Toiviainen and Elvira Brattico Decoding the Musical brain during naturalistic listening Goals and Scope In recent years, computational models have become an increasingly important part both of cognitive science and cognitive neuroscience. In tandem with these developments neuroscientific and cognitive investigations of Musical experience and behaviour have been gathering pace. In this context, Music Cognition constitutes a rich and challenging area of cognitive science in which the processing of complex, multi-dimensional temporal sequences can be studied without interference of meaning or semantics (see Pearce & Rohrmeier, 2012, for a review). Because of its complexity and well-defined problem-space, computational modelling of Music witnessed a rapid growth of successful higher-order modelling approaches. This workshop investigates computational modelling as a bridge between Cognition and the brain, with a focus on understanding the psychological mechanisms involved in perceiving and producing Music. Many approaches have been taken to modelling the large variety of different cognitive processes involved in Music perception and creation involving various modules of basic structural processing, statistical learning, memory, as well as motor, emotional and social cognitive processes. Recent computational models range from hierarchical, rule-based systems for representing harmonic movement inspired by probabilistic grammars for language, through oscillator based network models for modelling metrical and tonal perception, to probabilistic methods derived from machine learning for modelling dynamic learning and predictive processing of style-specific Musical structure. Turning to cognitive neuroscience, recent years have seen increasing interest in advanced computational modelling of EEG and fMRI data used to distinguish brain regions responsible for the processing of different aspects of Music (e.g., rhythm, pitch, timbre, harmony) and the functional connectivity between them. The purpose of this symposium is to bring together and display current research trends towards a synthesis of these two research areas linking the parameters and subcomponents of cognitive models of Musical processing to functional and anatomical properties of the brain. Encoding, or prediction of neural activation from stimulus, is a common modeling approach in neuroscience. In our recent neuroimaging study, we applied encoding to predict brain activity during listening to different pieces of Music from an extensive set of Musical features computationally extracted from the pieces, and found widespread brain activation, including auditory, limbic, and motor areas (Alluri et al., Neuroimage, under review). With such complex and distributed neural activation, evaluation of different encoding models is not straightforward, because the goodness of prediction is difficult to assess. Decoding, or prediction of physical or perceived stimulus features from the observed neural activation, has the potential benefit of a more straightforward model evaluation because of easier performance characterization in terms of, for instance, correct classification rate. In a series of experiments, our participants were measured with functional magnetic resonance imaging (fMRI) while they were listening to three different Musical pieces. Subsequently, Musical features were computationally extracted from the pieces, and continuous emotion ratings were collected from the participants. For decoding, the fMRI data were subjected to dimensionality reduction via voxel selection and spatial subspace projection, and the obtained projections were subsequently regressed against the Musical features or the emotion ratings. To avoid overfitting, cross-validation was utilized. Different voxel selection criteria and subspace projection dimensionalities were used to find optimal prediction accuracy. The decoding results and the challenges of the approach will be discussed at the symposium. Psyche Loui Behavioral and DTI Studies on Normal and Impaired Learning of Musical Structure One of the central questions of cognitive science concerns how humans acquire knowledge from exposure to stimuli in the environment. In the context of Music, knowledge
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Music Cognition and the cognitive sciences.
Topics in cognitive science, 2012Co-Authors: Marcus T. Pearce, Martin RohrmeierAbstract:Why should Music be of interest to cognitive scientists, and what role does it play in human Cognition? We review three factors that make Music an important topic for cognitive scientific research. First, Music is a universal human trait fulfilling crucial roles in everyday life. Second, Music has an important part to play in ontogenetic development and human evolution. Third, appreciating and producing Music simultaneously engage many complex perceptual, cognitive, and emotional processes, rendering Music an ideal object for studying the mind. We propose an integrated status for Music Cognition in the Cognitive Sciences and conclude by reviewing challenges and big questions in the field and the way in which these reflect recent developments.
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Perception of Rhythmic Similarity in Reich’s Clapping Music: Factors and Models
2012Co-Authors: Daniel J. Cameron, Geraint A. Wiggins, Keith Potter, Marcus T. PearceAbstract:Background An essential aspect of Music is that it unfolds over time. Thus, understanding the perception and processing of the temporal organization of Musical events (rhythm and metre) is critical to understanding Music Cognition and perception. The perception of similarity has been used as a measure of the underlying processing of categories of stimuli. There are various approaches and theories accounting for the perception of similarity including feature-based (Tversky, 1977), geometric (Shepard, 1987), and transformational (Chater and Vitanyi, 2003). Regarding Music Cognition, the perception of similarity has been used in research on the perception of melody (Eerola, et al., 2001) and computational approaches (Mullensiefen and Frieler, 2004), however very little work has investigated the perception of rhythmic similarity specifically. Information theoretic approaches to Music Cognition can use computational models of the statistical properties of Music to predict perception and neural responses to Music (e.g. Pearce, et al., 2010), and provide information-processing models of the perceptual similarity between objects, based on how predictable an event is given the statistical properties of other events, or the information required to transform one stimulus configuration to another. These are consistent with an approach to Music Cognition that gives the statistical properties of Musical events a central role, along with their effects on expectation, predictability, and emotional responses (e.g. Huron, 2006).
Barbara Tillmann - One of the best experts on this subject based on the ideXlab platform.
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Music Cognition learning perception expectations
Computer Music Modeling and Retrieval, 2008Co-Authors: Barbara TillmannAbstract:Research in Music Cognition domain has shown that non Musician listeners have implicit knowledge about the Western tonal Musical system. This knowledge, acquired by mere exposure to Music in everyday life, influences perception of Musical structures and allows developing expectations for future incoming events. Musical expectations play a role for Musical expressivity and influence event processing: Expected events are processed faster and more accurately than less-expected events and this influence extends to the processing of simultaneously presented visual information. Studying implicit learning of auditory material in the laboratory allows us to further understand this cognitive capacity (i.e., at the origin of tonal acculturation) and its potential application to the learning of new Musical systems and new Musical expectations. In addition to behavioral studies on cognitive processes in and around Music perception, computational models allow simulating learning, representation and perception of Music for non Musician listeners.
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CMMR - Music Cognition: Learning, Perception, Expectations
Lecture Notes in Computer Science, 1Co-Authors: Barbara TillmannAbstract:Research in Music Cognition domain has shown that non Musician listeners have implicit knowledge about the Western tonal Musical system. This knowledge, acquired by mere exposure to Music in everyday life, influences perception of Musical structures and allows developing expectations for future incoming events. Musical expectations play a role for Musical expressivity and influence event processing: Expected events are processed faster and more accurately than less-expected events and this influence extends to the processing of simultaneously presented visual information. Studying implicit learning of auditory material in the laboratory allows us to further understand this cognitive capacity (i.e., at the origin of tonal acculturation) and its potential application to the learning of new Musical systems and new Musical expectations. In addition to behavioral studies on cognitive processes in and around Music perception, computational models allow simulating learning, representation and perception of Music for non Musician listeners.
Henkjan Honing - One of the best experts on this subject based on the ideXlab platform.
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without it no Music Cognition biology and evolution of Musicality
Philosophical Transactions of the Royal Society B, 2015Co-Authors: Henkjan Honing, Carel Ten Cate, Isabelle Peretz, Sandra E TrehubAbstract:Musicality can be defined as a natural, spontaneously developing trait based on and constrained by biology and Cognition. Music, by contrast, can be defined as a social and cultural construct based on that very Musicality. One critical challenge is to delineate the constituent elements of Musicality. What biological and cognitive mechanisms are essential for perceiving, appreciating and making Music? Progress in understanding the evolution of Music Cognition depends upon adequate characterization of the constituent mechanisms of Musicality and the extent to which they are present in non-human species. We argue for the importance of identifying these mechanisms and delineating their functions and developmental course, as well as suggesting effective means of studying them in human and non-human animals. It is virtually impossible to underpin the evolutionary role of Musicality as a whole, but a multicomponent perspective on Musicality that emphasizes its constituent capacities, development and neural cognitive specificity is an excellent starting point for a research programme aimed at illuminating the origins and evolution of Musical behaviour as an autonomous trait.
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The Illiterate Listener: On Music Cognition, Musicality and Methodology - The illiterate listener: on Music Cognition, Musicality and methodology
2011Co-Authors: Henkjan HoningAbstract:Al sinds onze babytijd hebben wij, mensen, een grote perceptuele gevoeligheid voor zowel de melodische, ritmische als dynamische aspecten van spraak en muziek. Het gaat, voor zover we nu weten, om een uniek menselijke aanleg voor het waarnemen, interpreteren en waarderen van muziek, nog voordat er een woord gesproken, of zelfs maar bedacht is. Het is het preverbale en preletter stadium waar het muzikale luisteren vol van is. Muziek speelt op een intrigerende manier met ons gehoor, ons geheugen, onze emoties en onze verwachtingen. Als luisteraar zijn we ons er vaak niet van bewust, maar we spelen een actieve rol bij wat muziek spannend, troostend of opwindend maakt, omdat luisteren zich niet afspeelt in de buitenwereld van de klinkende muziek, maar in de stille binnenwereld van ons hoofd en onze hersenen.
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Music Cognition: Learning and processing
2009Co-Authors: Martin Rohrmeier, Henkjan Honing, Patrick Rebuschat, Psyche Loui, Geraint A. Wiggins, Marcus T. Pearce, Daniel MüllensiefenAbstract:In recent years, the study of Music perception and Cognition has witnessed an enormous growth of interest. Music Cognition is an intrinsically interdisciplinary subject which combines insights and research methods from many of the cognitive sciences. This trend is clearly reflected, for example, in the contributions in special issues on Music, published by journals such as Nature, Cognition, Nature Neuroscience, and Connection Science. This symposium focuses on Music learning and processing and will feature perspectives from cognitive neuroscience, experimental psychology, computational modeling, linguistics, and Musicology. The objective is to bring together researchers from different research fields and traditions in order to discuss the progress made, and future directions to take, in the interdisciplinary study of Music Cognition. The symposium also aims to illustrate how closely the area of Music Cognition is linked to topics and debates in the cognitive sciences.
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Computational modeling of Music Cognition: a case study on model selection.
Music Perception, 2006Co-Authors: Henkjan HoningAbstract:While the most common way of evaluating a computational model is to see whether it shows a good fit with the empirical data, recent literature on theory testing and model selection criticizes the assumption that this is actually strong evidence for the validity of a model. This article presents a case study from Music Cognition (modeling the ritardandi in Music performance) and compares two families of computational models (kinematic and perceptual) using three different model selection criteria: goodness-of-fit, model simplicity, and the degree of surprise in the predictions. In the light of what counts as strong evidence for a model’s validity—namely that it makes limited range, nonsmooth, and relatively surprising predictions—the perception-based model is preferred over the kinematic model.
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Music and Cognition: What cognitive science can learn from Music Cognition
2006Co-Authors: Henkjan HoningAbstract:Music and Cognition: What cognitive science can learn from Music Cognition Richard Ashley (r-ashley@northwestern.edu) Henkjan Honing (honing@uva.nl) Northwestern University, 711 Elgin Road Evanston, IL 60208 USA University of Amsterdam, Nieuwe Doelenstraat 16-18, NL-1012 CP Amsterdam The Netherlands Erin Hannon (ehannon@fas.harvard.edu) Edward Large (large@ccs.fau.edu) Harvard University, 33 Kirkland St. Cambridge, MA 02138 USA Florida Atlantic University, CCSBS, 777 Glades Rd. Boca Raton FL 33431 USA Caroline Palmer (caroline.palmer@mcgill.ca) Sean Hutchins (sean.hutchins@mcgill.ca) McGill University, 1205 Dr. Penfield Ave. Montreal, QC, H3A 1B1 Canada Keywords: Music; language; modelling; development Like language, Music is a uniquely human capacity that arguably played a central role in the origins of human Cognition. The ways in which Music can illuminate fundamental issues in Cognition have been underexamined or even dismissed. This symposium considers Cognition in Music, especially as related to language, as enlarging our overall understanding of Cognition, contributing to cognitive science conceptually and methodologically, and showing the advantages of taking Music as a strong partner in studying human cognitive functioning in all its facets. resonate with the rhythms of Music. The cochlea operates according to the principles of nonlinear resonance, and nonlinear resonance is a plausible neural mechanism for pitch perception in humans. A recent theory of tonality models tonal percepts as resonance relationships in a dynamic neural field. I suggest that nonlinear resonance may provide a universal “grammar” for Music, and ask 1) What constraints does nonlinear resonance put on Music? 2) How could a particular Musical “languages” be learned? Caroline Palmer & Sean Hutchins Richard Ashley Musicians add variation to the pitch and rhythmic categories we call Music; we consider whether these manipulations constitute a Musical prosody : an abstract, rule-governed level of representation distinct from individualistic forms of Musical expression and shared by listeners. Possible functions of Musical prosody are: segmenting a continuous acoustic stream into its component units, highlighting items of relative importance, coordination among producers, and attributing emotional states to producers. Several rule-governed models of Musical prosody have been proposed that take notated compositional scores as input and yield prosodic manipulations as output. Prosody may aid perceptual learning, and provide low-level cues to aid segmentation and learning of hierarchical relationships. Music is widely assumed to have some kind of communicative function, but of what—structure, emotion, life-events? Pragmatic theorists from Grice onward have proposed that all communication uses the same principles but this claim has only rarely been examined in depth. This talk builds on pragmatic theories and shows how Music can be understood as deeply related to, and yet differentiated from, linguistic modes of communication, especially those dealing with face-to-face, interactive communication. Evolutionary implications are addressed from this position. Henkjan Honing Erin Hannon Most adults have a working knowledge of basic Musical structures in their culture, as well as knowledge of their native language. The developmental trajectory of Musical knowledge acquisition can shed light on how we learn about complex structures generally and how learning changes developmentally. I consider whether young infants can perceive temporal structures in Music (rhythm and meter), how such perceptual abilities are modified by culture-specific experiences at different ages, and whether basic biases constrain perception and learning even in young, un- enculturated infants. Such research may broaden our understanding of rhythm perception in both Music and speech, and general learning processes during development . While the most common way of evaluating a computational model is by showing a good fit with the empirical data, recently the literature on theory testing and model selection criticizes the assumption that this is actually strong evidence for a model. This presentation will outline the role of ‘surprise’ in the computational modeling of Music Cognition. For a model to be surprising, all predicted outcomes should be a small fraction of the possible outcomes. The resulting methods will be demonstrated using on existing real world models of Music Cognition currently being developed in the context of the European EmCAP project on Music Cognition. Edward Large Nonlinear resonance is ubiquitous in nature, and is relevant to understanding Music. Human motor rhythms behave as coupled nonlinear oscillators, and human neural rhythms
Jean Julien Aucouturier - One of the best experts on this subject based on the ideXlab platform.
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mel cepstrum ann ova the difficult dialog between mir and Music Cognition
International Symposium Conference on Music Information Retrieval, 2012Co-Authors: Jean Julien Aucouturier, Emmanuel BigandAbstract:Mel is a MIR researcher (the audio type) who's always been convinced that his field of research had something to contribute to the study of Music Cognition. His feeling, however, hasn't been much shared by the reviewers of the many psychology journals he tried submitting his views to. Their critics, rejecting his data as irrelevant, have frustrated him the more he tried to rebut, the more defensive both sides of the debate became. He was close to give up his hopes of interdisciplinary dialog when, in one final and desperate rejection letter, he sensed an unusual touch of interest in the editor's response. She, a cognitive psychologist named Ann, was clearly open to discussion. This was the opportunity that Mel had always hoped for: clarifying what psychologists really think of audio MIR, correcting misconceptions that he himself made about Cognition, and maybe, developing a vision of how both fields could work together. The following is the imaginary dialog that ensued. Meet Dr Mel Cepstrum, the MIR researcher, and Prof. Ann Ova, the psychologist.
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ISMIR - Mel Cepstrum & Ann Ova: The Difficult Dialog Between MIR and Music Cognition.
2012Co-Authors: Jean Julien Aucouturier, Emmanuel BigandAbstract:Mel is a MIR researcher (the audio type) who's always been convinced that his field of research had something to contribute to the study of Music Cognition. His feeling, however, hasn't been much shared by the reviewers of the many psychology journals he tried submitting his views to. Their critics, rejecting his data as irrelevant, have frustrated him the more he tried to rebut, the more defensive both sides of the debate became. He was close to give up his hopes of interdisciplinary dialog when, in one final and desperate rejection letter, he sensed an unusual touch of interest in the editor's response. She, a cognitive psychologist named Ann, was clearly open to discussion. This was the opportunity that Mel had always hoped for: clarifying what psychologists really think of audio MIR, correcting misconceptions that he himself made about Cognition, and maybe, developing a vision of how both fields could work together. The following is the imaginary dialog that ensued. Meet Dr Mel Cepstrum, the MIR researcher, and Prof. Ann Ova, the psychologist.
