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Chord Priming Beyond Associative Networks

Chord Priming Beyond Associative Networks. by Nart Bedin ATALAY Middle East Technical University Informatics Institute Department of Cognitive Science bedin@ii.metu.edu.tr. Music, Sound Waves, Mental Structure (2). Mental Representation of Music:

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Chord Priming Beyond Associative Networks

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  1. Chord Priming Beyond Associative Networks byNart Bedin ATALAY Middle East Technical University Informatics Institute Department of Cognitive Science bedin@ii.metu.edu.tr

  2. Music, Sound Waves, Mental Structure (2) Mental Representation of Music: Tone, Chord, Meter, Melody, Harmony, Rhythm, Meter, From… etc.

  3. Listening, Analysis, Literate, Illiterate (3) Listening as Analysis Listening as Reconstruction Literate Listening Illiterate Listening Remembering Melodies Memorization Distinguishing Different Styles Identification Reacting Emotionally Transformation

  4. Representation of Harmony (4) MUSACT Bharucha (1987) GTTM Lerdahl & Jackendoff (1983)

  5. Basics (5) 12 Notes Chord Key An abstract concept that defines notes and chords of a piece

  6. Basics (6) The Circle of Fifths Harmony The study of well-formed and preferred chord progressions

  7. MUSACT (7) Interactive Activation – Constraint Satisfaction Network Input: Notes Layer Output: Notes - Chords - Keys Layers

  8. MUSACT, The Circle (9)

  9. Psychological Data (10) unrelated (F# Major) PRIME TARGET (C Major Well-Formed) (C Major Ill-Formed) Single Chord related (G Major) Second Chord - Well-Formed? 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. 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)

  10. Hypothetical Experimental Data and Behavior of MUSACT (11)

  11. Chord Priming Experiments (12) 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)

  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)

  13. Harmonic Priming Effect (14) unrelated PRIME TARGET (C Major Well-Formed) (C Major Ill-Formed) Chord Sequence related 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

  14. Explanation of MUSACT (15) MUSACT has done well with global priming experiments. Harmonic function: Addition of single chord activations through time.

  15. 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?

  16. Psychological Experiment (17) unrelated PRIME TARGET (C Major Well-Formed) (C Major Ill-Formed) Chord Sequence related 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

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