midterm 2 Flashcards
probe-tone technique
participants listen to a stimulus context, then rate a following tone (the “probe tone”) for goodness-of-fit with the context; limitations of study include that people have different ideas of goodness-of-fit ratings, so could use a priming task that is a tuning task
Carol Krumhansl
perhaps the world’s foremost music psychologist; did groundbreaking work on the perception of key and tonality, pioneering the probe-tone technique and key profiles; established that key is psychologically real for listeners in general, even without musical training
key profile
developed by Carol Krumhansl; a graphical representation of how people perceive different scale degrees; a vector of 12 values, representing 12 pitch classes relative to a given key; gives us a representation of each key
corpus study
a large body of musical works, analyzed statistically in some way
Schoenberg’s chart of regions
a spatial representation of key relations; “Circle of fifths” on one axis, alternating; “parallel/relative” relations on the other axis
rhythm
the organization of events in time; contained in all music
meter
a regular framework of beats (points in time, understood as accented); typically have several levels of beats
phenomenal accent
defined by Lerdahl and Jackendoff; something in the music that causes us to infer a strong beat there
tactus
the main beat level that we tap or move to
syncopation
when accents and meter conflict
transitional probabilities
given a pitch, determining which pitch likely follows next; the statistics of which syllables appear together
entrainment
perceiving meter and synchronizing motions with it; motor in animals, such as “vocal learning” ability (“mimics”)
reversal (or gap-fill)
after a leap, we expect a change of direction
inertia
after a step, we expect to keep going in the same direction
priming study
after “familiarization,” have subjects perform some task which indicates the expectedness of the continuation indirectly (i.e., play a context and have subjects generate their most expected continuation); an indirect method in studying music expectation; you infer expectation from the response, given a context; facilitates the processing of expected events
Markov model
the probability of one thing, given another thing; can be constructed for many different musical features; advantages include statistical learning, can be learned from data, can be learned and modeled by a computer; disadvantages include complex due to many parameters, does not recognize any other general principles
Leonard Meyer
one of the founders of music psychology; argued that expectation is at the root of our emotional response to music (“plays” with our expectations); wrote the book Emotion and Meaning in Music (1956), which helped lay the foundations for music psychology; very influenced by the behaviorist thinking of the time (learned, not innate); undifferentiated view of emotion (arousal, not different kinds of emotion); emphasized “statistical” learning
David Huron
posed three kinds of expectation (schematic, dynamic, veridical)
schematic expectation
based on general musical knowledge (or knowledge of a style)
dynamic expectation
expectation set up by patterns during the course of a piece
veridical expectation
based on long-term knowledge of a specific piece (if you’ve heard it before)
