Acoustic features of instrumental movie soundtracks elicit distinct and mostly non-overlapping extra-musical meanings in the mind of the listener.

Music can evoke powerful emotions in listeners. However, the role that instrumental music (music without any vocal part) plays in conveying extra-musical meaning, above and beyond emotions, is still a debated question. We conducted a study wherein participants (N = 121) listened to twenty 15-second-long excerpts of polyphonic instrumental soundtrack music and reported (i) perceived emotions (e.

Asymmetry in scales enhances learning of new musical structures.

Despite the remarkable variability music displays across cultures, certain recurrent musical features motivate the hypothesis that fundamental cognitive principles constrain the way music is produced. One such feature concerns the structure of musical scales. The vast majority of musical cultures use scales that are not uniformly symmetric-that is, scales that contain notes spread unevenly across the octave.

Evaluating Hierarchical Structure in Music Annotations.

Music exhibits structure at multiple scales, ranging from motifs to large-scale functional components. When inferring the structure of a piece, different listeners may attend to different temporal scales, which can result in disagreements when they describe the same piece. In the field of music informatics research (MIR), it is common to use corpora annotated with structural boundaries at different levels.

The contribution of timbre attributes to musical tension.

Timbre is an auditory feature that has received relatively little attention in empirical work examining musical tension. In order to address this gap, an experiment was conducted to explore the contribution of several specific timbre attributes-inharmonicity, roughness, spectral centroid, spectral deviation, and spectral flatness-to the perception of tension. Listeners compared pairs of sounds representing low and high degrees of each attribute and indicated which sound was more tense.

The neural processing of hierarchical structure in music and speech at different timescales.

Music, like speech, is a complex auditory signal that contains structures at multiple timescales, and as such is a potentially powerful entry point into the question of how the brain integrates complex streams of information. Using an experimental design modeled after previous studies that used scrambled versions of a spoken story (Lerner et al., 2011) and a silent movie (Hasson et al.

Decoding time for the identification of musical key.

This study examines the decoding times at which the brain processes structural information in music and compares them to timescales implicated in recent work on speech. Combining an experimental paradigm based on Ghitza and Greenberg (Phonetica, 66(1-2), 113-126, 2009) for speech with the approach of Farbood et al. (Journal of Experimental Psychology: Human Perception and Performance, 39(4), 911-918, 2013) for musical key-finding, listeners were asked to judge the key of short melodic sequences that were presented at a highly a compressed rate with varying durations of silence inserted in a periodic manner in the audio signal.

Interpreting expressive performance through listener judgments of musical tension.

This study examines listener judgments of musical tension for a recording of a Schubert song and its harmonic reduction. Continuous tension ratings collected in an experiment and quantitative descriptions of the piece's musical features, include dynamics, pitch height, harmony, onset frequency, and tempo, were analyzed from two different angles. In the first part of the analysis, the different processing timescales for disparate features contributing to tension were explored through the optimization of a predictive tension model.

Temporal dynamics and the identification of musical key.

A central process in music cognition involves the identification of key; however, little is known about how listeners accomplish this task in real time. This study derives from work that suggests overlap between the neural and cognitive resources underlying the analyses of both music and speech and is the first, to our knowledge, to explore the timescales at which the brain infers musical key. We investigated the temporal psychophysics of key-finding over a wide range of tempi using melodic sequences with strong structural cues, where statistical information about overall key profile was ambiguous.