glossário
Glossário: adaptado da antiga MS102a-2s2018
https://web.archive.org/web/20210204095922/https://sites.google.com/site/nicsunicamp/ms102a-2s2018
Sensação:
apical coil: https://histo.life.illinois.edu/histo//atlas/image.php?sname=semear12&iname=5a1&widthchange=700
ear canal: https://en.wikipedia.org/wiki/Ear_canal
basal coil: https://goo.gl/images/EPwf83
basilar membrane: a stiff structural element that separates two liquid-filled tubes that run along the coil of the cochlea, the scala media and the scala tympani https://www.scienceabc.com/humans/basilar-membrane-what-is-it-and-what-does-it-do.html
bony labyrinth: a cavity in the temporal bone divided into three sections: the vestibule, the semicircular canals, and the cochlea. https://www.britannica.com/science/bony-labyrinth
chorda tympani: a nerve that arises from the mastoid segment of the facial nerve, carrying afferent special sensation from the anterior two-thirds of the tongue via the lingual nerve, as well as efferent parasympathetic secretomotor innervation to the submandibular and sublingual glands. https://radiopaedia.org/articles/chorda-tympani
cochlea: part of the inner ear involved in hearing. It is a spiral-shaped cavity in the bony labyrinth, in humans making 2 turns(full) and a 3/4(3 quarters) turn around its axis, the modiolus extending from base (basal coil), where higher frequencies are detected, to its apex (apical coil) where higher frequencies are detected. The cochlea is 10mm wide, 2,5 curves, bony pilar (modiolus), 33mm in length
cochlear duct (scala media): constituted by the vestibular duct or scala vestibuli (containing perilymph), which lies superior to the cochlear duct and abuts the oval window, and the tympanic duct or scala tympani (containing perilymph), which lies inferior to the cochlear duct and terminates at the round window.
depolarization, repolarization, action potential: a typical neuron has a resting potential (potential across the membrane) of -60 to -70 millivolts. This means that the interior of the cell (neuron) is negatively charged relative to the outside. When the membrane potential becomes less negative (more positive), depolarization occurs. When the membrane potential of the cell becomes more negative at a particular spot, due to a stimuli (e.g. a mechanical stimuli), the membrane becomes hyperpolarized. Depolarization and hyperpolarization occur when ion channels in the membrane open or close, altering the ability of particular types of ions to enter or exit the cell. For example, the opening of channels that let positive ions (like K+) flow inside the hair cell causes its depolarization. https://www.khanacademy.org/science/biology/human-biology/neuron-nervous-system/a/depolarization-hyperpolarization-and-action-potentials
endolymph: is very rich in potassium, secreted by the stria vascularis, and has a positive potential (+80mV) compared to perilymph. http://www.cochlea.eu/en/cochlea/cochlear-fluids
haircells: hair cell is an evolutionary triumph that solves the problem of transforming vibrational energy into an electrical signal. The scale at which the hair cell operates is truly amazing: At the limits of human hearing, hair cells can faithfully detect movements of atomic dimensions and respond in the tens of microseconds! Furthermore, hair cells can adapt rapidly to constant stimuli, thus allowing the listener to extract signals from a noisy background. https://www.ncbi.nlm.nih.gov/books/NBK10867/ . There are about 16 thousand hair cells inside each cochlea. There are 2 types of hair cells: inner and outer hair cells. inner haircells have 95% of afferent fibers, 5% efferent, from Superior olivary complex. Outer hair cells have mostly efferent nerve fibers acting as transducers (Two Kinds of Hair Cells in the Cochlea)
helicotrema: is the part of the cochlear labyrinth where the scala tympani and the scala vestibuli meet. It is the main component of the cochlear apex. The hair cells near this area best detect low frequency sounds. https://en.wikipedia.org/wiki/Helicotrema#cite_note-Behrbohm-1
malleus, incus, stapes: ossicular chain the transmits vibrations of the sound pressure variation picked up by the eardrum to the oval window in the vestibule. https://www.researchgate.net/publication/288855892_Morphological_and_Morphometrical_Study_of_the_Human_Ossicular_Chain_A_Review_of_the_Literature_and_a_Meta-Analysis_of_Experience_Over_50_Years
mechanosensitive channels: they are present in the membranes in the cells of organisms from the three domains of life: bacteria, archaea (single cell), and eukarya (multiple cell). In specialised neurones, such as the hair cells, a mechanic disturbance let these channels to open, thus allowing specific ions (in this case K+) to cross the membrane and enter the cell. https://www.ncbi.nlm.nih.gov/pmc/articles/PMC3203646/
modiolus: is a conical shaped central axis in the cochlea. It consists of spongy bone and the cochlea turns approximately 2.5 times around it https://en.wikipedia.org/wiki/Modiolus_(cochlea)
organ of corti: a specialized sensory epithelium that allows for the transduction of sound vibrations into neural signals. The organ of Corti itself is located on the basilar membrane.
perilymph: perilymph in the scala vestibuli comes from blood plasma across a hemto-perilymphatic barrier, whereas that of the scala tympani originates from CSF. There are two types of perilymph: the perilymph of the scala vestibuli, and that of the scala tympani. Both have a composition similar to cerebro-spinal fluid (CSF): rich in sodium (140mM) and poor in potassium (5mM) and calcium (1.2mM) http://www.cochlea.eu/en/cochlea/cochlear-fluids
petrous part (of temporal bone): is pyramid-shaped and is wedged in at the base of the skull between the sphenoid and occipital bones https://en.wikipedia.org/wiki/Petrous_part_of_the_temporal_bone
pitch: perceptual property of sounds that allows their ordering on a frequency-related scale, or more commonly, pitch is the quality that makes it possible to judge sounds as "higher" and "lower" in the sense associated with musical melodies. Pitch has 3 properties: chroma (from low to high inside one octave), height (from low to high in different octaves) and clarity (from unclear to clear).
Reissner’s membrane: separates scala vestibuli from the scala tympani, roofing the compartment containing the hair cells. https://www.sciencedirect.com/topics/medicine-and-dentistry/reissners-membrane
reticular lamina: a thin, stiff lamina that that separates endolymph from perilymph of the scala tympani and extends from the outer hair cells to the Hensen's cells (one of the supporting cells in the organ of Corti. This is composed of minute “fiddle-shaped” cuticular structures (the phalangeal extensions of the outer hair cells), interspaced with extensions coming from the outer phalangeal cells.
round window: one of the two openings from the middle ear into the rigid structure of the inner ear (vestibule). It is sealed by the secondary tympanic membrane (round window membrane), which is flexible and vibrates with opposite phase to the vibrations entering the inner ear through the oval window. It allows fluid in the cochlea to move, which in turn ensures that hair cells of the basilar membrane will be mechanically stimulated and thus letting to the sensation of audition.
scala vestibuli (upper); vestibular duct or scala vestibuli is a perilymph-filled cavity inside the cochlea of the inner ear that conducts sound vibrations to the cochlear duct. https://en.wikipedia.org/wiki/Vestibular_duct
scala tympani (lower): tympanic duct or scala tympani is one of the perilymph-filled cavities in the inner ear of the human. It is separated from the cochlear duct by the basilar membrane, and it extends from the round window to the helicotrema, where it continues as vestibular duct. https://en.wikipedia.org/wiki/Tympanic_duct
semicircular canals: semicircular canals or semicircular ducts are three semicircular, interconnected tubes located in the innermost part of each ear, the inner ear. The three canals are the horizontal, superior and posterior semicircular canals. https://en.wikipedia.org/wiki/Semicircular_canals
stereocilia: stereocilia (or stereovilli) are non-motile apical modifications of the cell, which are distinct from cilia and microvilli, but closely related to the latter. https://en.wikipedia.org/wiki/Stereocilia
tectorial membrane: acellular membranes in the cochlea of the inner ear, the other being the basilar membrane (BM). The TM is located above the spiral limbus and the spiral organ of Corti and extends along the longitudinal length of the cochlea parallel to the BM. https://en.wikipedia.org/wiki/Tectorial_membrane
tip links: extracellular filaments that connect stereocilia to each other or to the kinocilium in the hair cells of the inner ear. Mechanotransduction is thought to occur at the site of the tip links, which connect to spring-gated ion channels of K+ and Ca++ https://en.wikipedia.org/wiki/Tip_link
tonotopic organization / tonotopic map: the spatial arrangement of where sounds of different frequency are processed in the brain. Tones close to each other in terms of frequency are represented in topologically neighbouring regions in the brain. https://en.wikipedia.org/wiki/Tonotopy
tympanic membrane: also called eardrum, thin layer of tissue in the human ear that receives sound vibrations from the outer air and transmits them to the auditory ossicles, which are tiny bones in the tympanic (middle-ear) cavity. https://www.britannica.com/science/tympanic-membrane
vestibule: is the central part of the bony labyrinth in the inner ear, and is situated medial to the eardrum (tympanic cavity), behind the cochlea, and in front of the three semicircular canals. https://en.wikipedia.org/wiki/Vestibule_of_the_ear
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Percepção 1
Vowel
Consonant
Sibilant sound
Glottal sound
Transversal wave
Longitudinal wave
Superposition
Periodic vibration
Mode
Harmonic
Frequency ratio
Loudness
Pitch
Timbre
Spectrum
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Percepção 2:
earworm: sometimes also known as a brainworm, sticky music, stuck song syndrome, or Involuntary Musical Imagery (INMI) is a catchy piece of music that continually repeats through a person's mind after it is no longer playing. Phrases used to describe an earworm include "musical imagery repetition", "involuntary musical imagery", and "stuck song syndrome".
music imagined (audiation; term coined by Gordon in 1975) the hablity to imagine and hear music in the mind without the physical presence of sound sources, such as musical instruments of singing voices.
musical dreams: the occurrence of sound and music in dreams, normally very present and vivid.
music and dance: many cultures and languages do not make a distinction between music and dance, where they seem to be intertwined cultural phenomena. For this reason, some ethnomusicologists prefer to call music by the term "music and dance".
bodily movement, social engagement and sound: parts of the musical phenomenon where music is created by sounds but also involve gestures (in its listening or playing) and promote social integration (such as: entrainment)
sound in music: physical presence or mental imagery:
hearing and auditory perception: hearing was developed by evolution to favor functionality (survival) rather than the precise description of reality (epistemology)
sensation: properties of sensory organs:
acoustic x auditory:
1 our senses are selective: we perceive only a selective part of the information
2 our senses can deceive us: our senses may perceive similar information as different according to the context [optical illusion]
3 sensation is utilitarian, not epistemological: perception is about usefulness, not an accurate representation of reality [Li, Pastore 1991, footsteps's recognition experiment]
4 sensations are emotionally coloured: all our objective sensations (cognition) are mediated with emotional content (affect) [Capgras' delusion]
5 stimuli are not what they evoke: what we perceive is not the reality. Idealism x Realism [Plato's Allegory of the Cave, The Matrix movie]
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Percepção 3:
auditory masking: auditory phenomena that let one sound to partially of fully obscure (or render inaudible) another sound.
Lombard effect: the tendency of a speaker to speak louder in a noisy environment (for example, when wearing earphones)
masking skirt: the region of interference in the basilar membrane.
intensity above mask threshold: portion of the intensity of a partial above the masking skirt
upward spread of masking: the tendency of a pure tone to mask more tones above it than below it.
spectral roll-off: a commonplace pattern in which successively higher partials tend to exhibit less energy
width of masking skirt: region of basilar membrane excited for a single tone. Its width is roughly 1 millimetre each side, although this is also dependent on the partial's intensity.
critical band: region of interaction between masking skirts of each single tone detected in the basilar membrane. In complex tones, often times their partials mask each other.
high voice superiority effect: the tendency evident only for complex tones with spectral roll-off, where higher tones tend to mask lower tones more than vice versa.
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Percepção 4:
time tags for the video: "Making Connections: A Vision for 21st Century Musicology", by David Huron (51min)
Music Structures (Influences)
Formal (3m20) - ex: tone row
Political (4m) - ex: Beethoven's Eroica
Personal (5m) - ex: Bach's musical signature
Functional (6m), - ex: marriage, battle, harvest, etc.
Social (8m) - ex: Sinatra punishment in Chicago schools
Language (10m50) - ex: French x English language x music contrast
Auditory Cuteness (14m10)
20ml, 8cm (small cavity, small energy)
parenting
Body Structure (18m50)
Preferred Dance Tempo and Body Morphology
Dance = stylized bouncing
"Music has the shape of human body"
Physiological Structures (22m40)
equidistant position along basilar membrane (23m44)
Harmonic series X Tonotopy (26m)
"Music is made for Human Cochlea"
Economics (27m)
Composer's commissioning, funds, grants, etc.
"Money talks"
Idiomatic Structure (28m50)
Trumpet, fingering difficulty
Geographical Structure (34m10)
major x minor mode in Europe
Review (36m30)
graphic (39m10)
Critics on music scholarship (40m)
The psychologist's conceit (40m20)
"If music theory is to be scientifically justified, such justification must lie in its relationship to the processing mechanisms of the listener (Deutsch, 1983) Counter ex: trumpet fingering
The Theorist's conceit (41m15)
"Music theory is based on the analysis of autonomous compositions; our scholarship focuses on the music itself" (K. Agawu, 1993). Counter ex: musical parody
The ethnomusicologist's conceit (41m50)
"Reality is socially constructed. There are no meaningful structures in music outside of a sociocultural understanding".
Counter ex: prefferred dance tempo and body size
The new musicologist's conceit (42m20)
"Music is a manifestation of power struggles. Musicology is a critical endeavour that aims to expose the powerful, and to empower the oppressed". Counter ex: physiology of hearing organ.
Of blindness and elephants (43m15)
different perspectives different definitions
Historical Linguistics (44m10)
Case of success of a discipline in integrating different research perspectives
What I learned as a student (45m50)
1) Music is artifice. There is no way to explain music
2) Ideally one identifies a single key that unlocks the hidden secrets of a musical work
3) The goal of music scholarship is interpretation, not explanation
4) Methodology is a fetish; rigor is a form of self-deception
What I learned as a scholar (47m35)
1) Music is a product of innumerable factors
2) There is no single key to understand a musical work
3) Explanation is also a legitimate and desirable goal for music scholarship
4) Methodological rigor is NOT a fetish. Methodology is build on past mistakes.
Conclusion (49m50)
Music is full of patterns
Music theories are multidisciplinar
Your sub-discipline of music is your limitation, not your allegiance
Reading outside your field is an act of humility
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Cognição 1:
time-tags of the video: What is Music Cognition (MC)
(1m to 9m): the (at least) 104 questions that MC field researches
(10m):
MC and Music Education: have in common the development of musical skill and its social role
MC and Music Theory: how a musical work is put together
MC and Music Therapy: how music contributes to wellbeing
MC and Musicology: study of musical styles genres and cultural context
MC and Ethnomusicology: musical identity, group activity, embodiment, variability of music expression across communities
MC and Anthropology: musical aspects common to our humanity; point to the uniqueness of cultures
(11m):
MC and Philosophy: consciousness and aesthetic experience
MC and Psychology: sensory and perceptual experience, memory, personality, social psychology
MC and Neuroscience: Neural foundations of musical skill and experience; how mental illness and brain injuries transform musical experience
MC and Neurochemistry: how drugs alter musical experience
MC and Linguistics: categories, sintaxe, prosody, metaphors, pragmatics of human communication
MC and Ethology: animal behaviour, cues and signals
(13m)
MC and Cognitive Science:
CS: sciences of the mind, intersection of 6 disciplines
1) philosophy, 2) linguistics, 3) artificial intelligence, 4) neuroscience, 5) anthropology, 6) psychology
Frictions: with anthropology, criticism on the "psychologizing" of social and cultural concepts
division in Anthropology (A)
those who consider culture as an independent phenomenon, and
those who wellcome behavioural and natural sciences: Donald Brown, Lawrence Kuznar, Dan Sperber, (pioneer the connection between A and CS)
(15m20)
Neuroanthropology: Daniel Lende, Greg Downey,
(15m30)
MC methods
psychology
linguistics
computer science
music (growing in the past 30 years)
empirical methods
(17m30)
Summary
MC definition: a branch of scholarship that approaches music as a phenomenon of human minds
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(VIDEO) Describing Sounds - David Huron - 23min
Sound: Physical x Mental entities
Sound sensation is subjective:
differences in Metabolism, Genetics, Developmental, Life experiences, Enculturation.
Separation between description of sounds (physical) from differences in how people experience those sounds (mental)
(1m)
Physical atributes of sounds: Frequency (Hz), Amplitude (Pa), Duration (s)
Standard multipliers: micro (10ˆ-6), mili (10ˆ-3), K (10ˆ3), M (10ˆ6), G (10ˆ9)
(2m10)
Sound as auditory phenomena
Subjective experience
Hollow, Woody, Dark
Cute, Harsh
Dolce (sweet), Vivace (lively), Doloroso (sorrowful), Furioso (furious)
Italian Musical Terms
http://www.musictheory.org.uk/res-musical-terms/italian-musical-terms.php
(3m30)
There is no way to measure a subjective phenomena but asking people
scale (questionary)
(4m)
Pain is a subjective phenomena
Heart rate is objective phenomena
(5m)
Descriptors of subjective experience of sound
How good it is (ex: shinny, harsh, leafy, yellow, etc.) *
(6m40) within-listener reliability
(7m) between-listener reliability
(7m50)
Primary auditory phenomena (subjective)
(8m) Loudness (largest literature)
Noise, Complex to measure
(11m40) Zwicker’s loudness method
(12m) Pitch
(12m50) getting old makes pitch goes up
(14m30)
Musicians think in generating pitch,
Psychologists think in evoking pitch (* audacity)
(15m10) Timbre
related to spectral distribution and variation
grab bag for other differences
(16m10) Additional subjective property of sounds
(16m30) Toneness
(17m) Apparent location
(17m40) Streaming (illusion of same sound source ex: voice, piano)
(19m) Numerosity (single voice x crowd)
(19m30) Sensory dissonance (harshness)
(20m20) Beat (pulse)
(20m50) Tempo (“andamento”)
(21m20) Summary
Primary Auditory Phenomena (to describe sounds)
1 Loudness
2 Pitch
3 Timbre
4 Toneness (pitch clarity)
5 Apparent Location
6 Streaming (connection of sound with its source)
7 Numerosity
8 Sensory dissonance (harshness)
9 Beat
10 Tempo
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Cognição 3:
time-tags: video Music and Language - Ani Patel
Music and Language
(1m40)
Music of Language and Language of Music
(2m10)
What we all share as humans (despite our cultural differences)
(2m30)
The Piraha (Amazon Indians)
no concepts of: numbers, drawing, colors, religion
but they have language and music (M&L)
(3m45)
Enduring question (philosophers, scientists, artists)
(4m15)
Similarities between M&L
Rhythm, Melody, Syntax, Affect
(4m55)
but ... in Music
Rhythm has tempo (regular beat)
Melody has notes (stable pitch intervals)
Syntax has not "propositional semantics"
Affect has "musical emotions" (not everyday emotions)
(6m20) Empirical methods helped to find
Hidden connections between M&L
(6m45) focusing on Rhythm and Syntax)
(6m50): Part 1: Rhythm
Rhythm in music and language correlates
(11m20)
Two categories of languages
Stress-timed (English) or Syllable-timed (French)
(12m20) Non periodic rhythmic patterns
Structure without regularity (e.g. ocean waves)
(13m30) Vowel reduction (VR)
English >> VR
French << VR
Dauer Rebbeca M.: Phonetic and phonological components of language rhythm. Proc. 11th ICPhS, Tallinn 1987, pp. 447–449.
(15m)
Graphic of vowel durations in sentences (En and Fr)
(16m20)
normalized Pairwise variability index (nPVI)
Grabe, E., Post, B., Nolan, F., and Farrar, K. (2000). Pitch accent realisation in four varieties of British English. Journal of Phonetics 28.
(18m20)
Applying nPVI to music
Dictionary of musical themes
https://openlibrary.org/books/OL5194164M/A_dictionary_of_musical_themes
(22m)
How language rhythm influences music rhythm
Implicit learning
(23m)
Further work: applying this method to study jazz, improvisation and non-western music
(24m50) Part 2: Syntax
(26m20):
Similarities between M&L grammar
1) Discrete elements (notes, chords)
2) Principles of combination
3) Sequences with rich hierarchical structure (words, phrases)
(27m40) Musical syntax
1) Key structure (the Circle Of Fifths, COF)
2) Keys have orderly relationships which listener learn implicitly
3) Perceived relatedness of keys drops off with distance along the COF
All listeners have implicit knowledge of these rules
(31m50) Perceiving musical sequences hierarchically
(book) Tonal Pitch Space - Fred Lerdahl - 2001
(32m45) Linguistics and Musical Syntax
(33m10) Brain data are contradictory
Cases of brain damage point to independence
Neuroimaging points to overlap
Koelsch & Siebel (2005) Towards a neural basis of music perception. https://www.ncbi.nlm.nih.gov/pubmed/16271503
(34m30) A possible resolution: Resource sharing
Language and music involve distinct mental elements (words, chords)
Listeners mentally connect elements into hierarchical structure
Hypothesis: this integration draws on common neural resources
(36m45) Testing the Resource-sharing hypothesis
Prediction: Musical syntactic processing should interfere with linguistic syntactic processing, because they compete for common resources.
(37m30)
Self-paced reading: Technique to measure language processing difficulty
garden path sentence
Slevc, Rosemberg & Patel (2009) Making psycholinguistics musical: self-paced reading time evidence for shared processing of linguistic and musical syntax. https://www.ncbi.nlm.nih.gov/pubmed/19293110
(41m30) Experiment 1: Timbre (harmonic) manipulation: Language Syntax
(42m45) Experiment 1b: Timbre (harmonic) manipulation: Language Semantics
(43m40) Experiment 2: Timbre change
(45m20) Musical harmonic processing interferes with linguistic syntactic processing but not with semantic processing
Supports shared processing of linguistic and musical syntax
Patel et al., (2008) Musical syntactic processing in agrammatic Broca's aphasia. https://www.tandfonline.com/doi/abs/10.1080/02687030701803804
(45m55) Syntax in language and music (summary)
Processing of language and music syntax has a hidden connection
Syntactic elements may be unique but certain integrative processes are shared
Comparative music-language studies give us a new way to explore the brain bases of syntax
(47m) Final remarks
M&L are found in all human cultures
M&L should start being studied together
Music, Language and the Brain - Patel (2008) https://www.researchgate.net/publication/274247163_Music_Language_and_the_Brain_By_Aniruddh_Patel_Oxford_Oxford_University_Press_2008
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Cognição 4:
What is a musical work? And other curiosities of musical memory - David Huron - 45min
timetags
(2m15) Nostalgia
(4m)
Nostalgia: low physical arousal
Increases wit age
(4m30) Life memory
(5m40) reminiscence bulge (12-22 y.o.), cross-cultural universal
(6m) Musical nostalgia
Paul (2010)
(8m) Nostalgia of musicologists
time-horizon effect (Cartensen, 1993)
(9m) Allen Forte's case
(10m40) Oxytocin theory
erases and imprints new memory
(14m) Testing oxytocin theory
(15m) 4M Project
Mother's Milk Musical Memory project
(17m40) Different kinds of memory
long, short, intermediate
declarative, procedural
sensory
episodic, semantic
(20m) Distinction from Bharucha (1994)
Schematic x Veridical expectations
(23n45) Beethoven example
(24m40) P.D.Q. Bach (comedian)
(26m40) Music induced laughter
p() actual event is >400x the p() of expected event
Huron (2004)
(27m10) Veridical tune recognition
Cohort theory in word recognition
Recognition point (>50% of recognition)
(29m50) Prediction recognition (Huron & Freya Brailes)
familiarity & expectation (distinctiveness)
(30m) Why are musical memories so tenacious?
repetition
(33m55) What is a musical work?
(36m15) From Iceland (blues)
(37m30) Example (same or different?)
audio example
(39m20) Inuit throat singing
(40m55) A theory of musical identity
(works x genres)
work = veridical coding
genre = schematic identity
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Cognição 5:
Music, Culture, and Community - David Huron
https://www.youtube.com/watch?v=omFA62pDz4I&feature=youtu.be
timetags
(3m) Wellbeing
(3m55) The adventure of music
(5m30) Questionable adventures
(6m50) Other musics
(7m10) Approach (ethnomusicology x empirical research)
(8m30) Chapter 1
(9m) Music in space (culture is geographically correlated)
(9m40) Music in space (Music maps)
(10m30) Geographical structure (Aarden & Huron, 2001)
(11m10) Language structure (language influences music)
(12m30) Language structure (Patel, Daniele, 2003), (Huron, Ollen 2003)
(14m45) Formative lesson (post-skip reversal, PR)
(14m50) Regression to the mean (RM)
(16m55) PR x RM
(18m10) Result: Graphic (Huron & von Hippel, 2000)
(18m55) Results of multiple regression analysis (it's always regression to the mean)
(19m20) Conclusion on regression to the mean
(21m20) RM is found in music. PR is expected by human mind
(21m50) Repercussions
(22m35) Chapter 2
(23m) cross-cultural experiments (ethnomusicologists aversion to empirical work)
(23m15) Travels
(23m45) Trip 1: Nuku'alofa, Kingdom of Tonga
(24m15) Trip 2: Javari region of Amazon
(26m) Trip 3: Cook island
(27m15) Trip 4: Filanovskaya, Russia
(29m) Trips 4, 5, 6, 7: Micronesia
(30m) Covariate Enculturation Method
(30m55) Micronesia
(31m50) Globalization
(33m10) Degree of Westernization
(35m15) Changing World
(38m05) Hope (animal, developmental and database studies)
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Emoção 1:
Music, Emotion, and Behavior - David Huron
https://www.youtube.com/watch?v=AqqLZhKMWwU&feature=youtu.be
timetags
(1m30) What is an emotion
Are emotions learned or innate?
Does everyone experience the same emotions?
How does personality, gender, culture … influence emotion?
(1m40) What makes a sound happy or sad?
Are there any emotions that can’t be conveyed by sound?
Are acoustical features of emotions the same in all cultures?
(1m50) Are there emotions that can’t be conveyed by music?
When listening to the music of another culture, do we hear the same emotional content?
How does music evoke emotion in listeners?
(2m30) Ethology as inspiration
(2m40) Signal: a purposeful communicative act involving innate behavioral and physiological mechanisms the changes the behavior of the observer
((3m10) Cue: a non-purposeful behavior that nevertheless conveys information
(3m45) Cues & Signals
Cues are entirely learned through exposure to some environment
Signals are biologically prepared
Signals are communicative. Cues are artifactual
(4m15) Identifying signals
Conspicuous (Willey, 1983. Johnstone, 1997)
Multimodal (Smith & Harper, 2003)
(5m15) Size matters
Large: more threatening
Small: less threatening
(5m25) Size and sound
Large: lower frequencies
Small: higher frequencies
(5m50) Sound-size symbolism (Morton, 1977)
Low pitch: threatening, aggressive
High pitch: submissive, affinity
(6m30) Speech prosody (Bolinger, 1978)
High pitch: appeasement, deference
Low pitch: aggression, seriousness
(7m10) Music and transposition (Huron, Kinney, Precoda, 2006)
same behavior as speech prosody
(7m30) Heroes & Villains (Shanahan & Huron, 2014) http://emusicology.org/article/view/4441/4182
Heroes: tenor/soprano
Villains: bass/contralto
(8m05) Source-filter theory
in humans: vocal folds (source) vocal tract (filter)
(9m) Two acoustic sizes
(Ohala, 1984) extended (Morton, 1977) observation, including Filter
(9m30) Smile
enigma (showing teeth = aggression in animal kingdom)
why then is smile friendly?
(10m45) Pout resonance (opposite of smile)
(11m15) Sight & Sound
Multimodal (ex: smile)
(12m15) Sight & Sound (Huron, Dahl & Johnson, 2009)
picture of people singing low and high pitches
judge in singing face which one is friendlier
(13m15) Musicians’ eyebrows (Bonfiglioli, Caterina, Incasa & Baroni, 2006)
(13m50) Participants were asked to move eyebrows while reading text sentences (Huron, Shanahan, 2013) https://www.ncbi.nlm.nih.gov/pubmed/23654399
Consistent with multimodal nature of signals
(14m55) Cuteness
Auditory cuteness: how cute is a sound
small resonator with small energy, 8cm, 2KHz (Huron, 1999)
(16m40) Auditory cuteness
evoke nurturing parenting behavior
(17m55) Helen Kane/Betty Boop
dissonance between infantile head (nurture) and lustful body (sex appeal)
(20m) Sound os sarcasm
(Plazak, 2011) musicians were asked to performe in a sarcastic manner
Sarcastic renditions easily distinguished from happy, sad and angry renditions
Sarcasm: form of speech related to sneer (asymmetrical face), contempt (Eckman, 1972)
Sarcastic renditions presented increase of nasality for some instruments (Plazak, 2011) https://etd.ohiolink.edu/!etd.send_file?accession=osu1306897682&disposition=inline
(21m40) Face and Voices
Smiling, pouting, cuteness, sneer/contempt expression: all are signals (multimodal)
(23m35) Auditory Cue
Sadness, sorrow (Obs: grief is signal)
(24m40) Features of sad voice
(25m20) Features of sad music
quieter (Turner & Huron, 2008; Ladinig & Huron, 2010)
slower (Post & Huron, 2009; Horn, 2012)
lower pitch (Yim, Huron & Chordia, 2011)
more monotone (Huron & Davis, 2010)
mumbled (Yim, MS; Horn, 2012)
darker timbre (Schutz, Huron, Keeton & Loewer, 2008)
(25m50) Ambiguity of the sad music
Sad x Relaxed x Devotional
(26m50) Question
quieter, slower, lower pitch, more monotone, mumbling, darker
share in common low physiological arousal / low acetylcholine
(27m55) Sounds of low arousal
sad, sleepy, relaxed (they are similar)
(28m10) Sadness as cue
Long face seems sad (Neth & Martinez, 2009)
(29m40) Faces on busses
look sad but they are actually relaxed
(30m20) Conclusion
Sadness exhibits no unique acoustical or visual features
It is an artifact of low physiological arousal
sadness is a cue
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Emoção 2:
Daniel Levitin - Measuring musical expressivity
https://www.youtube.com/watch?v=GtSCVqIDl-k
timetags
(0m50s) The Psychophysics of Musical Expressivity
(1m) Interdisciplinarity
Psychology (Music Cognition) Medicine, Music, Genetics, Library & Information Science, Neuroscience, Computer Science
(2m) Growth of knowledge and need to Interdisciplinarity
Information(0-2000) = Information (2000-2010)
Visual system of a squid (more info than someone can learn)
(4m) Velcro, Scotch tape, FM Synthesis
(7m)Frederic Chiasson, Mahtab Bhamsari-Esfahani & Beavan Flanagan
(7m45) What separates a good from a bad musical performance?
(8m45) acoustic parameters (pitch, rhythm, dynamics, timbre)
(9m) Kendall & Carterette (1990) "The Communication of Musical Expression" https://www.jstor.org/stable/40285493? seq=1#page_scan_tab_contents
(10m) Intended expression x Perceived expression
mental representations (composer, performer, listener) [Roger Shepard]
classical psychophysical case: changes in the physical world are mapped in the psychological world
(10m50) 4 parameters of piano expressivity
when the key is hit, how hard, when the key is released, pedaling
(13m30) timing, amplitude, timing, pedaling
(13m50) Classical psychophysical problem (graph)
(14m45) Variability in timing and amplitude (what makes expressivity)
score is a starting point for interpretation
(15m45) Striping away variability from expressive performance
(8m20) Chopin experiment (covaried timing & amplitude)
expressive, mechanical, 50%, random
(23m55) Variations graphs
(24m30) Experiment 1:
16 participants, scale 1-10, "how expressive is this?"
(25m) Hypothetical results (graphs)
(25m50) Sigmoid function (threshold), 50% is perceived in more than 50% of variation
(27m10) Scatter plot
(27m40) Experiment 1 conclusion
participants able to:
distinguish different levels of expression
recover the rank even in random order
possibility to quantify musical expressivity
(29m15) Experiment 2: Independently varied Timing & Amplitude
sound examples
(31m) Emotionality Rating (graph)
timing carries more expressivity than amplitude
(31m30) Experiment 3: What is the optimum level of expressivity?
going above 100%
(34m) Expressivity rating for experiment 3
(34m50) Experiment 4
participants: people with autism (impaired emotional understanding)
(36m10) Rating expressivity (graph)
control and autism
(37m10) Conclusion
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Emoção 3:
Sound of Sadness
timetags
Sad music
(0m20s)
1) Why do people willingly listen to music that ostensibly makes them feel sad?
2) What makes sounds sound “sad”?
3.1) Why does the minor scale sound sad?
3.2) Why does it not sound sad for people from some other cultures?
(0m50) Warning
Sadness and Grief (normal behaviors)
Depression (pathology)
(1m20s) Music & Sadness
Sad music is ~ associated w/ strongly felt emotions (Gabrielsson & Lindstrom, 1993)
50% of pop. enjoy listening to “sad” music
10% of pop. really enjoys sad music (Ladining & Huron, 2010)
(2m20s) What makes music sound sad?
(quiet, low-pitched, slow, minor mode)
Example Barber’s Adagio for strings (contrast between low & high pitch)
(4m40) Distinction between Sadness and Grief (Paul, Huron 2010)
(4m45) Sadness: low physiological arousal, low heart rate, shallow respiration, slumped posture, loss of appetite, sleep, mute, reduce speaking, rumination)
(5m20) Grief: high physiological arousal, high heart rate, erratic respiration, flushed face, tears, nasal congestion, pharyngeal constriction
vocalization (loud wailing), ingressive vocalization
(6m50) Mixing sadness and grief
Alternate periods of (quiet) sadness and (louder) grief
Similar to Barber’s adagio for strings
(8m) Sad speech
Emil Kraepelin (1921) sad/depressed people speak: (quieter, slower, low pitch, small pitch movement, mumbling, darker timbre)
(9m) Musical parallels (similar to sad speech)
quieter (Turner, Huron, 2008)
slower (Post, Huron, 2009)
low pitch (Huron, 2008) “A Comparison of Average Pitch Height and Interval Size in Major- and Minor-key Themes: Evidence Consistent with Affect-related Pitch Prosody”
smaller pitch movements (Huron, 2008)
mumbling (Yim, Jakubowski, Huron,?)
Kelly Jakubowski https://www.dur.ac.uk/music/staff/profile/? id=15013&publications=1
darker timbres (Schultz, Huron, Keeton & Loewer, 2008) https://kb.osu.edu/handle/1811/34103
(11m30) A problem
Another interpretation: low pitch x lower than normal
(13m) Experiment (custom scales)
(18m30) Results (Huron, Yim, Chordia, 2010)
(19m10) Western music
75% major, 25% minor (major is the norm)
(20m30) Bulgarian exception (major is not the norm)
(22m10) Cross-cultural evidence
(Chordia, 2007) North indian raags (lowered pitched raags sound sadder)
(25m50) An anomaly
Low pitch also often associated w/ aggression (Ohala, 1984; Morton, 1994)
Transposing known melodies down in pitch causes them to sound more aggressive (Huron, Kinney, Precoda, 2006)
(27m40) Acoustic ethological model
High/Low pitch x Quiet/Loud
(28m30) Serious minor
Minor mode sounds more serious (Hevner, 1935)
Minor + loud sounds more aggressive (Ladining, Huron, 2010)
(29m30) What about lowering other pitch degrees?
ex: lowering 3, 5 and 7 = Blues scale
(31m20) Lowered supertonic (2nd)
Research on flat-2 in 4 contrasting cultures;
(Moore, 2008) “The Doom of the Flattened Supertonic:The other leading note in Turkish makam, Indianraga, klezmer and heavy metal musics” M.S. dissertation
(34m10) Flat-2 summary
different affect connotation (sad x aggression)
(36m) Recall
Another prosodic cue for sad is small pitch movements (smaller interval size)
(37m) Scale structure & interval size
pitch intervals in a scale are not equally likely to occur
300 melodies experiment
(44m50) Results
2 pitches modification, 84 possibilities
the best one is flat-3 and flat-6 (Huron, Davis, 2010)
(47m) The reason why flat3 and flat6 is the best
Graph
(50m50) Sadness summary
Parallels prosodic cues for sad speech
quiet, slow, etc.
(51m30) Grief
furrowed brow, gapping/open mouth, squinting or closed eyes, arms ~ outreached
(53m45) Sounds of grief
loud, high pitch, descending gliding pitch, pharyngealized voice, ingressive phonation, punctuated exhaling, breaking voice
(55m) Breaking voice (Paul, Huron, 2010)
(55m40) Why does voice break? / ex: a visit to the doctor
(57m30) Diagnosis (Allergic response)
(58m30) Why does crying resemble an allergy?
(1h01m) Not just allergy
(1h03m40) Recall
signal x cue
(1h04m20) Poodle x Great Dane (white-flag signal)
Kottler’s theory of weeping: in humans, crying is a signal for surrender
(Kottler, 1996)
(Kottler, Montgomery, 2001)
(1h05m) Effect of tears
Smelling tears cause significant reduction of testosterone, thus reducing aggression (pheromonal)
(1h05m30) Crying as signal
(1h06m30) Sadness
Origin of sadness features
low energy (epinephrine), poor muscle response, relaxed facial musculature
(1h08m20) Visual sadness
(1h08m30) Sadness as cue
(1h10m30) Purpose of sadness
Depressive realism
Over optimism (Ross, Nisbett, 1991)
depressive realism (Alloy, Abrahamson, 1979)
Less reliance on stereotypes (CLore, Huntsinger, 2007)
Greater memory (Storbeck, Clore, 2005)
Listening to sad music induces depressive realism (Brown, Mankowski, 1993)
(1h14m) Mouring (combination of sadness and crying)
Grief (crying) intends to change “your” behavior (social emotion)
Sadness intends to change “my” behavior (individual emotion)
(1h16m45) Recall
Some emotions are made of sub-emotions
ex: hunger (seeking, consummatory)
(1h17m30) Conclusion
(1h20m30) Musical repercussions