Publication

Hearing structure in music: An empirical inquiry into listening as representation and processing

Gabriele Cecchetti
2024
Thèse EPFL
Résumé

As a universal expression of human creativity, music is capable of conveying great subtlety and complexity. Crucially, this complexity is not encoded in the score or in the sounds, but is rather construed in the mind of the listener in the form of nuanced perceptual experiences, commonly referred to as "structural hearing". While these experiences are to some extent accessible to introspection, which is made explicit in the music-theoretical discourse, the underlying cognitive mechanisms are elusive of empirical investigation. In this thesis, we conceptualise the experience of musical structure in the context of Bayesian cognition as a form of inference: namely, the inference of representations of structure as a way of making sense of music's sensory signals. Exploiting a computational analogy with linguistic processing, we model the emergence of structural interpretations in terms of grammar-based incremental parsing. In a series of behavioural experiments, we test some crucial implications of this modelling approach: (1) the existence of representations of structure abstracted from sensory information, which we test by adapting a structural-priming paradigm to the musical case, (2) the cognitive relevance of idiom-specific syntactic categories, exemplified by the notion of harmonic function in extended-tonal harmony, (3) the time-course of cognitive computations implementing incremental parsing in real time during listening, and (4) the existence of mechanisms of retrospective reanalysis by analogy with the linguistic garden-path effect.Overall, these results contribute proofs of existence for some cornerstones of a computational- and algorithmic-level theory of structural hearing. They are compatible with an inference process implemented through parsing computations including the integration of newly encountered events into a pre-existing representation, the projection of expected events in the future, and the retrospective revision of the interpretation of past events. Building on the proposed framework, future work may further test implications of different fine-grained algorithmic models of parsing, in order to distinguish between accounts of processing similarly to how models of sentence comprehension are disambiguated in psycholinguistics.

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Concepts associés (51)
Traitement de la phrase
De façon générale, le traitement de la phrase peut être défini comme l'ensemble des mécanismes employés pour produire ou comprendre une occurrence linguistique. Le traitement de la phrase peut être étudié sous deux aspects : la production ou la compréhension. Dans ce texte, nous porterons une attention particulière à la compréhension de la phrase. Six étapes sont impliquées dans le traitement de la phrase : Une séquence acoustique est produite L’information se rend jusqu’à l’oreille Décodage de l’information acoustique Reconnaissance des mots Saisie de l’information lexicale en mémoire Ajustement de l’information en mémoire avec la séquence qui suit.
Analyse syntaxique
L' consiste à mettre en évidence la structure d'un texte, généralement une phrase écrite dans une langue naturelle, mais on utilise également cette terminologie pour l'analyse d'un programme informatique. L' (parser, en anglais) est le programme informatique qui réalise cette tâche. Cette opération suppose une formalisation du texte, qui est vue le plus souvent comme un élément d'un langage formel, défini par un ensemble de règles de syntaxe formant une grammaire formelle.
Musical composition
Musical composition can refer to an original piece or work of music, either vocal or instrumental, the structure of a musical piece or to the process of creating or writing a new piece of music. People who create new compositions are called composers. Composers of primarily songs are usually called songwriters; with songs, the person who writes lyrics for a song is the lyricist. In many cultures, including Western classical music, the act of composing typically includes the creation of music notation, such as a sheet music "score," which is then performed by the composer or by other musicians.
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