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Spectrograms of single notes varying in pitch (columns) and timbre (rows). Note. Audio files (created with Ableton Live and spectrally analyzed with Audacity) are available in the Supplementary Materials accompanying this paper at online.ucpress.edu/mp for each note.
Published: 12 June 2025
Figure 2. Spectrograms of single notes varying in pitch (columns) and timbre (rows). Note. Audio files (created with Ableton Live and spectrally analyzed with Audacity) are available in the Supplementary Materials accompanying this paper at online.ucpress.edu/mp for each note. More about this image found in Spectrograms of single notes varying in pitch (columns) and timbre (rows). ...
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A helix representation of the relation between pitch height and chroma. Note. Pitch height is continuous, increasing with each note. In contrast, pitch class (or chroma) is cyclical, with each pitch class repeating every 12 semitones (i.e., one revolution = 1 octave).
Published: 12 June 2025
Figure 3. A helix representation of the relation between pitch height and chroma. Note. Pitch height is continuous, increasing with each note. In contrast, pitch class (or chroma) is cyclical, with each pitch class repeating every 12 semitones (i.e., one revolution = 1 octave). More about this image found in A helix representation of the relation between pitch height and chroma. No...
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Three versions of the same melody. Note. Audio files, created with MuseScore, are available in the online Supplementary Materials for each version.
Published: 12 June 2025
Figure 4. Three versions of the same melody. Note. Audio files, created with MuseScore, are available in the online Supplementary Materials for each version. More about this image found in Three versions of the same melody. Note. Audio files, created with MuseSc...
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Test phase results of Experiment 3 of Iorio et al. (2024) with standard error bars. Note. The dashed line indicates chance-level guessing.
Published: 12 June 2025
Figure 5. Test phase results of Experiment 3 of Iorio et al. (2024 ) with standard error bars. Note. The dashed line indicates chance-level guessing. More about this image found in Test phase results of Experiment 3 of Iorio et al. (2024) with standard er...
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Learning phase response times (left) and test phase percentage correct results (right) of Henry and Schmidt (2024) with standard error bars. Note. The dashed line in the figure to the right indicates chance-level guessing.
Published: 12 June 2025
Figure 6. Learning phase response times (left) and test phase percentage correct results (right) of Henry and Schmidt (2024 ) with standard error bars . Note. The dashed line in the figure to the right indicates chance-level guessing. More about this image found in Learning phase response times (left) and test phase percentage correct resu...
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Schematic representation of the modulatory influences of genetics, early music training, and learning environment on pitch identification learning.
Published: 12 June 2025
Figure 7. Schematic representation of the modulatory influences of genetics, early music training, and learning environment on pitch identification learning. More about this image found in Schematic representation of the modulatory influences of genetics, early mu...
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How modulations of asymptote and learning rate would affect AP learning following the power law of practice. Note. The asymptote, a, is varied in the top figure, whereas the learning rate, c, is varied in the bottom figure. The improvement possible, b, is fixed at 3 – a. Scores below the dashed line would indicate AP-level performance.
Published: 12 June 2025
Figure 8. How modulations of asymptote and learning rate would affect AP learning following the power law of practice. Note. The asymptote, a , is varied in the top figure, whereas the learning rate, c , is varied in the bottom figure. The improvement possible, b , is fixed at 3 – a . Scores... More about this image found in How modulations of asymptote and learning rate would affect AP learning fol...
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Interaction effects of categorical measures on mean participant ratings for (A) pitch interval and (B) interonset interval. Note: Error bars show 95% confidence intervals.
Published: 05 June 2025
Figure 1. Interaction effects of categorical measures on mean participant ratings for (A) pitch interval and (B) interonset interval. Note: Error bars show 95% confidence intervals. More about this image found in Interaction effects of categorical measures on mean participant ratings for...
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Illustrative training and prediction domains for Experiment 2 measures. Recognition moment task: For a given recognition moment (shown here for the first moment but applied to all four), domains used for model training only are shown with dashed lines and model prediction only with a solid line; domains in which both training and prediction are applied dynamically are shown with dash-dotted lines. Unity rating task: As in the previous task, dash-dotted lines illustrate measures based on training and prediction within a stimulus composition; stylistic unpredictability is trained on a corpus and used to predict events in the composition.
Published: 05 June 2025
Figure 2. Illustrative training and prediction domains for Experiment 2 measures. Recognition moment task : For a given recognition moment (shown here for the first moment but applied to all four), domains used for model training only are shown with dashed lines and model prediction only with a s... More about this image found in Illustrative training and prediction domains for Experiment 2 measures. Re...
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Fitted linear relationships of internal unpredictability predicting mean stimulus ratings using pitch interval and interonset interval representations. Note: Shaded regions show 95% confidence intervals.
Published: 05 June 2025
Figure 3. Fitted linear relationships of internal unpredictability predicting mean stimulus ratings using pitch interval and interonset interval representations. Note: Shaded regions show 95% confidence intervals. More about this image found in Fitted linear relationships of internal unpredictability predicting mean ...
Journal Articles
Journal Articles
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Scatterplot of eight stimuli: (1) WON (Stevie Wonder - Superstition), (2) KOU (Bassekou Kouyate - Bala), (3) CAS (Cash & Carry - Tchip Tchip), (4) MAL (M. Guinia/P. Sanders - Hamdouchi), (5) ANG (Angelite & Moscow Art Trio - Sunrise), (6) MAH (Gustav Mahler - Symphony No. 3 (6th mov.)), (7) BRO (Peter Brötzmann Octet - Machine Gun), and (8) SHA (The Shaggs - My Pal Foot Foot). The horizontal and vertical axes represent mean ratings of “pleasure” and “urge to move,” respectively. Large symbols in the foreground represent means per stimulus (error bars indicate the standard error of the mean). Semi-transparent small symbols in the background represent single ratings.
Published: 19 May 2025
Figure 1. Scatterplot of eight stimuli: (1) WON (Stevie Wonder - Superstition), (2) KOU (Bassekou Kouyate - Bala), (3) CAS (Cash & Carry - Tchip Tchip), (4) MAL (M. Guinia/P. Sanders - Hamdouchi), (5) ANG (Angelite & Moscow Art Trio - Sunrise), (6) MAH (Gustav Mahler - Symphony No. 3 (6th ... More about this image found in Scatterplot of eight stimuli: (1) WON (Stevie Wonder - Superstition), (2) K...
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Results of confirmatory factor analysis of the target model. α: Cronbach’s alpha, arrows from the left: factor coefficients, arrows from the right: uniquenesses, two-way arrow: Pearson correlation.
Published: 19 May 2025
Figure 2. Results of confirmatory factor analysis of the target model. α : Cronbach’s alpha, arrows from the left: factor coefficients, arrows from the right: uniquenesses, two-way arrow: Pearson correlation. More about this image found in Results of confirmatory factor analysis of the target model. α : Cronbach’...
Journal Articles
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Musical examples of the Picardy Third from two contrasting periods in Western music history. A) J. S. Bach, Fugue No. 2 in c minor, BWV 847, mm. 28–31. Arrows point to final chord, a major tonic chord representing the Picardy Third. Roman numerals are provided under the dominant (V) and tonic (I) chords. Red indicates major mode. B) Beatles, “I’ll Be Back,” mm. 4–7. Lyrics are provided. We made the scores using MuseScore 3 software.
Published: 15 May 2025
Figure 1. Musical examples of the Picardy Third from two contrasting periods in Western music history. A) J. S. Bach, Fugue No. 2 in c minor, BWV 847, mm. 28–31. Arrows point to final chord, a major tonic chord representing the Picardy Third. Roman numerals are provided under the dominant (V) and ... More about this image found in Musical examples of the Picardy Third from two contrasting periods in Weste...
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Background information on cadences and stimuli. A) Chord sequences used as stimuli. Chord sequences with a major pre-cadential context are to the left and bounded in red. Chord sequences with a minor pre-cadential context are to the right and bounded in blue. The cadence types, which are determined by their final chord, are Authentic (green), Parallel-Mode Tonic (yellow), Deceptive (sky blue), and Neapolitan (orange). The note in parentheses in the 4th chord of Variation 1 is substituted for the note directly above only for the deceptive cadence, allowing for smoother voice leading. Roman numeral analysis has been provided for those familiar with Western tonal music theory. Additionally, the mode of the final chords has been specified by the colors of the Roman numerals: red (major) and blue (minor). B) Structure of chord sequences. Red indicates that the mode of the specified portion of the chord sequence is major, while blue indicates that the mode of the specified portion is minor. V, a dominant chord, which is shared as the penultimate chord by all cadences, is represented by a black box. Cadence conditions that correspond with the specific structure are identified on the right. Cadence types concluding on an out-of-key final chord are marked by an asterisk. The formal definition of a cadence is shown through brackets on the bottom as the two fundamental chords that conclude a musical phrase.
Published: 15 May 2025
Figure 2. Background information on cadences and stimuli. A) Chord sequences used as stimuli. Chord sequences with a major pre-cadential context are to the left and bounded in red. Chord sequences with a minor pre-cadential context are to the right and bounded in blue. The cadence types, which are... More about this image found in Background information on cadences and stimuli. A) Chord sequences used as ...