Despite the plethora of research on the role of tonality and meter in music perception, there is little work on how these fundamental properties function together. The most basic question is whether the two hierarchical structures are correlated – that is, do metrically stable positions in the measure preferentially feature tonally stable pitches, and do tonally stable pitches occur more often than not at metrically stable locations? To answer this question, we analyzed a corpus of compositions by Bach, Mozart, Beethoven, and Chopin, tabulating the frequency of occurrence of each of the 12 pitch classes at all possible temporal positions in the bar. There was a reliable relation between the tonal and metric hierarchies, such that tonally stable pitch classes and metrically stable temporal positions co-occurred beyond their simple joint probability. Further, the pitch class distribution at stable metric temporal positions agreed more with the tonal hierarchy than at less metrically stable locations. This tonal-metric hierarchy was largely consistent across composers, time signatures, and modes. The existence, profile, and constancy of the tonal-metric hierarchy is relevant to several areas of music cognition research, including pitch-time integration, statistical learning, and global effects of tonality.

MUSIC ELICITS PROFOUND EMOTIONS; HOWEVER, THE time-course of these emotional responses during listening sessions is unclear. We investigated the length of time required for participants to initiate emotional responses ("integration time") to 138 musical samples from a variety of genres by monitoring their real-time continuous ratings of emotional content and arousal level of the musical excerpts (made using a joystick). On average, participants required 8.31 s ( SEM = 0.10) of music before initiating emotional judgments. Additionally, we found that: 1) integration time depended on familiarity of songs; 2) soul/funk, jazz, and classical genres were more quickly assessed than other genres; and 3) musicians did not differ significantly in their responses from those with minimal instrumental musical experience. Results were partially explained by the tempo of musical stimuli and suggest that decisions regarding musical structure, as well as prior knowledge and musical preference, are involved in the emotional response to music.

RECENTLY, WE POINTED OUT THAT A SMALL number of individuals fail to acquire basic musical abilities, and that these deficiencies might have neuronal and genetic underpinnings. Such a musical disorder is now termed "congenital amusia," an umbrella term for lifelong musical disabilities that cannot be attributed to mental retardation, deafness, or lack of exposure. Congenital amusia is a condition that is estimated to affect 4% of the general population. Despite this relatively high prevalence, cases of congenital amusia have been difficult to identify.We present here a novel on-line test that can be used to identify such cases in 15 minutes, provided that the cohort of the participant is taken into account. The results also confirm that congenital amusia is typically expressed by a deficit in perceiving musical pitch but not musical time.