Musical emotions: Functions,origins, evolution

Theories of music origins and the role of musical emotions in the mind are reviewed. Most existing theories contradict each other, and cannot explain mechanisms or roles of musical emotions in workings of the mind, nor evolutionary reasons for music origins. Music seems to be an enigma. Nevertheless, a synthesis of cognitive science and mathematical models of the mind has been proposed describing a fundamental role of music in the functioning and evolution of the mind, consciousness, and cultures. The review considers ancient theories of music as well as contemporary theories advanced by leading authors in this field. It addresses one hypothesis that promises to unify the field and proposes a theory of musical origin based on a fundamental role of music in cognition and evolution of consciousness and culture. We consider a split in the vocalizations of proto-humans into two types: one less emotional and more concretely-semantic, evolving into language, and the other preserving emotional connections along with semantic ambiguity, evolving into music. The proposed hypothesis departs from other theories in considering specific mechanisms of the mind–brain, which required the evolution of music parallel with the evolution of cultures and languages. Arguments are reviewed that the evolution of language toward becoming the semantically powerful tool of today required emancipation from emotional encumbrances. The opposite, no less powerful mechanisms required a compensatory evolution of music toward more differentiated and refined emotionality. The need for refined music in the process of cultural evolution is grounded in fundamental mechanisms of the mind. This is why today's human mind and cultures cannot exist without today's music. The reviewed hypothesis gives a basis for future analysis of why different evolutionary paths of languages were paralleled by different evolutionary paths of music. Approaches toward experimental verification of this hypothesis in psychological and neuroimaging research are reviewed.     

Modeling the cultural evolution of language

The paper surveys recent research on language evolution, focusing in particular on models of cultural evolution and how they are being developed and tested using agent-based computational simulations and robotic experiments. The key challenges for evolutionary theories of language are outlined and some example results are discussed, highlighting models explaining how linguistic conventions get shared, how conceptual frameworks get coordinated through language, and how hierarchical structure could emerge. The main conclusion of the paper is that cultural evolution is a much more powerful process that usually assumed, implying that less innate structures or biases are required and consequently that human language evolution has to rely less on genetic evolution.     

Towards a neural basis of processing musical semantics

Processing of meaning is critical for language perception, and therefore the majority of research on meaning processing has focused on the semantic, lexical, conceptual, and propositional processing of language. However, music is another a means of communication, and meaning also emerges from the interpretation of musical information. This article provides a framework for the investigation of the processing of musical meaning, and reviews neuroscience studies investigating this issue. These studies reveal two neural correlates of meaning processing, the N400 and the N5 (which are both components of the event-related electric brain potential). Here I argue that the N400 can be elicited by musical stimuli due to the processing of extra-musical meaning, whereas the N5 can be elicited due to the processing of intra-musical meaning. Notably, whereas the N400 can be elicited by both linguistic and musical stimuli, the N5 has so far only been observed for the processing of meaning in music. Thus, knowledge about both the N400 and the N5 can advance our understanding of how the human brain processes meaning information.     

Transitional zones of meaning and semantics in music and language: Reply to comments on “Towards a neural basis of processing musical semantics”

Processing of meaning is critical for language perception, and therefore the majority of research on meaning processing has focused on the semantic, lexical, conceptual, and propositional processing of language. However, music is another a means of communication, and meaning also emerges from the interpretation of musical information. This article provides a framework for the investigation of the processing of musical meaning, and reviews neuroscience studies investigating this issue. These studies reveal two neural correlates of meaning processing, the N400 and the N5 (which are both components of the event-related electric brain potential). Here I argue that the N400 can be elicited by musical stimuli due to the processing of extra-musical meaning, whereas the N5 can be elicited due to the processing of intra-musical meaning. Notably, whereas the N400 can be elicited by both linguistic and musical stimuli, the N5 has so far only been observed for the processing of meaning in music. Thus, knowledge about both the N400 and the N5 can advance our understanding of how the human brain processes meaning information.     

Pitch discrimination abilities in classical Arab-music listeners

The current experiment examined pitch discrimination thresholds in listeners of classical Arab music, and listeners of Western popular music. Classical Arab music is characterized by modes (“Maqamat”, plural of “Maqam” in Arabic language) of which the smallest interval is a quarter tone. In contrast, the smallest interval in Western music is a semitone. We hypothesized that daily exposure to a musical style involving minuscule pitch differences may have a positive effect on pitch discrimination abilities. Results demonstrate superior pitch discrimination abilities in the classical Arab music listeners. These results indicate that musical cultures may differ in their influence on perceptual abilities, depending on their basic acoustic characteristics.     

Darwin''s theory for the grazing incidence geometry

Darwin's dynamical theory of X-ray diffraction was studied in the case of grazing incidence geometry. It was shown that in such geometry the Darwin theory is not correct. In the two-beam case, the reflectivity of the specular reflection calculated by the original Darwin's theory was slightly different from that calculated by the well-known Fresnel formula. Furthermore, in the three-beam case, there were large discrepancies between the calculations by the Darwin theory and those by the extended dynamical theory proposed by Kishino and Kohra. These discrepancies were resolved when multiple scattering in an atomic plane was taken into account.     

Fusion research and international scientific collaboration

Physics and technology have played a major role in shaping the development, performance, interpretation and composition of music for many centuries. From the twentieth century, electronics and communications have provided recording and broadcasting that gives access to worldwide music and performers of many musical genres. Early scientific influence came via improved or totally new instruments, plus larger and better concert halls. Instrument examples range from developments of violins or pianos to keyed and valved wood wind and brass that offer chromatic performance. New sounds appeared by inventions of totally new instruments, such as the saxophone or the Theremin, to all the modern electronic influence on keyboards and synthesisers. Electronic variants of guitars are effectively new instruments that have spawned totally original musical styles. All such advances have encouraged more virtuosic performance, larger halls, a wider range of audiences and a consequent demand and ability of composers to meet the new challenges. Despite this immense impact, the role of physics and technology over the last few centuries has mostly been ignored, although it was often greater than any links to arts or culture. Recorded and broadcast music has enhanced our expectations on performance and opened gateways to purely electronically generated sounds, of the now familiar electronic keyboards and synthesisers. This brief review traces some of the highlights in musical evolution that were enabled by physics and technology and their impact on the musical scene. The pattern from the past is clear, and so some of the probable advances in the very near future are also predicted. Many are significant as they will impinge on our appreciation of both current and past music, as well as compositional styles. Mention is made of the difference in sound between live and recorded music and the reasons why none of us ever have precisely the same musical experience twice, even from the same recording. Similarly, it is impossible to appreciate earlier music from the same perspective as occurred when it was first composed and performed, or indeed from later interpretations.     

Computational models of music perception and cognition I: The perceptual and cognitive processing chain

We present a review on perception and cognition models designed for or applicable to music. An emphasis is put on computational implementations. We include findings from different disciplines: neuroscience, psychology, cognitive science, artificial intelligence, and musicology. The article summarizes the methodology that these disciplines use to approach the phenomena of music understanding, the localization of musical processes in the brain, and the flow of cognitive operations involved in turning physical signals into musical symbols, going from the transducers to the memory systems of the brain. We discuss formal models developed to emulate, explain and predict phenomena involved in early auditory processing, pitch processing, grouping, source separation, and music structure computation. We cover generic computational architectures of attention, memory, and expectation that can be instantiated and tuned to deal with specific musical phenomena. Criteria for the evaluation of such models are presented and discussed. Thereby, we lay out the general framework that provides the basis for the discussion of domain-specific music models in Part II.     

一种音乐情绪参数化的方法

针对目前基于情绪的音乐分类研究存在的弊端,为了方便音乐检索,本文提出一种音乐情绪参数化的方法。该方法通过提取反映音乐情绪的特征向量,然后利用fisher算法进行维数压缩,再通过大量的音乐样本训练得到节奏、音调和音色3个描述音乐情绪的参数,参数的大小反映了情绪的强弱。实验结果表明,音乐情绪参数化的结果符合音乐实际的情绪。     

Towards a Computational Comparative Neuroprimatology: Framing the language-ready brain

We make the case for developing a Computational Comparative Neuroprimatology to inform the analysis of the function and evolution of the human brain.First, we update the mirror system hypothesis on the evolution of the language-ready brain by (i) modeling action and action recognition and opportunistic scheduling of macaque brains to hypothesize the nature of the last common ancestor of macaque and human (LCA-m); and then we (ii) introduce dynamic brain modeling to show how apes could acquire gesture through ontogenetic ritualization, hypothesizing the nature of evolution from LCA-m to the last common ancestor of chimpanzee and human (LCA-c). We then (iii) hypothesize the role of imitation, pantomime, protosign and protospeech in biological and cultural evolution from LCA-c to Homo sapiens with a language-ready brain.Second, we suggest how cultural evolution in Homo sapiens led from protolanguages to full languages with grammar and compositional semantics.Third, we assess the similarities and differences between the dorsal and ventral streams in audition and vision as the basis for presenting and comparing two models of language processing in the human brain: A model of (i) the auditory dorsal and ventral streams in sentence comprehension; and (ii) the visual dorsal and ventral streams in defining “what language is about” in both production and perception of utterances related to visual scenes provide the basis for (iii) a first step towards a synthesis and a look at challenges for further research.     

An investigation into the linear and nonlinear correlation of two music walk sequences

In order to investigate the features of a multiple-part musical score which enhance its appeal to the listener’s ear, this study performs a robust analysis of the correlation between two musical sequences. In the proposed approach, a series of notes are extracted from seven well-known classical pieces of music and are converted into one-variable “music walks”. The linear correlation between pairs of music walks is assessed using the conventional linear correlation coefficient, while the nonlinear correlation is examined using the mutual information concept. The results show that even though two musical time walks may exhibit virtually no linear correlation, they invariably have a certain degree of nonlinear correlation. In other words, to truly understand the correlation between two musical sequences, it is necessary to consider not only the linear correlation between them, but also the nonlinear correlation. In addition, it is shown that the normalized mutual information coefficient between musical sequences has a relatively low value and varies significantly over the course of the musical score. Thus, it can be inferred that the appeal of a musical score stems at least in part from significant variations in both the melody and the rhythm of the constituent parts such that the overall score has a rich and unpredictable property.     

Separability of prosodic phrase boundary and phonemic information

It was hypothesized that the retrieval of prosodic and phonemic information from the acoustic signal is facilitated when prosodic information is encoded by co-occurring suprasegmental cues. To test the hypothesis, two-choice speeded classification experiments were conducted, which examined processing interaction between prosodic phrase-boundary vs stop-place information in speakers of Southern British English. Results confirmed that the degree of interaction between boundary and stop-place information diminished when the pre-boundary vowel was signaled by duration and F(0), compared to when it was signaled by either duration or F(0) alone. It is argued that the relative ease of retrieval of prosodic and phonemic information arose from advantages of prosodic cue integration.     

Pitch-interval discrimination and musical expertise: Is the semitone a perceptual boundary?

The ability to discriminate pitch changes (or intervals) is foundational for speech and music. In an auditory psychophysical experiment, musicians and non-musicians were tested with fixed- and roving-pitch discrimination tasks to investigate the effects of musical expertise on interval discrimination. The tasks were administered parametrically to assess performance across varying pitch distances between intervals. Both groups showed improvements in fixed-pitch interval discrimination as a function of increasing interval difference. Only musicians showed better roving-pitch interval discrimination as interval differences increased, suggesting that this task was too demanding for non-musicians. Musicians had better interval discrimination than non-musicians across most interval differences in both tasks. Interestingly, musicians exhibited improved interval discrimination starting at interval differences of 100 cents (a semitone in Western music), whereas non-musicians showed enhanced discrimination at interval differences exceeding 125 cents. Although exposure to Western music and speech may help establish a basic interval-discrimination threshold between 100 and 200 cents (intervals that occur often in Western languages and music), musical training presumably enhances auditory processing and reduces this threshold to a semitone. As musical expertise does not decrease this threshold beyond 100 cents, the semitone may represent a musical training-induced intervallic limit to acoustic processing.     

The influence of linguistic and musical experience on Cantonese word learning

Adult non-native speech perception is subject to influence from multiple factors, including linguistic and extralinguistic experience such as musical training. The present research examines how linguistic and musical factors influence non-native word identification and lexical tone perception. Groups of native tone language (Thai) and non-tone language listeners (English), each subdivided into musician and non-musician groups, engaged in Cantonese tone word training. Participants learned to identify words minimally distinguished by five Cantonese tones during training, also completing musical aptitude and phonemic tone identification tasks. First, the findings suggest that either musical experience or a tone language background leads to significantly better non-native word learning proficiency, as compared to those with neither musical training nor tone language experience. Moreover, the combination of tone language and musical experience did not provide an additional advantage for Thai musicians above and beyond either experience alone. Musicianship was found to be more advantageous than a tone language background for tone identification. Finally, tone identification and musical aptitude scores were significantly correlated with word learning success for English but not Thai listeners. These findings point to a dynamic influence of musical and linguistic experience, both at the tone dentification level and at the word learning stage.     

An evolutionary framework for cultural change: Selectionism versus communal exchange

Dawkins? replicator-based conception of evolution has led to widespread mis-application of selectionism across the social sciences because it does not address the paradox that necessitated the theory of natural selection in the first place: how do organisms accumulate change when traits acquired over their lifetime are obliterated? This is addressed by von Neumann?s concept of a self-replicating automaton (SRA). A SRA consists of a self-assembly code that is used in two distinct ways: (1) actively deciphered during development to construct a self-similar replicant, and (2) passively copied to the replicant to ensure that it can reproduce. Information that is acquired over a lifetime is not transmitted to offspring, whereas information that is inherited during copying is transmitted. In cultural evolution there is no mechanism for discarding acquired change. Acquired change can accumulate orders of magnitude faster than, and quickly overwhelm, inherited change due to differential replication of variants in response to selection. This prohibits a selectionist but not an evolutionary framework for culture and the creative processes that fuel it. The importance non-Darwinian processes in biological evolution is increasingly recognized. Recent work on the origin of life suggests that early life evolved through a non-Darwinian process referred to as communal exchange that does not involve a self-assembly code, and that natural selection emerged from this more haphazard, ancestral evolutionary process. It is proposed that communal exchange provides an evolutionary framework for culture that enables specification of cognitive features necessary for a (real or artificial) societies to evolve culture. This is supported by a computational model of cultural evolution and a conceptual network based program for documenting material cultural history, and it is consistent with high levels of human cooperation.     

From everyday emotions to aesthetic emotions: Towards a unified theory of musical emotions

The sound of music may arouse profound emotions in listeners. But such experiences seem to involve a ‘paradox’, namely that music – an abstract form of art, which appears removed from our concerns in everyday life – can arouse emotions – biologically evolved reactions related to human survival. How are these (seemingly) non-commensurable phenomena linked together? Key is to understand the processes through which sounds are imbued with meaning. It can be argued that the survival of our ancient ancestors depended on their ability to detect patterns in sounds, derive meaning from them, and adjust their behavior accordingly. Such an ecological perspective on sound and emotion forms the basis of a recent multi-level framework that aims to explain emotional responses to music in terms of a large set of psychological mechanisms. The goal of this review is to offer an updated and expanded version of the framework that can explain both ‘everyday emotions’ and ‘aesthetic emotions’. The revised framework – referred to as BRECVEMA – includes eight mechanisms: Brain Stem Reflex, Rhythmic Entrainment, Evaluative Conditioning, Contagion, Visual Imagery, Episodic Memory, Musical Expectancy, and Aesthetic Judgment. In this review, it is argued that all of the above mechanisms may be directed at information that occurs in a ‘musical event’ (i.e., a specific constellation of music, listener, and context). Of particular significance is the addition of a mechanism corresponding to aesthetic judgments of the music, to better account for typical ‘appreciation emotions’ such as admiration and awe. Relationships between aesthetic judgments and other mechanisms are reviewed based on the revised framework. It is suggested that the framework may contribute to a long-needed reconciliation between previous approaches that have conceptualized music listeners? responses in terms of either ‘everyday emotions’ or ‘aesthetic emotions’.     

A Computational Model of Tonal Tension Profile of Chord Progressions in the Tonal Interval Space

In tonal music, musical tension is strongly associated with musical expression, particularly with expectations and emotions. Most listeners are able to perceive musical tension subjectively, yet musical tension is difficult to be measured objectively, as it is connected with musical parameters such as rhythm, dynamics, melody, harmony, and timbre. Musical tension specifically associated with melodic and harmonic motion is called tonal tension. In this article, we are interested in perceived changes of tonal tension over time for chord progressions, dubbed tonal tension profiles. We propose an objective measure capable of capturing tension profile according to different tonal music parameters, namely, tonal distance, dissonance, voice leading, and hierarchical tension. We performed two experiments to validate the proposed model of tonal tension profile and compared against Lerdahl’s model and MorpheuS across 12 chord progressions. Our results show that the considered four tonal parameters contribute differently to the perception of tonal tension. In our model, their relative importance adopts the following weights, summing to unity: dissonance (0.402), hierarchical tension (0.246), tonal distance (0.202), and voice leading (0.193). The assumption that listeners perceive global changes in tonal tension as prototypical profiles is strongly suggested in our results, which outperform the state-of-the-art models.     

Fine-grained pitch processing of music and speech in congenital amusia

Congenital amusia is a lifelong disorder of music processing that has been ascribed to impaired pitch perception and memory. The present study tested a large group of amusics (n=17) and provided evidence that their pitch deficit affects pitch processing in speech to a lesser extent: Fine-grained pitch discrimination was better in spoken syllables than in acoustically matched tones. Unlike amusics, control participants performed fine-grained pitch discrimination better for musical material than for verbal material. These findings suggest that pitch extraction can be influenced by the nature of the material (music vs speech), and that amusics' pitch deficit is not restricted to musical material, but extends to segmented speech events.     

Composing Music Inspired by Sculpture: A Cross-Domain Mapping and Genetic Algorithm Approach

In this article, a system that takes a 3D model of a sculpture as starting point to compose music is presented. We raised the hypothesis that cross-domain mapping can be an approach to model inspiration. The semantic meaning of the sculpture is not used directly but rather a more abstract approach was used. A Genetic Algorithm was used to obtain results with more musical interest. The results were promising: the majority of the participants gave a classification of 4 out of 5 to the preferred interpretations of the compositions and related them to the respective sculpture. This is a step toward a possible model for inspiration.