Peter M C Harrison
Datos Biográficos
| ID | 1752367 |
|---|---|
| NOMBRE | Peter M C Harrison |
| NOMBRES | Peter M C |
| APELLIDO | Harrison |
| FIRMA | HARRISON P M C |
| AFILIACIONES | University of Cambridge |
| ORCID | 0000-0002-9851-9462 |
| VERIFICADO | Sí |
| TOTAL DE OBRAS | 14 |
| TOTAL DE CITAS | 1 |
| TOTAL COMO AUTOR | 14 |
| TOTAL COMO EDITOR | 0 |
| PRIMER AÑO DE PUBLICACIÓN | 2016 |
| AÑO MÁS RECIENTE DE PUBLICACIÓN | 2026 |
| ÍNDICE H | 1 |
Modeling individual differences in chord pleasantness judgments
A foundational question in empirical music aesthetics concerns how certain note combinations (chords) are perceived to be more pleasant than others. While normative patterns of chord pleasantness judgments are well studied, relatively little is known about how listeners vary in these judgments. We address this question using a set of variance decomposition techniques: structural equation modeling to disentangle preference variance from response n…
Reverberation Time and Musical Emotion in Recorded Music Listening
The influence of room acoustic parameters on musical emotion has to a degree been studied musicologically and empirically. However, there remain large gaps related to limitations in emotion measures and aspects of acoustic setting, with various iterations of digital acoustic reproduction represented in research. This psychological study explores the ways in which systematic alterations to reverberation time (RT) may influence the emotional experi…
Effect of Timbre on Goodness-of-Fit Ratings of Short Chord Sequences
Previous research has found that instrument-like timbres (hereafter, timbres) can affect the Goodness-of-Fit (GoF) evaluations of cadences (Vuvan & Hughes, 2019). Here, we expand these findings by testing more timbres and chord sequences and analyzing a wide array of chordal and timbral variables. One hundred and thirty-five participants with varying levels of music training provided GoF ratings for 15 C-C-X chord sequences constructed with piano…
The effect of chord duration on the relative salience of chord-type and voicing changes
This study investigates the effect of chord duration on the relative salience of chord-type and voicing changes. Participants ( N = 111) with varying levels of musical training were presented with sequences of five block chords on the piano and asked to indicate which chord sounded most different. Each sequence consisted of three identical chords and two oddballs, one with a voicing change and one with a chord-type change. All possible chord-type…
Exploring the variability of musical-emotional expression over historical time
A listening experiment was designed to test whether modern listeners perceive the same affective content in Baroque music as the composer intended to portray. Listeners rated three musical examples from Johann David Heinichen’s 1728 treatise Der General-Bass in der Composition for valence and arousal. Examples were chosen based on descriptions by the composer in which he outlined their intended affective content. Results showed a significant mism…
Trade-offs in Coordination Strategies for Duet Jazz Performances Subject to Network Delay and Jitter
Coordination between participants is a necessary foundation for successful human interaction. This is especially true in group musical performances, where action must often be temporally coordinated between the members of an ensemble for their performance to be effective. Networked mediation can disrupt this coordination process by introducing a delay between when a musical sound is produced and when it is received. This can result in significant…
Commonality and variation in mental representations of music revealed by a cross-cultural comparison of rhythm priors in 15 countries
Music is present in every known society but varies from place to place. What, if anything, is universal to music cognition? We measured a signature of mental representations of rhythm in 39 participant groups in 15 countries, spanning urban societies and Indigenous populations. Listeners reproduced random ‘seed’ rhythms; their reproductions were fed back as the stimulus (as in the game of ‘telephone’), such that their biases (the prior) could be …
Handedness and Musicality in Secondary School Students
This article investigates the relationship between handedness and abilities in secondary school students, specifically analyzing the effect of handedness on subjective and objective musicality and academic performance. Previous research on the association between handedness and musicality has yielded mixed conclusions. Some studies have documented a positive correlation between musicality and non-right-handedness, but other studies have found no …
The Associations Between Music Training, Musical Working Memory, and Visuospatial Working Memory
Prior research studying the relationship between music training (MT) and more general cognitive faculties, such as visuospatial working memory (VSWM), often fails to include tests of musical memory. This may result in causal pathways between MT and other such variables being misrepresented, potentially explaining certain ambiguous findings in the literature concerning the relationship between MT and executive functions. Here we address this probl…
Reassessing Syntax-Related ERP Components Using Popular Music Chord Sequences
Electroencephalographic responses to unexpected musical events allow researchers to test listeners’ internal models of syntax. One major challenge is dissociating cognitive syntactic violations—based on the abstract identity of a particular musical structure—from unexpected acoustic features. Despite careful controls in past studies, recent work by Bigand, Delbe, Poulin-Carronnat, Leman, and Tillmann (2014) has argued that ERP findings attributed…
Three Questions Concerning Consonance Perception
I discuss three fundamental questions underpinning the study of consonance: 1) What features cause a particular chord to be perceived as consonant? 2) How did humans evolve the ability to perceive these features? 3) Why did humans evolve to attribute particular aesthetic valences to these features (if they did at all)? The first question has been addressed by several recent articles, including Friedman, Kowalewski, Vuvan, and Neill (2021), with t…
An efficient and adaptive test of auditory mental imagery
The ability to silently hear music in the mind has been argued to be fundamental to musicality. Objective measurements of this subjective imagery experience are needed if this link between imagery ability and musicality is to be investigated. However, previous tests of musical imagery either rely on self-report, rely on melodic memory, or do not cater in range of abilities. The Pitch Imagery Arrow Task (PIAT) was designed to address these shortco…
A Computational Cognitive Model for the Analysis and Generation of Voice Leadings
Voice leading is a common task in Western music composition whose conventions are consistent with fundamental principles of auditory perception. Here we introduce a computational cognitive model of voice leading, intended both for analyzing voice-leading practices within encoded musical corpora and for generating new voice leadings for unseen chord sequences. This model is feature-based, quantifying the desirability of a given voice leading on th…
Modelling Melodic Discrimination Tests
Melodic discrimination tests have been used for many years to assess individual differences in musical abilities. These tests are usually analysed using classical test theory. However, classical test theory is not well suited for optimizing test efficiency or for investigating construct validity. This paper addresses this problem by applying modern item response modelling techniques to three melodic discrimination tests. First, descriptive item r…
Commonality and variation in mental representations of music revealed by a cross-cultural comparison of rhythm priors in 15 countries
Music is present in every known society but varies from place to place. What, if anything, is universal to music cognition? We measured a signature of mental representations of rhythm in 39 participant groups in 15 countries, spanning urban societies and Indigenous populations. Listeners reproduced random ‘seed’ rhythms; their reproductions were fed back as the stimulus (as in the game of ‘telephone’), such that their biases (the prior) could be …
Modelling Melodic Discrimination Tests
Melodic discrimination tests have been used for many years to assess individual differences in musical abilities. These tests are usually analysed using classical test theory. However, classical test theory is not well suited for optimizing test efficiency or for investigating construct validity. This paper addresses this problem by applying modern item response modelling techniques to three melodic discrimination tests. First, descriptive item r…
A Computational Cognitive Model for the Analysis and Generation of Voice Leadings
Voice leading is a common task in Western music composition whose conventions are consistent with fundamental principles of auditory perception. Here we introduce a computational cognitive model of voice leading, intended both for analyzing voice-leading practices within encoded musical corpora and for generating new voice leadings for unseen chord sequences. This model is feature-based, quantifying the desirability of a given voice leading on th…
Reassessing Syntax-Related ERP Components Using Popular Music Chord Sequences
Electroencephalographic responses to unexpected musical events allow researchers to test listeners’ internal models of syntax. One major challenge is dissociating cognitive syntactic violations—based on the abstract identity of a particular musical structure—from unexpected acoustic features. Despite careful controls in past studies, recent work by Bigand, Delbe, Poulin-Carronnat, Leman, and Tillmann (2014) has argued that ERP findings attributed…
Three Questions Concerning Consonance Perception
I discuss three fundamental questions underpinning the study of consonance: 1) What features cause a particular chord to be perceived as consonant? 2) How did humans evolve the ability to perceive these features? 3) Why did humans evolve to attribute particular aesthetic valences to these features (if they did at all)? The first question has been addressed by several recent articles, including Friedman, Kowalewski, Vuvan, and Neill (2021), with t…
An efficient and adaptive test of auditory mental imagery
The ability to silently hear music in the mind has been argued to be fundamental to musicality. Objective measurements of this subjective imagery experience are needed if this link between imagery ability and musicality is to be investigated. However, previous tests of musical imagery either rely on self-report, rely on melodic memory, or do not cater in range of abilities. The Pitch Imagery Arrow Task (PIAT) was designed to address these shortco…
The Associations Between Music Training, Musical Working Memory, and Visuospatial Working Memory
Prior research studying the relationship between music training (MT) and more general cognitive faculties, such as visuospatial working memory (VSWM), often fails to include tests of musical memory. This may result in causal pathways between MT and other such variables being misrepresented, potentially explaining certain ambiguous findings in the literature concerning the relationship between MT and executive functions. Here we address this probl…
Handedness and Musicality in Secondary School Students
This article investigates the relationship between handedness and abilities in secondary school students, specifically analyzing the effect of handedness on subjective and objective musicality and academic performance. Previous research on the association between handedness and musicality has yielded mixed conclusions. Some studies have documented a positive correlation between musicality and non-right-handedness, but other studies have found no …
Exploring the variability of musical-emotional expression over historical time
A listening experiment was designed to test whether modern listeners perceive the same affective content in Baroque music as the composer intended to portray. Listeners rated three musical examples from Johann David Heinichen’s 1728 treatise Der General-Bass in der Composition for valence and arousal. Examples were chosen based on descriptions by the composer in which he outlined their intended affective content. Results showed a significant mism…
Trade-offs in Coordination Strategies for Duet Jazz Performances Subject to Network Delay and Jitter
Coordination between participants is a necessary foundation for successful human interaction. This is especially true in group musical performances, where action must often be temporally coordinated between the members of an ensemble for their performance to be effective. Networked mediation can disrupt this coordination process by introducing a delay between when a musical sound is produced and when it is received. This can result in significant…
Commonality and variation in mental representations of music revealed by a cross-cultural comparison of rhythm priors in 15 countries
Music is present in every known society but varies from place to place. What, if anything, is universal to music cognition? We measured a signature of mental representations of rhythm in 39 participant groups in 15 countries, spanning urban societies and Indigenous populations. Listeners reproduced random ‘seed’ rhythms; their reproductions were fed back as the stimulus (as in the game of ‘telephone’), such that their biases (the prior) could be …
Reverberation Time and Musical Emotion in Recorded Music Listening
The influence of room acoustic parameters on musical emotion has to a degree been studied musicologically and empirically. However, there remain large gaps related to limitations in emotion measures and aspects of acoustic setting, with various iterations of digital acoustic reproduction represented in research. This psychological study explores the ways in which systematic alterations to reverberation time (RT) may influence the emotional experi…
Effect of Timbre on Goodness-of-Fit Ratings of Short Chord Sequences
Previous research has found that instrument-like timbres (hereafter, timbres) can affect the Goodness-of-Fit (GoF) evaluations of cadences (Vuvan & Hughes, 2019). Here, we expand these findings by testing more timbres and chord sequences and analyzing a wide array of chordal and timbral variables. One hundred and thirty-five participants with varying levels of music training provided GoF ratings for 15 C-C-X chord sequences constructed with piano…
The effect of chord duration on the relative salience of chord-type and voicing changes
This study investigates the effect of chord duration on the relative salience of chord-type and voicing changes. Participants ( N = 111) with varying levels of musical training were presented with sequences of five block chords on the piano and asked to indicate which chord sounded most different. Each sequence consisted of three identical chords and two oddballs, one with a voicing change and one with a chord-type change. All possible chord-type…
Modeling individual differences in chord pleasantness judgments
A foundational question in empirical music aesthetics concerns how certain note combinations (chords) are perceived to be more pleasant than others. While normative patterns of chord pleasantness judgments are well studied, relatively little is known about how listeners vary in these judgments. We address this question using a set of variance decomposition techniques: structural equation modeling to disentangle preference variance from response n…
Neuroscience and Music Perception (13 obras) · Psychology (11 obras) · Computer Science (10 obras) · Cognitive psychology (9 obras) · Musical (8 obras) · Music and Audio Processing (7 obras) · Art (6 obras) · Cognition (5 obras) · Perception (5 obras) · Speech recognition (5 obras)