Table Of ContentMarc Leman (Ed.)
Music, ,tlatseG
dna gnitupmoC
Studies in Cognitive
dna Systematic Musicology
Reading committee:
A. Camurri J. Louhivuori
R. Parncutt A. Schneider
With support from:
European Union (Caleidoscope 96/411063)
Fonds voor Wetenschappelijk Onderzoek - Vlaanderen (FWO-V)
International Society for Systematic and Comparative Musicology
Springer
Lecture Notes in Artificial Intelligence 1317
Subseries of Lecture Notes in Computer Science
Edited by .J G. Carbonell and J. Siekmann
Lecture Notes in Computer Science
Edited by G. Goos, J. Hartmanis and J. van Leeuwen
Series Editors
Jaime G. Carbonell, Carnegie Mellon University, Pittsburgh, ,AP USA
Jrrg Siekmann, University of Saarland, Saarbriicken, Germany
Volume Editor
Marc Leman
University of Ghent, IPEM
Blandijnberg 2, B-9000 Ghent, Belgium
E-mail: [email protected]
Cataloging-in-Publication Data applied for
Die Deutsche Bibliothek - CIP-Einheitsaufnahme
Music, gestalt, and computing : studies in cognitive and systematic
musicology / Marc Leman (ed.). ~ Berlin ; Heidelberg ; New York ;
Barcelona ; Budapest ; Hong Kong ; London ; Milan ; Paris ; Santa
Clara ; Singapore ; Tokyo : Springer, 1997
(Lecture notes in computer science ; 1317 : I_~cture notes in artificial
intelligence)
ISBN 3-540-63526-2
CR Subject Classification (1991): 1.2, J.5, H.5.1, 1.5.4
ISBN 3-540-63526-2 Springer-Verlag Berlin Heidelberg New York
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Preface
This book contains a selection of papers presented at JIC96-Brugge, the Joint
International Conference on Cognitive and Systematic Musicology, held at the
College of Europe in Brugge (Belgium) from 8 to 11 September 1996. JIC96-
Brugge was a joint meeting within the framework of two conference cycles:
(i) the International Symposium on Systematic and Comparative Musicology
which, previously, took place at Moravany/Bratislava (Slovakia) in 1993, at
Hamburg (Germany) in 1994, and at Zeilern (Austria) in 1995, and (ii) the In-
ternational Conference on Cognitive Musicology, the first of which was organized
in JyvfiskyI/i (Finland) in 1993. The meetings were established independently in
the early 1990s to foster systematic musicology in Europe.
The conference was organized by IPEM, the Institute for Psychoacoustics and
Electronic Music of the Department of Art, Music and Theater Sciences of the
University of Ghent (Belgium), in collaboration with the International Society
for Systematic and Comparative Musicology. The colleagues Jukka Louhivuori
(Jyvgskyl/~), Antonio Camurri (Genova), and Franz FSdermayr (Vienna) in-
volved in administrative preparations. In many practical issues concerning con-
ference organization and preparation of this book, Albrecht Schneider (Ham-
burg) joined me on behalf of the International Society for Systematic and Corn-
parative Musicology. The selection of papers and the review work was done in
collaboration with the members of the Conference's Reading Committee: Anto-
nio Camurri, Jukka Louhivuori, Richard Parncutt (Keete), and Albrecht Schnei-
der.
This book has been set in I~TEX by Bald Herreman, with assistance from Dirk
Moelants (both at IPEM). Herman Sabbe, head of our department, supported
the project.
Major financial support was provided by the European Union (Caleidoscope
96/411063) and the "Fonds voor Wetenschappelijk Onderzoek - VIaanderen"
(FWO-V).
I wish to thank all collaborators, colleagues, and sponsors for their enthusi-
asm and help in both the organization of JIC96-Brugge and the post-conference
activities concerning this book.
June 1997 Marc Leman
Table of Contents
Introduction ............................................................. 1
I. Gestalt Theory Revisited ........................................... 11
Origin and Nature of Cognitive and Systematic Musicology:
An Introduction
Marc Leman and Albrecht Schneider ...................................... 31
Systematic, Cognitive and Historical Approaches in Musicology
Jukka Louhivuori ......................................................... 03
Empiricism, Gestalt Qualities, and Determination of Style:
Some Remarks Concerning the Relationship of Guido Adler
to Richard Wallaschek, Alexius Meinong, Christian von Ehrenfels,
and Robert Lach
Michael Weber ........................................................... 24
Gestalt Concepts and Music: Limitations and Possibilities
Mark Reybrouck ......................................................... 75
Logic, Gestalt Theory, and Neural Computation in Research on
Auditory Perceptual Organization
Randolph Eichert, Liider Schmidt, and Uwe Seifert ....................... 07
Knowledge in Music Theory by Shapes of Musical Objects
and Sound-Producing Actions
Roll Inge Godcy .......................................................... 98
Statistical Gestalts - Perceptible Features in Serial Music
Elena Ungeheuer ........................................................ 301
II. From Pitch to Harmony .......................................... 511
"Verschmelzung':, Tonal Fusion, and Consonance:
Carl Stumpf Revisited
Albrecht Schneider ...................................................... 711
Schema and Gestalt: Testing the Hypothesis of
PsychoneurM Isomorphism by Computer Simulation
Marc Leman and Francesco Carreras .................................... 441
Self-organizing Neural Nets and the Perceptual Origin of
the Circle of Fifths
Nicola Cufaro Petroni and Matteo Tricarico ............................. 961
A Model of the Perceptual Root(s) of a Chord
Accounting for Voicing and Prevailing Tonality
Richard Parncutt ................... ..................................... 181
'Good', 'Fair', and 'Bad' Chord Progressions:
A Regression-Analysis of Some Psychological Chord Progression Data
Obtained in an Experiment by J. Bharucha and C. Krumhansl
DanieI Wefts ............................................................ 002
IILV
l~u__~r ~uuivm~ .... c,u Shape and Background in Sounds with
Inharmonic Spectra
Jen5 Keuler ............................................................. 214
A Method of Analysing Harmony,
Based on Interval Patterns or "Gestalten"
Roland Eberlein ......................................................... 225
Neural Network Models for the Study of Post-Tonal Music
Eric Isaacson ............................................................ 237
III. From Rhythm to Expectation .................................. 251
Tempo Relations: Is There a Psychological Basis for
Proportional Tempo Theory?
Marek Fran@k and Jiff Mates ............................................ 253
A Framework for the Subsymbolic Description of Meter
Dirk Moelants ........................................................... 263
Musical Rhythm: A Formal Model for Determining
Local Boundaries, Accents and Metre in a Melodic Surface
Emilios Cambouropoulos ................................................ 277
Effects of Perceptual Organization and Musical Form on
Melodic Expectancies
Carol KrumhansI ........................................................ 294
Continuations as Completions: Studying Melodic Expectation
in the Creative Microdomain Seek Well
Steve Larson ............................................................ 321
IV. From Timbre to Texture ........................................ 335
Optimizing Self:Organizing Timbre Maps: Two Approaches
Petri Toiviainen ......................................................... 337
Towards a More General Understanding of the
NasMity Phenomenon
Milan Rusko ............................................................ 351
Karl Erich Schumann's Principles of Timbre
as a Helpful Tool in Stream Segregation Research
Christoph Reuter ........................................................ 362
Cross-Synthesis Using Interverted Principal Harmonic Sub-Spaces
Thierry Rochebois and G@rard Charbonneau ............................. 375
Gestalt Phenomena in Musical Texture
Dalia Cohen and Shlomo Dubnov ........................................ 386
V. From Musical Expression to Interactive
Computer Systems ................................................... 407
Technology of Interpretation and Expressive Pulses
Andranick Tanguiane .................................................... 409
xi
Intonational Protention in the Performance of Melodic Octaves
on the Violin
Jnnina Fyk .............................................................. 421
Sonological Analysis of Clarinet Expressivity
Sergio Canazza, Giovanni De Poli, Stefano Rinaldin
and Alvise Vidolin ...................................................... 431
Perceptual Analysis of the Musical Expressive Intention
in a Clarinet Perfbrmance
Sergio Canazza, Giovanni De Poli and Alvise Vidolin .................... 441
Singing, Mind and Brain - Unit Pulse, Rhythm,
Emotion and Expression
E1iezer Rapoport ........................................................ 451
Emulating Gestalt Mechanisms by Combining Symbolic and
Subsymbolic Information Processing Procedures
Udo Mattusch ........................................................... 469
Interactive Computer Music Systems and Concepts of Gestalt
Paul Modler ............................................................. 482
Gestalt-Based Composition and Performance in Multimodal
Environments
Antonio Camurri and Marc Leman ...................................... 495
VI. List of Sound Examples on the CD ............................. 509
Name Index ........................................................... 517
Subject Index ......................................................... 519
Introduction
This book aims to give a state-of-the-art in systematic and cognitive mu-
sicology. The past decades indeed have witnessed a dynamic growth of re-
search activities in different music-related fields such as sound synthesis and
sound analysis, psychoacoustics, cognitive psychology and applications in ar-
tificial intelligence and multimedia. The developments have been largely due
to technological innovations, in particular: the widespread introduction of
digital computers. Computers are currently used for data analysis, sound
synthesis, simulation of musical perception and cognition, and even intelli-
gent music/dance behavior. They allow a control over different aspects of
music down to the deepest level of the sound. This, obviously, provides a
most fruitful context for a discipline which aims to study the relationships
between acoustics, human information processing, and culture.
Systematic musicology has a peculiar interest in cognitive issues, mainly
because musical abilities are learned (at least to some extend) and above
all: context-based. Music is also associated with forms, figuration and global
pattern processing. For that reason, the Joint International Conference on
Cognitive and Systematic Musicology, held at Brugge in 1996 had a focus
on the following two topics: (i) Gestalt concepts revisited - from metaphor
to cognitive model, and (ii) Software development, modelling and simulation.
The first reflects the idea that Gestalt-based approaches nowadays contribute
much to the development of empirically testable models of musical percep-
tion, cognition and action, thereby going beyond metaphorical and program-
matical thinking. The second reflects the interest in computers as a powerful
method and tool for theory construction, theory testing, and the manipu-
lation of musical information or any kind of data manipulation related to
music. Both topics relate to the pillars of a cognitive systematic musicology
which is both computationally-based and grounded in naturalism. The topics
reflect the current interest in methodological innovation and epistemological
re-foundation of the old (European) systematic musicology.
The papers contained in this book are organized in different chapters.
Some papers, however, do address the topic of more than one chapter. The
structure of the book, therefore, is based on personal choices. I prefered to
structure the book according to topical issues, rather than the method used.
As such, the reader will find the use of sonological methods or neural networks
in more than one chapter. The first chapter of the book is devoted to issues
concerned with general topics related to theoretical, historical and program-
matical issues of the Music, Gestalt, dna Computing. The other chapters deal
with problems or solutions to problems in domains related to pitch percep-
tion, harmony, rhythm, organization, expectancy, timbre, texture, expression,
and application oriented issues such as hybrid computational architectures,
and interactive computer systems. The sound examples (if any) used for il-
2
lustration are described in an appendix at the end of each paper. At the end
oft he book, a complete list of all sound examples on the CD is given.
Chapter I: Gestalt Theory Revisited
Chapter I is concerned with theoretical, historical and programmatical issues
related to cognitive and systematic musicology, Gestalt perception, and its
associated theory. The epistemological and methodological heritage of the
Gestalt approach is critically evaluated and reconsidered in the light of new
approaches and developments in computer technology.
The paper by M. Lemaann d A. Schneider, on the origin and nature of cog-
nitive and systematic musicology, may serve as a tutorial to the main topic
of Music, GestMt, dna Computing. It provides a brief overview of the his-
tory of systematic musicology, the development of Gestalt theory and issues
related to methodology. The authors argue that computers nowadayfso rm a
methodological backbone for a naturalistic research programme. In the last
decades, this programme, once started by H.v.Helmholtz and C. Stumpf in
the 19th century, has been gradually transformed into a modern cognitive
systematic musicology. It results in an approach that can be fully integrated
with the most advanced fields of modern science.
J. Louhivuori deals with classificatory relationships between cognitive,
systematic, and historical musicology. He argues that cognitive musicology,
which developed within the research tradition of cognitive science, may broad-
en the research field soyfs tematic musicology in a significant way by adopting
methods from anthropology or by applying the naturalist methodology to his-
torical issues. He expects that cognitive musicology will soon integrate with
the traditional systematic approach and believes that the resulting cognitive
systematic approach holds some promising capabilities for the future.
M. Weber, provides a historical background for a better understanding of
the tendencies that underlay cognitive systematic musicology. He considers
the notions of empiricism, Gestalt qualities and determination of style from a
historical point of view by discussing the relationships between some key fig-
ures that worked in this field at the end of the 19th and beginning of the 20th
Century. The paper has a peculiar focuosn G. Adler, who made an important
classificatory distinction between systematic and historical musicology. Adler
seems to have shared the interest in exploring the application of Gestalt the-
oretical and empirical foundations of nmsicology to issues in music history,
but a prolific collaboration with colleagues could not be established at the
time.
In his paper on Gestalt concepts and music, M. Reybrouck discusses possi-
bilities and limitations of the Gestalt approach. The paper gives an overview
of some oft he major classical programs and concepts of Gestalt theory. The
author argues in favour of a reappraisal of the older insights within the ac-
tual context of formal and operational approaches. The possibilities of the
cognitive approach within an interdisciplinary context are stressed from a
programmatic viewpoint.
The paper by R. Eichert, L. Schmidt, and U. Seifert discusses issues re-
lated to logic, Gestalt theory, and neurM computation in the light of research
on auditory perceptual organization. The authors give an analysis of the
concepts of Gestalt quality and functional whole and the related vague and
apparently mysterious notion of emergent or holistic attributes of objects.
The latter concept is argued to have a merely heuristic value for scientific
research, rather than an explanatory value. Consequently, the Gestalt idea
of psychoneural isomorphism needs to be revised within a functional systems
approach. The authors argue that the problem of perceptual organization
should be revised using a Gestalt approach based on modern computational
theory including auditory models and artificial neural networks.
In his paper on shapes of musical objects and sound-producing actions,
R.I. GodCy, argues that thinking in terms of emergent qualities of musical
objects is a privileged modeo f human mental representation. His approach is
action-oriented in that he considers computer technology as a tool to improve
our means of shaping musical Gestalt images of dynamic unfolding, thus help-
ing to explore their features by the production and comparison of variants.
The paper shows how the Gestalt-based phenomenological way of thinking
nowadays can be integrated within a computational approach. (Sound exam-
ples are provided.)
E. Ungeheuer discusses the action-oriented approach within a historical
context, focusing on the use of Gestalt concepts in serial music. The author
argues that the notion of evolutionary forms in the electro-acoustic avant-
garde music tohfe early 50ies is highly related tot he use of statistical concepts
in musical thinking. Stockhausen's serial composition Gesang der Jiinglinge
shows how serial composing of mass phenomena was orientated towards the
creation of evolving Gestalts on a statistical basis. Such Gestalts generate
emergent qualities being referential figures for the composer as well as for
the listener.
Chapter II: From Pitch to Harmony
Chapter II has a focus on pitch, context, and harmony. In this paper, the
traditional focus on pitch perception is extended with some novel theoretical
as well as practical insights that draw upon Gestalt perception and compu-
tation. It starts with a reconsideration of Stumpf's theory of tonal fusion
in the light of recent neurophysiological findings. Tonal fusion forms the ba-
sis of a physiologically inspired computer model of perceptual learning. The
properties of context-dependent pitch perception are then further explored
in two theoretical approaches to harmony, and one practical approach which
explores inharmonic sounds. A novel method for describing the succession of
harmonies is proposed and the chapter closes with a neural network model
for the study of post-tonal music.
