Information and neural dynamics in the perception of musical structure
Lead Research Organisation:
Queen Mary University of London
Department Name: Sch of Electronic Eng & Computer Science
Abstract
Music is one of the things that makes us human. No known human society exists without music; and no other species seems to exhibit musical behaviour, in the same sense as humans. It is an open question where music came from (in terms of evolution), but it is self-evident that it arises from the human brain: for there to be music, a brain was involved somewhere, even if only in listening. What is not evident at all is how brains (or the minds to which they give rise) make, or even perceive, music. This project aims to understand how human musical behaviour can be modelled using computers, by building programs which embody theories of how the musical mind works, and then comparing them with humans engaged in musical activity and also by comparing their predictions with those of an expert music analyst. This means that the project will contribute to various areas of study: computer music, statistical methods for cognitive modelling (and therefore to cognitive linguistics, because the same kinds of models can be used there), musicology, and neuroscience (both in a better understanding of brain function and with new methods for neural signal analysis). Long term outcomes are likely to be computer systems that help music education, that play music musically, and that interact with human musicians musically; understanding that helps musicians do what they do more effectively; and understanding that helps brain scientists and psychologists understand more about how the brain and the mind work. Above all, since musicality is so fundamental to humanity, the project aims to help understand some of what it means to be human.
Publications
Abdallah S
(2012)
A measure of statistical complexity based on predictive information with application to finite spin systems
in Physics Letters A
Bhattacharya J
(2014)
Spontaneous creativity: Its theoretical and neurocognitive framework
in International Journal of Psychophysiology
Cameron D. J.
(2017)
Perception of rhythmic similarity is asymmetrical, and is influenced by musical training, expressive timing, and musical context.
in Timing and Time Perception.
Cameron, D.
(2012)
Entrainment of Premotor Cortex Activity by Ambiguity in Musical Metre.
Egermann H
(2013)
Probabilistic models of expectation violation predict psychophysiological emotional responses to live concert music.
in Cognitive, affective & behavioral neuroscience
Gingras B
(2016)
Linking melodic expectation to expressive performance timing and perceived musical tension.
in Journal of experimental psychology. Human perception and performance
Lindsen Job (Co-Author)
(2012)
How music can brighten our world: emotions induced by music affect brightnessperception
Lindsen, J.
(2012)
Implicit Brain Responses During Fulfillment of Melodic Expectations
Rohrmeier M
(2015)
Principles of structure building in music, language and animal song.
in Philosophical transactions of the Royal Society of London. Series B, Biological sciences
Whorley R
(2013)
Multiple Viewpoint Systems: Time Complexity and the Construction of Domains for Complex Musical Viewpoints in the Harmonization Problem
in Journal of New Music Research
Whorley, R.
(2013)
Harmonising Melodies: Why Do We Add the Bass Line First?
Wiggins G
(2012)
Music, mind and mathematics: theory, reality and formality
in Journal of Mathematics and Music
Wiggins G
(2012)
The Mind's Chorus: Creativity Before Consciousness
in Cognitive Computation
Wiggins G
(2012)
On the correctness of imprecision and the existential fallacy of absolute music
in Journal of Mathematics and Music
Wiggins G
(2012)
The future of (mathematical) music theory
in Journal of Mathematics and Music
Wiggins GA
(2015)
The evolutionary roots of creativity: mechanisms and motivations.
in Philosophical transactions of the Royal Society of London. Series B, Biological sciences
Wiggins, G. A.
(2012)
Crossing the Threshold Paradox: Creative Cognition in the Global Workspace
Wiggins. G. A.
(2012)
A Cognitive Mechanism for Spontaneous Musical Creativity
Description | We showed, as predicted, that the perception and cognition of music is predictable from models of sequence using the information theory of Claude Shannon. |
Exploitation Route | Software was produced during the project and has been made freely available, open source. This is being used in various other labs. The ideas in the project may be (and have been) taken forward into further models of cognition. |
Sectors | Creative Economy,Digital/Communication/Information Technologies (including Software),Leisure Activities, including Sports, Recreation and Tourism,Culture, Heritage, Museums and Collections,Other |
URL | https://code.soundsoftware.ac.uk/projects/idyom-project |
Description | ConCreTe |
Amount | £1,931,591 (GBP) |
Funding ID | ConCreTe |
Organisation | European Commission |
Sector | Public |
Country | European Union (EU) |
Start | 10/2013 |
End | 09/2016 |
Description | Learning To Create |
Amount | £1,931,663 (GBP) |
Funding ID | Lrn2Cre8 |
Organisation | European Commission |
Sector | Public |
Country | European Union (EU) |
Start | 10/2013 |
End | 09/2016 |
Title | IDyOM software |
Description | This is a suite of software, designed and built by Dr Marcus Pearce, that predicts human expectation during perception of musical melodies. |
Type Of Material | Computer model/algorithm |
Year Produced | 2013 |
Provided To Others? | Yes |
Impact | Other researchers are using it for their work. |
URL | https://code.soundsoftware.ac.uk/projects/idyom-project/files |
Description | IDyOM |
Organisation | Goldsmiths, University of London |
Department | Department of Music |
Country | United Kingdom |
Sector | Academic/University |
PI Contribution | This was a collaborative research project funded by EPSRC. We supplied computer science; partners supplied expertise in music and psychology, respectively. |
Collaborator Contribution | This was a collaborative research project funded by EPSRC. We supplied computer science; partners supplied expertise in music and psychology, respectively. |
Impact | Multi-disciplinary: Computer Science, Psychology, Music |
Start Year | 2010 |
Description | IDyOM |
Organisation | Goldsmiths, University of London |
Department | Department of Psychology |
Country | United Kingdom |
Sector | Academic/University |
PI Contribution | This was a collaborative research project funded by EPSRC. We supplied computer science; partners supplied expertise in music and psychology, respectively. |
Collaborator Contribution | This was a collaborative research project funded by EPSRC. We supplied computer science; partners supplied expertise in music and psychology, respectively. |
Impact | Multi-disciplinary: Computer Science, Psychology, Music |
Start Year | 2010 |
Description | IDyOM |
Organisation | Queen Mary University of London |
Department | School of Electronic Engineering and Computer Science |
Country | United Kingdom |
Sector | Academic/University |
PI Contribution | This was a collaborative research project funded by EPSRC. We supplied computer science; partners supplied expertise in music and psychology, respectively. |
Collaborator Contribution | This was a collaborative research project funded by EPSRC. We supplied computer science; partners supplied expertise in music and psychology, respectively. |
Impact | Multi-disciplinary: Computer Science, Psychology, Music |
Start Year | 2010 |
Description | BBC News interview |
Form Of Engagement Activity | A press release, press conference or response to a media enquiry/interview |
Part Of Official Scheme? | No |
Geographic Reach | International |
Primary Audience | Public/other audiences |
Results and Impact | I was interviewed, along with my doctoral student, Tom Hedges, about production of computer-created music. The article was carried on BBC News (6 o'clock and 10 o'clock) and on BBC World (international). A longer version was run on BBC Radio 4's Today programme. |
Year(s) Of Engagement Activity | 2015 |