Music Perception and Cognition 2009-2010 Perfecto Herrera email@example.com
About Perfe • Member of the MTG since 1995 (studio engineer, research support, research management, information brokering) • More than 80 papers on topics mostly related to Music Information Research (in the top-20 cited authors in this field) • Background studies: Cognitive Science, Audio recording and post-production, Computer Music • Topics of interest: too many • Main expertises: machine learning, statistics, MPC • Full-time professor and Head of the Dept. of Sonology in ESMUC, teaching Music Technology, Psychoacoustics, Seminar of Sonology • Other interests: vintage synthesizers, polar explorers, electronic & experimental music, science-fiction, gamelan
Music Perception and Cognition Web page http://mtg.upf.edu/~perfe/cursos/mpc Course wiki http://iua-share.upf.edu/wikis/smc/Music_Perception_and_Cognition • Let’s listen to some music as a starter • Methodology • Calendar • Assignments • Resources
Let’s listen to some music What/How/Why do these examples challenge, illustrate, or sabotage our music perception/cognition mechanisms? • Paul Lansky – Iddle Chatter • Louis Couperin – Pavane en Fa Dièse Mineur • Pedro Guerrero – Dí, Perra Mora • Peter Brainer and his Baroque Orchestra – She Loves You • David Hykes – Diphonic self-counterpoint • Jean Claude Risset - Fall (from Computer Suite for Little Boy) • Diana Deutsch – Cambiata Illusion • Pink Floyd – Sheep • Aphex Twin - Omgyjya switch 7 • Lamonte Young - The second dream of the high-tension line stepdown transformer from the four dreams of china • Peter Schikele - New horizons in music appreciation Beethoven
How would you face the understanding of a blue box that came from outer space?
How can we “reverse engineer” the musical brain? • Strategy A: Let’s dismantle the brain into its basic components • Strategy B: Let’s treat it as a black-box: study how the output is affected by the input • In any case: we need a “theory” about the operations it performs • Why should you reverse-engineer the brain? • http://www.engineeringchallenges.org/cms/8996/9109.aspx
David Marr’s 3 levels of explanation • Computational theory (problem definition): What is the goal of the computation, why is it appropriate, and what is the logic of the strategy by which it can be carried out? • Representation and algorithm (specific strategy): How can this computational theory be implemented? In particular, what is the representation for the input and output, and what is the algorithm for the transformation? (strategy B, previous slide) • Hardware implementation (implementation): How can the representation and algorithm be realized physically? (strategy A, previous slide)
Object of MPC Which are the questions to be addressed by research on music perception and cognition? • From the computational theory level • From the functional level • From the implementational level Let’s write a list in the whiteboard!
Broad Definition of Music Cognition • Music cognition addresses the mental activities involved in • Perceiving • Learning • Remembering • Producing MUSIC
Perception vs. Cognition • Perception: transduction, basic sensations • Bottom-up (?), automatic (?), encapsulated • Cognition: musical knowledge • Top-down (?), consciousness-mediated (?), distributed BUT… • Bottom-up / Top-down distinction has been challenged by brain-cochlear connections and cortext-to-thalamus downward connections • Automatic / voluntary distinction has been challenged by research on implicit learning and knowledge
A graphical modelfrom Peretz i Coltheart (2003), Modularity of music processing, Nature Neuroscience, 6(7).
Why studying MPC in the SMC program? • The human listener is in the center of many SMC challenges (see the SMC roadmap document) • Users, composers, performers and players do what they do because of the processes and structures we are going to study here • Reverse-engineering the musical brain is needed in order to capture, mimic or approximate human features in artificial music systems • It is a source of insights when addressing music technology development • Sooner or later you will have to do some evaluation of subjective issues (synthesis technique, quality of processing, goodness of music description)… • Your turn to add reasons: --- --- ---