Contextual expected development fraction model: effect of tonal modulations on genuine musical compositions, previous experience and response time on temporal estimations

• Grant number: 11/51822-5
• Support Opportunities: Scholarships in Brazil - Post-Doctoral
• Start date: January 01, 2013
• End date: December 31, 2016
• Field of knowledge: Humanities - Psychology - Experimental Psychology
• Principal Investigator: Jose Lino Oliveira Bueno
• Grantee: Erico Artioli Firmino
• Host Institution: Faculdade de Filosofia, Ciências e Letras de Ribeirão Preto (FFCLRP). Universidade de São Paulo (USP). Ribeirão Preto , SP, Brazil
• Associated scholarship(s): 15/13223-3 - Modeling musical working memory capacity using the expected development fraction model and Krumhansl's key-finding models, BE.EP.PD

Abstract

The Contextual Expected Development Fraction model (C-EDF) proposes that if a distance between two keys is traversed during a certain time interval of a music composition, a temporal development expectation is evocated, that one which is intuitively necessary to "smoothly" traverse such distance. This expected time development is longer than the perceived duration. The disproportion is applied to the perceived duration leading to temporal shortening. In other hand, visual and verbal contextual information interfere by lengthening the time. The ultimate time estimation is, therefore, a result of the unbalanced states of musical and non-musical representations. Experiment 1 investigates whether the principle that tonal modulations elicit time estimation in an inverse function of interkey distances may also be extended to genuine music compositions, that is, compositions recorded by musicians playing acoustic instruments. Experiment 2 investigates whether the principle that the contextual information interferes in the temporal processing of stimulating tonal modulations may also be extended to different previous experience, particularly to the condition of musicians able to consciously describe the listened music structure in contrast with the condition of non-musicians not able to do the same. Experiment 3 investigates the principle that in order to estimate the time of the music a short response time (RT) benefits overestimations, a long RT benefits underestimations, and a much longer RT benefits non-patterned estimations, after the modulating composition listening, due to the slower fading out of the musical representations and the faster fading out of the visual and verbal representations. (AU)