Commonality and variation in mental representations of music revealed by a cross-cultural comparison of rhythm priors in 15 countries.

Autor: Jacoby N; Computational Auditory Perception Group, Max Planck Institute for Empirical Aesthetics, Frankfurt am Main, Germany. nori.jacoby@ae.mpg.de.; Presidential Scholars in Society and Neuroscience, Columbia University, New York, NY, USA. nori.jacoby@ae.mpg.de., Polak R; RITMO Centre for Interdisciplinary Studies in Rhythm, Time and Motion, University of Oslo, Blindern, Oslo, Norway., Grahn JA; Brain and Mind Institute and Department of Psychology, University of Western Ontario, London, Ontario, Canada., Cameron DJ; Department of Psychology, Neuroscience and Behaviour, McMaster University, Hamilton, Ontario, Canada., Lee KM; School of Digital Humanities and Social Sciences, Korea Advanced Institute of Science and Technology, Daejeon, Republic of Korea.; Graduate School of Culture Technology, Korea Advanced Institute of Science and Technology, Daejeon, Republic of Korea., Godoy R; Heller School for Social Policy and Management, Brandeis University, Waltham, MA, USA., Undurraga EA; Escuela de Gobierno, Pontificia Universidad Católica de Chile, Santiago, Chile.; CIFAR Azrieli Global Scholars programme, CIFAR, Toronto, Ontario, Canada., Huanca T; Centro Boliviano de Investigación y Desarrollo Socio Integral, San Borja, Bolivia., Thalwitzer T; Department of Musicology, University of Vienna, Vienna, Austria., Doumbia N; Sciences de l'Education, Université Catholique d'Afrique de l'Ouest, Bamako, Mali., Goldberg D; Department of Music, University of Connecticut, Storrs, CT, USA., Margulis EH; Department of Music, Princeton University, Princeton, NJ, USA., Wong PCM; Department of Linguistics & Modern Languages and Brain and Mind Institute, Chinese University of Hong Kong, Hong Kong SAR, China., Jure L; School of Music, Universidad de la República, Montevideo, Uruguay., Rocamora M; Signal Processing Department, School of Engineering, Universidad de la República, Montevideo, Uruguay.; Music Technology Group, Universitat Pompeu Fabra, Barcelona, Spain., Fujii S; Faculty of Environment and Information Studies, Keio University, Fujisawa, Japan., Savage PE; Faculty of Environment and Information Studies, Keio University, Fujisawa, Japan.; School of Psychology, University of Auckland, Auckland, New Zealand., Ajimi J; Department of Traditional Japanese Music, Tokyo University of the Arts, Tokyo, Japan., Konno R; Faculty of Environment and Information Studies, Keio University, Fujisawa, Japan., Oishi S; Faculty of Environment and Information Studies, Keio University, Fujisawa, Japan., Jakubowski K; Department of Music, Durham University, Durham, UK., Holzapfel A; Division of Media Technology and Interaction Design, KTH Royal Institute of Technology, Stockholm, Sweden., Mungan E; Department of Psychology, Bogazici University, Istanbul, Turkey., Kaya E; Max Planck Research Group 'Neural and Environmental Rhythms', Max Planck Institute for Empirical Aesthetics, Frankfurt am Main, Germany.; Cognitive Science Master Program, Bogazici University, Istanbul, Turkey., Rao P; Department of Electrical Engineering, Indian Institute of Technology Bombay, Mumbai, India., Rohit MA; Department of Electrical Engineering, Indian Institute of Technology Bombay, Mumbai, India., Alladi S; Nizam's Institute of Medical Sciences, Hyderabad, India., Tarr B; Department of Cognitive and Evolutionary Anthropology, University of Oxford, Oxford, UK.; Department of Experimental Psychology, University of Oxford, Oxford, UK., Anglada-Tort M; Computational Auditory Perception Group, Max Planck Institute for Empirical Aesthetics, Frankfurt am Main, Germany.; Department of Psychology, Goldsmiths, University of London, London, UK., Harrison PMC; Computational Auditory Perception Group, Max Planck Institute for Empirical Aesthetics, Frankfurt am Main, Germany.; Faculty of Music, University of Cambridge, Cambridge, UK., McPherson MJ; Department of Brain and Cognitive Sciences, Massachusetts Institute of Technology, Cambridge, MA, USA.; Program in Speech and Hearing Biosciences and Technology, Harvard University, Cambridge, MA, USA.; McGovern Institute for Brain Research, Massachusetts Institute of Technology, Cambridge, MA, USA., Dolan S; Department of Brain and Cognitive Sciences, Massachusetts Institute of Technology, Cambridge, MA, USA.; Department of Brain and Cognitive Sciences, Wellesley College, Wellesley, MA, USA., Durango A; Department of Brain and Cognitive Sciences, Massachusetts Institute of Technology, Cambridge, MA, USA.; McGovern Institute for Brain Research, Massachusetts Institute of Technology, Cambridge, MA, USA.; Neurosciences Graduate Program, Stanford University, Stanford, CA, USA., McDermott JH; Faculty of Music, University of Cambridge, Cambridge, UK. jhm@mit.edu.; Program in Speech and Hearing Biosciences and Technology, Harvard University, Cambridge, MA, USA. jhm@mit.edu.; McGovern Institute for Brain Research, Massachusetts Institute of Technology, Cambridge, MA, USA. jhm@mit.edu.; Center for Brains, Minds & Machines, Massachusetts Institute of Technology, Cambridge, MA, USA. jhm@mit.edu.
Jazyk: angličtina
Zdroj: Nature human behaviour [Nat Hum Behav] 2024 May; Vol. 8 (5), pp. 846-877. Date of Electronic Publication: 2024 Mar 04.
DOI: 10.1038/s41562-023-01800-9
Abstrakt: 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 estimated from the distribution of reproductions. Every tested group showed a sparse prior with peaks at integer-ratio rhythms. However, the importance of different integer ratios varied across groups, often reflecting local musical practices. Our results suggest a common feature of music cognition: discrete rhythm 'categories' at small-integer ratios. These discrete representations plausibly stabilize musical systems in the face of cultural transmission but interact with culture-specific traditions to yield the diversity that is evident when mental representations are probed across many cultures.
(© 2024. The Author(s).)
Databáze: MEDLINE
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