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How Melody Engenders Cadence in the Chorales of J. S. Bach: A Corpus Study
Trevor deClercq
Ithaca College
Abstract

Abstract
This paper reports a corpus study of the 371 chorales harmonized by J. S. Bach. The focus of this study is to investigate what kinds of events are typical at phrase endings (as demarcated by fermatas) given various melodic conditions, i.e., how well melodic structure is a predictor of cadence choice. Each fermata event was analyzed by ear and encoded with regard to the local key area and the cadence type, using a modified version of traditional cadence classifications. The frequency of each cadence type was then tabulated with respect to categorizations—as determined by the intervallic pattern and scale degree content—of the melodic structure prior to the fermata. It is shown that most fermata events can be categorized by a small collection of event types. As a result, a simplified conceptual model of cadence choice is posited. This model essentially proposes that a basic harmonization default is to interpret the soprano note at the fermata as scale-degree 1, 2, or 3 in some closely-related key area. The efficacy of this model is found to be very good, especially given certain conditions. Moreover, only a few extensions to the model are required to achieve an overall prediction success rate above 90. The implications of these findings are discussed in terms of projects both inside and outside of the classroom.

Crossmodal Object-Based Attention in Time
Julian De Freitas
Yale University

Augmentation Matrix: Manipulation of Consonance/Dissonance Through Stretched Harmonic Series
Jerica Oblak
New York University
Abstract

Abstract
Augmentation Matrix is a compositional system and a modular instrument designed to alter the perception of consonance/dissonance relationships through the proportional stretching of the harmonic series. The augmentations are therefore structurally derived directly from the overtone series; as such, each partial is the beginning of a transposed original series (found in the given series through the linear functions), while the new primary intervals (found in the given series through the exponential functions) adopt the characteristics of "pseudo-octaves". Furthermore, by utilizing the augmentations while building sounds through additive synthesis as well as structuring compositions through corresponding microtonal mapping/tuning, I seek to maximize the effect of new consonant hierarchies. See examples on Youtube: Elastic Ear I, II, II, IV by Jerica Oblak.

Exploring Real-Time Sonic Adjustments in the Performance of Notated Music: Morton Feldman, Space Acoustics, and the Variable Timbres of Piano Sound
Victoria Tzotzkova
Harvard University

Surprising Facts About Amplitude Envelope
Michael Schutz
McMaster University
Abstract

Abstract
A sound's amplitude envelope provides important information about the event leading to its production. For impact sounds (which are pervasive in musical as well as non-musical contexts) this property offers useful insight into both the materials as well as the force involved, in large part through the envelope's offset/decay. This cue is absent in sounds synthesized with the frequently employed "flat" envelopes (i.e. those using a trapezoidal shape), whose unnatural and abrupt offsets lack meaningful information. Curiously, recent work in our lab documents significant differences in the neural processing of tones with natural and abrupt offsets, as well as categorical shifts in both perceptual (sensory integration, duration estimation) and cognitive (associative memory) tasks using them. Consequently we are now surveying the amplitude envelopes of sounds used in auditory research, and have been surprised to discover that this important property is frequently left undocumented in a variety of leading journals. This does not reflect general neglect of detail, as other properties within these same studies such as the exact model of headphones used and/or the precise model of synthesizer generating pure tone stimuli are specified in high proportions. This talk with review several such surprising outcomes of my lab's research to highlight the important role of this generally under-appreciated property.

Embodiment Image Schema Applied Heuristically to Performance-Imposed Melodic Organization
Bonnie McAlvin
Adelphi University
Abstract

Abstract
My research has to do with fine performance nuance (anything that is done in live musical performance that is not explicitly indicated by a musical score, such as the addition of crescendo, diminuendo, vibrato change, timbre change, rubato, or small 'gap'). Gjerdingen (1994) states that, "performance nuances can affect perceived melodic organization." As evidence, Gjerdingen presents four outputs of a particular ANN that he devised. Gjerdingen's ANN is an adaptation of an ANN which was originally devised to model how 'paths' between separate lights in a dark room will be perceived by an observer. He adapts it to model how 'paths' between notes are imagined. Each of the four outputs presented in Gjerdingen (1994) reflects a different 'performance' of the same group of pitches. The 'performances' which were used as input vary according to two discreet manipulations of exactly two parameters: amplitude/dynamic and duration/length of articulation. I assert that 1) the differences in melodic organization ('paths') which are caused by varying amplitude and duration can be caused by various combinations of parameters beyond amplitude and duration, which include vibrato, timbre, and others. (This is not in disagreement Gjerdingen withother parameters are simply not presented to his ANN); 2) that these parameters are negotiated in different weights, by individual listeners, according to specific musical context; 3) that all possible 'readings' of a performance's melodic organization can be generated computationally, using a formalized preference rule system which allows for all possible weightings/preference rule outcomes of parameters; and 4) that the output of this 'reading generator' is usefully correlated with aspects of embodiment metaphor theory (Johnson 1987), such as the UP/DOWN schema and the CONTAINER schema. Based on the prediction that a melodic organization which moves UP will elicit a different listener response than a melodic organization which moves DOWN, it is believed that the correlation of derived melodic organizations with embodiment schema (such as UP/DOWN, or CONTAINER) will yield insight into why a specific listener responds to a specific musical performance in a specific way. ('Specific listener' is assumed to change at variable rates over time/with accumulating experience.)

A Neuro-Phenomenological Description of the Guided Imagery and Music Experience: Case Results
Andrea Hunt
Temple University
Abstract

Abstract
This study sought to integrate both quantitative (EEG) and qualitative (phenomenological) descriptions of four individual participants' music and imagery experiences in order to gain an understanding of the mind-body connection related to this music therapy approach. The presenter will summarize the results of one case and contrast with the remaining cases to illustrate a mind-body experience of a therapeutically effective altered state of consciousness (ASC) during a music and imagery session. The presentation will also include implications of these results for theory, research, and practice, such as the skills required of clients to engage in a GIM session, the nature and roles of relaxation and attention in the ASC, the neurological reality of imagery and the implications for traumatized clients and neuroplasticity, and the limitations of this study.

An Empirical Space of Music for Biofeedback
Psyche Loui
Harvard University
Abstract

Abstract
How can we harness tools and knowledge from psychology and cognitive neuroscience to engender musical creativity? I will demonstrate novel algorithms for composing and performing music in real time with electroencephalograms (EEG). Using a space of musical genres derived from applying multidimensional scaling techniques on behavioral data from human listeners, I will merge an empirically derived model with electrical signals recorded on the surface of the scalp, to create a biofeedback system for automatic music composition. I hope to show that the musical result of EEG recording can be organic—natural, varied, aesthetically rewarding, and constantly evolving as a result of biological sources of inspiration.

Respiratory Coordination to Music
Finn Upham
New York University

Cognitive Transfer (or Lack Thereof) from Early Arts Enrichment
Sam Mehr
Harvard University
Abstract

Abstract
Young children regularly engage in musical activities, but the effects of early music education on children's cognitive development are unknown. Many studies have found associations between musical training in childhood and later nonmusical cognitive outcomes, yet few randomized controlled trials (RCTs) have been employed to assess causal effects of music lessons on child cognition, and no clear pattern of results has emerged. We conducted two RCTs with preschool children investigating the cognitive effects of music classes, as compared to a similar but non-musical form of arts instruction (visual arts classes, Experiment 1) or to a no-treatment control (Experiment 2). Consistent with typical preschool arts enrichment programs, parents attended classes with their children, participating in a variety of developmentally appropriate arts activities. After six weeks of class, we assessed children's skills in four distinct cognitive areas in which older arts-trained students have been reported to excel: spatial-navigational reasoning, visual form analysis, numerical discrimination, and receptive vocabulary. We initially found that children from the music class showed greater spatial-navigational ability than did children from the visual arts class, while children from the visual arts class showed greater visual form analysis ability than children from the music class (Experiment 1). However, a partial replication attempt comparing music training to a no-treatment control failed to confirm these findings (Experiment 2), and the combined results of the two experiments were negative: overall, children provided with music classes performed no better than those with visual arts or no classes on any assessment. Our findings underscore the need for replication in RCTs with multiple outcome measures, and suggest caution in interpreting the positive findings from past studies of cognitive effects of music instruction.

Utilizing Music Technology as a Model for Creativity Development in K-12 Education
Dave Rosen
Drexel University
Abstract

Abstract
The cognitive and neurological benefits of music training have been well-established, with previous work identifying improved reading comprehension, math skills, auditory skills, speech processing, working memory, and attention for musicians. Despite this, the current music education system in the United States reaches only 20% of the student population. Many students are highly engaged, motivated, interested, and intellectually stimulated by music outside of the classroom. In 2012, the overall education system in the US ranks 17th among developed countries. A major commonality in nations outperforming the US is a deeper focus on the arts. We argue it necessary to find new ways to engage the majority of students in music education. In this initial work, we demonstrate that the teaching of music technology provides an affordable point of entry for non-trained music students to express their musical sensibilities, without the need for a formal music education. Computer-based tools have become the standard for the music industry; software is now used overwhelmingly to record, compose, improvise, edit, mix, and produce music digitally. We posit that music technology classes serve as an excellent environment for creative development, self-awareness of one's creative process, experiential flow learning, critical thinking skills, and the ability to integrate teacher and group feedback to refine a creative product.

The Music Therapy Assessment Tool for Awareness in Disorders of Consciousness (MATADOC)
Wendy Magee
Temple University
Abstract

Abstract
Assessment and diagnosis of people with disorders of consciousness (DOC) following profound brain injury remains a complex task with few reliable validated measurement tools available for multi-professional rehabilitation teams. Music is a useful tool to assist with diagnosis of this population given its ability to present stimuli that are familiar and personally meaningful to patients whilst not reliant on language. I present the results of a study to test the inter- and intra-rater reliability and internal consistency of the Music Therapy Assessment Tool for Awareness in Disorders of Consciousness (MATADOC), a measure that can contribute to interdisciplinary assessment of awareness. The findings reveal its psychometric properties alongside its clinical utility.