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AutomaticEncodingofPolyphonicMelodiesin MusiciansandNonmusicians TakakoFujioka 1,2,LaurelJ.Trainor 1,3,BernhardRoss 1,RyusukeKakigi 2,andChristoPantev 4Abstract&Inmusic,multiplemusicalobjectsoftenoverlapintime. Westernpolyphonicmusiccontainsmultiplesimultaneous melodiclines(referredtoas‚‚voices™™)ofequalimportance. Previouselectrophysiologicalstudieshaveshownthatpitch changesinasinglemelodyareautomaticallyencodedin memorytraces,asindexedbymismatchnegativity(MMN)and itsmagneticcounterpart(MMNm),andthatthisencoding processisenhancedbymusicalexperience.Inthepresent study,weexaminedwhethertwosimultaneousmelodiesin polyphonicmusicarerepresentedasseparateentitiesinthe auditorymemorytrace.Musiciansanduntrainedcontrolswere testedinbothmagnetoencephalogramandbehavioralses- sions.Polyphonicstimuliwerecreatedbycombiningtwo melodies(AandB),eachconsistingofthesamefivenotesbut inadifferentorder.MelodyAwasinthehighvoiceandMelody Binthelowvoiceinonecondition,andthiswasreversedin theothercondition.On50%oftrials,adeviantfinal(5th)note wasplayedeitherinthehighorinthelowvoice,anditeither wentoutsidethekeyofthemelodyorremainedwithinthe key.Thesefourdeviationsoccurredwithequalprobabilityof 12.5%each.ClearMMNmwasobtainedformostchangesin bothgroups,despitethe50%deviancelevel,withalarger amplitudeinmusiciansthanincontrols.Theresponsepattern wasconsistentacrossgroups,withlargerMMNmfordevi- antsinthehighvoicethaninthelowvoice,andlargerMMNm forin-keythanout-of-keychanges,despitebetterbehavioral performanceforout-of-keychanges.Theresultssuggest thatmelodicinformationineachvoiceinpolyphonicmusic isencodedinthesensorymemorytrace,thatthehighervoice ismoresalientthanthelower,andthattonalitymaybe processedprimarilyatcognitivestagessubsequenttoMMN generation.&INTRODUCTIONVariouselementsofmusicoftenoccursimultaneously. Forexample,whenlisteningtoorchestralmusic,we recognizemelody,rhythm,andharmony,aswellasan integratedflowofalloftheseaspects.Alsoweareable tolistenselectivelytodifferentinstrumentssuchas violins,flutes,ortrumpets.Thisprocessisdifferent fromthe‚‚cocktailparty™™situationoforientingattention toasinglespeaker,whileignoringtheirrelevantvoices andsounds.Incontrast,withmusicweseemtomaintain bothselectiveandgloballistening. TheWesterntonalmusicalsystemdistinguishestwo stylesofmusicintermsoftherolesofmelodyand harmony.Onestyleishomophonicmusic,whichcom- binesamainmelodywithanexplicitlyaccompanying harmonicstructureinwhichtheindividualmelodiclines arenotdiscerned.Theotherstyleispolyphonicmusic, whichcontainsmultiplemelodiclines(referredtoas ‚‚voices™™)ofequalimportance,usuallyseparatedin pitchrangeandoftenplayedbydifferentmusicalinstru- ments.Theharmonyinpolyphonicmusicisimpliedby thesimultaneousnotesindifferentmelodicvoices. Listeningtoonemelodyinpolyphonicmusicdoesnot excludefollowingtheintegrativeharmonysetupacross thevoices.Inturn,listeningtoharmonicflowdoesnot excludetrackingmelodicinformationeither.Thus,poly- phonicmusicgivesusachancetostudylistening mechanismsuniquetomusic. Severalpsychologicalstudieshaveinvestigatedwhich factorsaffectthestrategiesoflisteningtomultipleme- lodicobjects.Dowling(1973)investigatedtheeffectsof pitchdistancebetweentwomelodies.Hepresentedtwo interleavedmelodies(MelodiesAandB,consistingof ndistinctsinglenotesA iandB i(i=1 n,n=16),which areplayedasasequenceofnotesA 1,B1,A2,B2,,An,Bn)andexaminedrecognitionofawrongnoteem- beddedinoneofthetwomelodystreams.Thewrong notewasmoreeasilyrecognizedifthemelodieswere furtherapartinpitchrange.Itisalsoeasiertodetect wrongnotesifthemelodiesaremoreharmonicallyre- lated(Sloboda&Edworthy,1981).Severalotherstudies havedemonstratedthatthisdetectionismorerobustfor thehigherthanthelowermelodicline,eveninschool- 1BaycrestCentreforGeriatricCare,Canada, 2NationalInstitute forPhysiologicalSciences,Japan, 3McMasterUniversity,Canada, 4UniversityofMu ¨nster,Germany D2005MassachusettsInstituteofTechnologyJournalofCognitiveNeuroscience17:10,pp.1578Œ1592
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