Playpens, Fireflies and Squeezables: New Musical Instruments for Bridging the Thoughtful and the Joyful

Infants 8-11 months of age were exposed to repetitions of a 6-tone sequence or melody, then tested for their discrimination of transpositions of that sequence as well as other melodic transformations previously used by Massaro, Kallman, and Kelly with adults. In experiment 1, infants showed evidence of discriminating all transformations from the original melody. In Experiment 2, the task was made more difficult, and infants failed to discriminate transpositions of the original melody as well as transformations that preserved the melodic contour and approximate frequency range of the original melody. By contrast, infants showed evidence of discriminating transformations that violated the contour of the original melody or that included changes in the octaves from which component tones were drawn. This global processing strategy parallels that used by adults with atonal or unfamiliar tonal melodies.

In the dominant aesthetic theory, composers are said to use unpredictable events to tease the listener, and make music optimally challenging and therefore aesthetically pleasing. We tested this claim that events optimally discrepant from a schema will be most pleasing. Experts and novices evaluated harmonic progressions at seven levels of syntactic prototypicality. Four results emerged: (1) even novices were extremely sensitive to syntactic atypicality; (2) all subjects found atypical progressions more interesting and complex; (3) novices and undergraduate music students preferred harmonic prototypes, contrary to most aesthetic theories; (4) only music graduate students preferred atypical progressions. We discuss the striking sensitivity of novices to harmonic syntax. We describe differences between an aesthetic theory based on information and uncertainty, and one based on schemas and schema divergence. We also consider the tonal conservatism of most subjects. This conservatism constrains aesthetic theories, and may have implications for music's stylistic evolution.