Undergraduate summer scholarships in Auditory Cognitive Neuroscience
CANCELLED - Krista Hyde - "Auditory processing in autism: insights from behavioral and brain imaging studies"
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Neil McLachlan - "Toward a neurocognitive model of music: the framework, some computational implementations and experimental validation"
Neil McLachlan est professeur associé, Centre for Music, Mind and Wellbeing, Université de Melbourne, Australie.
| What |
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|---|---|
| When |
Aug 30, 2010 from 04:00 pm to 05:30 pm |
| Where | BRAMS |
| Contact Name | Laetitia Crémona |
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A PROPOS DE NEIL McLACHLAN
Pr. Neil McLachlan has professional experience in music, acoustic design, engineering and in music and auditory neuroscience. He designed the World’s first harmonic bells and harmonic percussion ensembles. To inform these design projects he has developed a large scale neurobiological model of auditory processing. This model has been computationally implemented for sound recognition and pitch processing, and extended for multimodal processing of music information. His current interests include the extension of this model for music and auditory perception more broadly by computational implementation with validation by behavioral and neurophysiological experimentation.
RESUME DE SA PRESENTATION
The Object-Attribute model of auditory processing (McLachlan and Wilson, 2010) proposed that recognition mechanisms play a central role in the integration and streaming of auditory features such as pitch. New experimental evidence suggests that dissonance is primarily due to a difficulty in streaming concurrent pitches. The data shows that roughness cannot account for sensory dissonance, and reveals an association between familiarity and dissonance ratings that was stronger for people with high pitch-streaming ability. Pitch-streaming ability improves with training, suggesting that in accordance with the Object-Attribute model, this skill involves the formation of long-term memory templates for musical chords. These memory templates allow information to be streamed and grouped over the multiple filter channels of the auditory system. Further support for this model was found by computational models of recognition and pitch processing mechanisms that predict patterns of pitch jnd, strength and streaming data reported in the literature. The current limitations of these models, new directions for the research, and its implications for music will be discussed.
Cet événement se tiendra en anglais.
