N1 component reflects difference of terminal chords in three-chord sequences.
We understand from experience that musical contexts are formed when chords are combined according to the rules of harmony. In this study, the N1 component of the auditory-evoked potential was measured using comparable three-chord sequences; these sequences were constructed as a consecutive task (cf. C-C-C vs. Cm-Cm-Cm; control) and a cadence task (cf. C-G-C vs. C-G-Cm). In the cadence task, compared with cadences ending with a major chord (anticipated chord), those ending with a minor chord (unanticipated chord) showed a significantly larger amplitude of N1 waves. These components of auditory-evoked potentials reflect the effect of chord progression in musical perception and suggest that the musical context is recognized at least 100 ms after a chord is played.
Dekio-Hotta
Shoko
S
Department of Sensory and Motor Neuroscience, Graduate School of Medicine, Suzuka University of Medical Science, Suzuka, Japan. apshoko@suzuka-u.ac.jp
Kojima
Tomoyuki
T
Karino
Shotaro
S
Yamasoba
Tatsuya
T
Dekio
Itaru
I
Ito
Yoichi M
YM
Satake
Hiroyuki
H
Kaga
Kimitaka
K
D000161:Acoustic Stimulation; D000328:Adult; D001303:Auditory Cortex / Q000502:physiology*; D001931:Brain Mapping; D004569:Electroencephalography; D005072:Evoked Potentials, Auditory / Q000502:physiology*; D005260:Female; D006801:Humans; D008297:Male; D009146:Music / Q000523:psychology*; D009483:Neuropsychological Tests; D010898:Pitch Perception / Q000502:physiology*; D011930:Reaction Time / Q000502:physiology*; D013016:Sound; D011795:Surveys and Questionnaires; D013997:Time Factors; D055815:Young Adult