Using connectionist modeling, we address fundamental questions concerning the acquisition process of musical tonal schema of listeners. Compared to models of previous studies, our connectionist model (Learning Network for Tonal Schema, LeNTS) was better equipped to fulfill three basic requirements. Specifically, LeNTS was equipped with a learning mechanism, bound by culture-general properties, and trained by sufficient melody materials. When exposed to Western music, LeNTS acquired musical ‘scale’ sensitivity early and ‘harmony’ sensitivity later. The order of acquisition of scale and harmony (...) sensitivities shown by LeNTS was consistent with the culture-specific acquisition order shown by musically westernized children. The implications of these results for the acquisition process of a tonal schema of listeners are as follows: (a) the acquisition process may entail small and incremental changes, rather than large and stage-like changes, in corresponding neural circuits; (b) the speed of schema acquisition may mainly depend on musical experiences rather than maturation; and (c) the learning principles of schema acquisition may be culturally invariant while the acquired tonal schemas are varied with exposed culture-specific music. (shrink)

The present study is a theoretical discussion concerning some of the important processes that characterize human perception, which is understood as a fundamental structure of consciousness. The aim is to acquire new insights for a better comprehension of the human experience in the world and the way individual subjects become familiar with their environment. To accomplish this task, the experience of listening to music is analysed due to the widespread acceptance of music as an important aspect of human life. With (...) reference to a various research studies and hypothesis focused on the way listeners understand music, principles of perceptual organization which allow immediate awareness of music are investigated. Particular attention is given to studies in the field of music perception and cognition. Through an analysis of the main mental processes involved, the goal is to describe several relevant aspects of how listeners understand music at the perceptual level and constitute musical meanings in a subjective manner. This constitution results in a listener’s ability to become immediately aware of their auditory experience as having a specific meaning – that of being, first of all, a musical experience. Focusing on everyday experience and exposure to music, expectation and anticipation are presented as fundamental principles that contribute to the knowledge of the auditory environment and the meaning which acoustic events acquire for a subject. An in-depth analysis of their specific features will show the different influence expectation and anticipation have on a listener’s basic perceptual comprehension of music and in the constitution of musical meanings that are subjectively characterized. Within the framework of a theoretical investigation into human processes of musical knowledge acquisition, the additional objective is to create a dialogue between empirical research results in the field of music cognition and phenomenological descriptions of the structures of human consciousness. In particular, through clarification of the specific terminology that characterizes these two fields of research, the intent is to go beyond the historical gap which has existed between them. This combination of perspectives may increase our understanding of the way human beings know the world and learn how to react to the events which they encounter. (shrink)