Brains, it has recently been argued, are essentially prediction machines. They are bundles of cells that support perception and action by constantly attempting to match incoming sensory inputs with top-down expectations or predictions. This is achieved using a hierarchical generative model that aims to minimize prediction error within a bidirectional cascade of cortical processing. Such accounts offer a unifying model of perception and action, illuminate the functional role of attention, and may neatly capture the special contribution of cortical processing to (...) adaptive success. This target article critically examines this approach, concluding that it offers the best clue yet to the shape of a unified science of mind and action. Sections 1 and 2 lay out the key elements and implications of the approach. Section 3 explores a variety of pitfalls and challenges, spanning the evidential, the methodological, and the more properly conceptual. The paper ends (sections 4 and 5) by asking how such approaches might impact our more general vision of mind, experience, and agency. (shrink)

Music can be described as sequences of events that are structured in pitch and time. Studying music processing provides insight into how complex event sequences are learned, perceived, and represented by the brain. Given the temporal nature of sound, expectations, structural integration, and cognitive sequencing are central in music perception (i.e., which sounds are most likely to come next and at what moment should they occur?). This paper focuses on similarities in music and language cognition research, showing that music cognition (...) research provides insight into the understanding of not only music processing but also language processing and the processing of other structured stimuli. The hypothesis of shared resources between music and language processing and of domain-general dynamic attention has motivated the development of research to test music as a means to stimulate sensory, cognitive, and motor processes. (shrink)

This study presents a probabilistic model of melody perception, which infers the key of a melody and also judges the probability of the melody itself. The model uses Bayesian reasoning: For any “surface” pattern and underlying “structure,” we can infer the structure maximizing P(structure|surface) based on knowledge of P(surface, structure). The probability of the surface can then be calculated as ∑ P(surface, structure), summed over all structures. In this case, the surface is a pattern of notes; the structure is a (...) key. A generative model is proposed, based on three principles: (a) melodies tend to remain within a narrow pitch range; (b) note‐to‐note intervals within a melody tend to be small; and (c) notes tend to conform to a distribution (or key profile) that depends on the key. The model is tested in three ways. First, it is tested on its ability to identify the keys of a set of folksong melodies. Second, it is tested on a melodic expectation task in which it must judge the probability of different notes occurring given a prior context; these judgments are compared with perception data from a melodic expectation experiment. Finally, the model is tested on its ability to detect incorrect notes in melodies by assigning them lower probabilities than the original versions. (shrink)

This study provides evidence for implicit learning in syntactic comprehension. By reanalyzing data from a syntactic priming experiment (Thothathiri & Snedeker, 2008), we find that the error signal associated with a syntactic prime influences comprehenders' subsequent syntactic expectations. This follows directly from error‐based implicit learning accounts of syntactic priming, but it is unexpected under accounts that consider syntactic priming a consequence of temporary increases in base‐level activation. More generally, the results raise questions about the principles underlying the maintenance of implicit (...) statistical knowledge relevant to language processing, and about possible functional motivations for syntactic priming. (shrink)

Enculturation is known to shape the perception of meter in music but this is not explicitly accounted for by current cognitive models of meter perception. We hypothesize that meter perception is a strategy for increasing the predictability of rhythmic patterns and that the way in which it is shaped by the cultural environment can be understood in terms of probabilistic predictive coding. Based on this hypothesis, we present a probabilistic model of meter perception that uses statistical properties of the relation (...) between rhythm and meter to infer meter from quantized rhythms. We show that our model can successfully predict annotated time signatures from quantized rhythmic patterns derived from folk melodies. Furthermore, we show that by inferring meter, our model can better predict the onsets of future events than a similar probabilistic model that does not infer meter. Finally, we demonstrate how our model can be used in a proof-of-concept simulation of enculturation. From this simulation, we derive a class of rhythms that are likely to be interpreted differently by enculturated listeners with different histories of exposure to rhythms. (shrink)