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Fixing some of your that/which confusion. Because you don't know how to use these words, a lot of your logic is indecipherable. I've fixed as much as I can, and have time for. |
m Typo fixing, etc., typo(s) fixed: Nevertheless → Nevertheless, (5) using AWB |
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The last aspect to examine is the [[abstraction|abstractness]] of linguistic syntax and its correlate in music. There are two contradicting point of views. The first one claims that the foundation for musical scales and for the existence of a [[tonal centre]] in music can be seen in the physical basis of [[overtone]] series or in the psychoacoustic properties of chord in tonal music respectively. But in recent time there is strong evidence for the second point of view that syntax reflects abstract cognitive relationships.
All in all the consideration of syntax in music and language shows, that music has a syntax comparable to the linguistic syntax especially concerning a great complexity and a hierarchical organization. Nevertheless, it has to be emphasized, that musical syntax is not a simple variant of linguistic syntax, but a similar complex system with its own substance. That means that it would be the wrong way just to search for musical analogies of linguistic syntactic entities such as nouns or verbs.
==Neuronal processing of musical and linguistic syntax==
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(1)Primarily, a tonal centre has to be detected out of the first chords of a sequence. Often the first chord is interpreted as the tonal centre of a sequence and a reevaluation is necessary, if the first chord has another harmonic function.
(2)Successive chords are related to this tonal centre concerning their [[harmonic distance]] from the tonal centre.
(3)As described above (Does music have a syntax?), music has a hierarchical structure in terms of pitch organization and organization of tensioning and releasing in music. Pitch organization concerning chords means, that in a musical phrase the tonic is the most stable chord and experienced as the resting point. The dominant and subdominant anon are more stable than the submediant and the supertonic. The progression of chords in time forms a tonal structure based on pitch organization, in which moving away from the tonic is perceived as tensioning and moving towards the tonic is experienced as releasing. Therefore, hierarchical relations may convey organized patterns of meaning.
(4)Concerning harmonic aspects of major-minor tonal music, Musical syntax can be characterized by statistical regularities in the succession of chord functions in time, that is probabilities of chord transitions. As these regularities are stored in a [[long-term memory]], predictions about following chords are made automatically, when listening to a musical phrase.
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=====Differences – occurrence=====
Even though music syntactic regularities are often simultaneously acoustical similar and music syntactic irregularities are often simultaneously acoustical different, an ERAN but not an MMN can be elicit, when a chord does not represent a physical but a syntactic deviance. To demonstrate this, so-called "Neapolitan sixth chords" are used. These are consonant chords when played solitary, but which are added into a musical phrase of in which they are only distantly related to the harmonic context. Added into a chord sequence of five chords, the addition of a [[Neapolitan sixth chord]] at the third or at the fifth position evokes different amplitudes of ERANs in the [[EEG]] with a higher [[amplitude]] at the fifth position. Nevertheless, when creating a chord sequence in which the [[Neapolitan chord]] at the fifth position is music-syntactically less irregular than a Neapolitan chord at the third position, the amplitude is higher at the third position (see figure 4...). In opposition to the MMN, a clear ERAN is also elicited by using syntactically irregular chords, which are acoustically more similar to a proceeding harmonic context than syntactically regular chords. Therefore, the MMN seems to be based on an on-line establishment of regularities. That means, that the regularities are extracted on-line from the acoustic environment. In opposition, the ERAN rests upon representations of music-syntactic regularities which exist in a [[long-term memory]] format and which are learned during early childhood.
=====Differences – development=====
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=====Differences – neural sources=====
Differences between the ERAN and the MMN also exist in the [[neural sources]] for the main contributions to the ERPs. The sources for the ERAN are located in the [[pars opercularis]] of the [[inferior fronto-lateral cortex]] (inferior [[Brodmann's area]] with contributions from the ventrolateral [[premotor cortex]] and the [[anterior superior temporal gyrus]], whereas the MMN receives its main contributions from and within the vicinity of the [[primary auditory cortex]] with additional sources in the [[frontal cortex|frontal cortical areas]]. Therefore, the sources for the ERAN basically lie in the frontal cortex whereas the sources for the MMN are located in the [[temporal lobe]]. Other hints for this thesis emerge from the fact that under a [[propofol]] sedation which mainly has an impact on the frontal cortex, the ERAN is abolished while the MMN is only reduced. At last, the amplitude of the ERAN is reduced under ignore conditions whereas the MMN is largely unaffected by attentional modulations.
=====Processes to elicit the MMN or ERAN=====
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Strong evidence for the existence of this overlap comes from studies, in which music-syntactic and a linguistic-syntactic irregularities were presented simultaneously. They showed an interaction between the ERAN and the [[LAN]] (left anterior negativity;ERP which is elicited by linguistic-syntactic irregularities). The LAN elicited was reduced when an irregular word was presented simultaneously with an irregular chord compared to the condition when an irregular word was presented with a regular chord. Contrary to this finding the phMMN elicited by frequency deviants did not interact with the LAN.
From this facts it can be reasoned that the ERAN relies on neural resources related to syntactic processing (Koelsch 2008). Furthermore, they give strong evidence for the thesis, that there is an overlap between the processing of musical and linguistic syntax and therefore that syntactic operations (musical as well as linguistic) are modular.
==References==
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