Computational models of music perception and cognition I: The perceptual and cognitive processing chain

• Published in: Physics of life reviews Vol. 5; no. 3; pp. 151 - 168
• Main Authors: Purwins, Hendrik, Herrera, Perfecto, Grachten, Maarten, Hazan, Amaury, Marxer, Ricard, Serra, Xavier
• Format: Journal Article
• Language: English
• Published: New York Elsevier B.V 01.09.2008; San Diego Elsevier; Amsterdam; London; St. Louis; Jena; Paris; Philadelphia; Boston
• Subjects: Auditory system; Biological and medical sciences; Brain; Cognition; Computation; Fundamental and applied biological sciences. Psychology; General aspects; Mathematical models; Mathematics in biology. Statistical analysis. Models. Metrology. Data processing in biology (general aspects); Music; Music cognition; Music perception; Musical expectancy; Perception; Symbols; Transducers; Auditory system; 43.75.Zz; 43.75.Xz; Music perception; 43.75.Cd; 43.75.St; Music cognition; Musical expectancy; Cognition; Review; Music; Perception; Models; Bioinformatics
• ISSN: 1571-0645; 1873-1457
• DOI: 10.1016/j.plrev.2008.03.004

We present a review on perception and cognition models designed for or applicable to music. An emphasis is put on computational implementations. We include findings from different disciplines: neuroscience, psychology, cognitive science, artificial intelligence, and musicology. The article summarizes the methodology that these disciplines use to approach the phenomena of music understanding, the localization of musical processes in the brain, and the flow of cognitive operations involved in turning physical signals into musical symbols, going from the transducers to the memory systems of the brain. We discuss formal models developed to emulate, explain and predict phenomena involved in early auditory processing, pitch processing, grouping, source separation, and music structure computation. We cover generic computational architectures of attention, memory, and expectation that can be instantiated and tuned to deal with specific musical phenomena. Criteria for the evaluation of such models are presented and discussed. Thereby, we lay out the general framework that provides the basis for the discussion of domain-specific music models in Part II.