The music of morality and logic

Autores
Mesz, Bruno; Rodríguez Zivic, Pablo Hernán; Cecchi, Guillermo Alberto; Sigman, Mariano; Trevisan, Marcos Alberto
Año de publicación
2015
Idioma
inglés
Tipo de recurso
artículo
Estado
versión publicada
Descripción
Musical theory has built on the premise that musical structures can refer to something different from themselves (Nattiez and Abbate, 1990). The aim of this work is to statistically corroborate the intuitions of musical thinkers and practitioners starting at least with Plato, that music can express complex human concepts beyond merely "happy" and "sad" (Mattheson and Lenneberg, 1958). To do so, we ask whether musical improvisations can be used to classify the semantic category of the word that triggers them. We investigated two specific domains of semantics: morality and logic. While morality has been historically associated with music, logic concepts, which involve more abstract forms of thought, are more rarely associated with music. We examined musical improvisations inspired by positive and negative morality (e.g., good and evil) and logic concepts (true and false), analyzing the associations between these words and their musical representations in terms of acoustic and perceptual features. We found that music conveys information about valence (good and true vs. evil and false) with remarkable consistency across individuals. This information is carried by several musical dimensions which act in synergy to achieve very high classification accuracy. Positive concepts are represented by music with more ordered pitch structure and lower harmonic and sensorial dissonance than negative concepts. Music also conveys information indicating whether the word which triggered it belongs to the domains of logic or morality (true vs. good), principally through musical articulation. In summary, improvisations consistently map logic and morality information to specific musical dimensions, testifying the capacity of music to accurately convey semantic information in domains related to abstract forms of thought.
Fil: Mesz, Bruno. Universidad Nacional de Quilmes. Departamento de Ciencia y Tecnología. Laboratorio de Acústica y Percepción Sonora; Argentina
Fil: Rodríguez Zivic, Pablo Hernán. Universidad de Buenos Aires. Facultad de Ciencias Exactas y Naturales; Argentina. Consejo Nacional de Investigaciones Científicas y Técnicas. Oficina de Coordinación Administrativa Ciudad Universitaria. Instituto de Física de Buenos Aires. Universidad de Buenos Aires. Facultad de Ciencias Exactas y Naturales. Instituto de Física de Buenos Aires; Argentina
Fil: Cecchi, Guillermo Alberto. IBM Research. Thomas J. Watson Research Center; Estados Unidos
Fil: Sigman, Mariano. Consejo Nacional de Investigaciones Científicas y Técnicas. Oficina de Coordinación Administrativa Ciudad Universitaria. Instituto de Física de Buenos Aires. Universidad de Buenos Aires. Facultad de Ciencias Exactas y Naturales. Instituto de Física de Buenos Aires; Argentina
Fil: Trevisan, Marcos Alberto. Consejo Nacional de Investigaciones Científicas y Técnicas. Oficina de Coordinación Administrativa Ciudad Universitaria. Instituto de Física de Buenos Aires. Universidad de Buenos Aires. Facultad de Ciencias Exactas y Naturales. Instituto de Física de Buenos Aires; Argentina
Materia
LOGIC
MORALITY
MUSIC PSYCHOLOGY
MUSICAL STRUCTURE
SEMANTIC CONTENT
Nivel de accesibilidad
acceso abierto
Condiciones de uso
https://creativecommons.org/licenses/by-nc-sa/2.5/ar/
Repositorio
CONICET Digital (CONICET)
Institución
Consejo Nacional de Investigaciones Científicas y Técnicas
OAI Identificador
oai:ri.conicet.gov.ar:11336/77206
Acceder
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network_name_str CONICET Digital (CONICET)
spelling The music of morality and logicMesz, BrunoRodríguez Zivic, Pablo HernánCecchi, Guillermo AlbertoSigman, MarianoTrevisan, Marcos AlbertoLOGICMORALITYMUSIC PSYCHOLOGYMUSICAL STRUCTURESEMANTIC CONTENThttps://purl.org/becyt/ford/5.1https://purl.org/becyt/ford/5Musical theory has built on the premise that musical structures can refer to something different from themselves (Nattiez and Abbate, 1990). The aim of this work is to statistically corroborate the intuitions of musical thinkers and practitioners starting at least with Plato, that music can express complex human concepts beyond merely "happy" and "sad" (Mattheson and Lenneberg, 1958). To do so, we ask whether musical improvisations can be used to classify the semantic category of the word that triggers them. We investigated two specific domains of semantics: morality and logic. While morality has been historically associated with music, logic concepts, which involve more abstract forms of thought, are more rarely associated with music. We examined musical improvisations inspired by positive and negative morality (e.g., good and evil) and logic concepts (true and false), analyzing the associations between these words and their musical representations in terms of acoustic and perceptual features. We found that music conveys information about valence (good and true vs. evil and false) with remarkable consistency across individuals. This information is carried by several musical dimensions which act in synergy to achieve very high classification accuracy. Positive concepts are represented by music with more ordered pitch structure and lower harmonic and sensorial dissonance than negative concepts. Music also conveys information indicating whether the word which triggered it belongs to the domains of logic or morality (true vs. good), principally through musical articulation. In summary, improvisations consistently map logic and morality information to specific musical dimensions, testifying the capacity of music to accurately convey semantic information in domains related to abstract forms of thought.Fil: Mesz, Bruno. Universidad Nacional de Quilmes. Departamento de Ciencia y Tecnología. Laboratorio de Acústica y Percepción Sonora; ArgentinaFil: Rodríguez Zivic, Pablo Hernán. Universidad de Buenos Aires. Facultad de Ciencias Exactas y Naturales; Argentina. Consejo Nacional de Investigaciones Científicas y Técnicas. Oficina de Coordinación Administrativa Ciudad Universitaria. Instituto de Física de Buenos Aires. Universidad de Buenos Aires. Facultad de Ciencias Exactas y Naturales. Instituto de Física de Buenos Aires; ArgentinaFil: Cecchi, Guillermo Alberto. IBM Research. Thomas J. Watson Research Center; Estados UnidosFil: Sigman, Mariano. Consejo Nacional de Investigaciones Científicas y Técnicas. Oficina de Coordinación Administrativa Ciudad Universitaria. Instituto de Física de Buenos Aires. Universidad de Buenos Aires. Facultad de Ciencias Exactas y Naturales. Instituto de Física de Buenos Aires; ArgentinaFil: Trevisan, Marcos Alberto. Consejo Nacional de Investigaciones Científicas y Técnicas. Oficina de Coordinación Administrativa Ciudad Universitaria. Instituto de Física de Buenos Aires. Universidad de Buenos Aires. Facultad de Ciencias Exactas y Naturales. Instituto de Física de Buenos Aires; ArgentinaFrontiers Research Foundation2015-07info:eu-repo/semantics/articleinfo:eu-repo/semantics/publishedVersionhttp://purl.org/coar/resource_type/c_6501info:ar-repo/semantics/articuloapplication/pdfapplication/pdfapplication/pdfhttp://hdl.handle.net/11336/77206Mesz, Bruno; Rodríguez Zivic, Pablo Hernán; Cecchi, Guillermo Alberto; Sigman, Mariano; Trevisan, Marcos Alberto; The music of morality and logic; Frontiers Research Foundation; Frontiers in Psychology; 6; 7-2015; 1-101664-1078CONICET DigitalCONICETenginfo:eu-repo/semantics/altIdentifier/url/http://journal.frontiersin.org/article/10.3389/fpsyg.2015.00908/abstractinfo:eu-repo/semantics/altIdentifier/doi/10.3389/fpsyg.2015.00908info:eu-repo/semantics/openAccesshttps://creativecommons.org/licenses/by-nc-sa/2.5/ar/reponame:CONICET Digital (CONICET)instname:Consejo Nacional de Investigaciones Científicas y Técnicas2025-11-05T09:59:43Zoai:ri.conicet.gov.ar:11336/77206instacron:CONICETInstitucionalhttp://ri.conicet.gov.ar/Organismo científico-tecnológicoNo correspondehttp://ri.conicet.gov.ar/oai/requestdasensio@conicet.gov.ar; lcarlino@conicet.gov.arArgentinaNo correspondeNo correspondeNo correspondeopendoar:34982025-11-05 09:59:43.822CONICET Digital (CONICET) - Consejo Nacional de Investigaciones Científicas y Técnicasfalse
dc.title.none.fl_str_mv The music of morality and logic
title The music of morality and logic
spellingShingle The music of morality and logic
Mesz, Bruno
LOGIC
MORALITY
MUSIC PSYCHOLOGY
MUSICAL STRUCTURE
SEMANTIC CONTENT
title_short The music of morality and logic
title_full The music of morality and logic
title_fullStr The music of morality and logic
title_full_unstemmed The music of morality and logic
title_sort The music of morality and logic
dc.creator.none.fl_str_mv Mesz, Bruno
Rodríguez Zivic, Pablo Hernán
Cecchi, Guillermo Alberto
Sigman, Mariano
Trevisan, Marcos Alberto
author Mesz, Bruno
author_facet Mesz, Bruno
Rodríguez Zivic, Pablo Hernán
Cecchi, Guillermo Alberto
Sigman, Mariano
Trevisan, Marcos Alberto
author_role author
author2 Rodríguez Zivic, Pablo Hernán
Cecchi, Guillermo Alberto
Sigman, Mariano
Trevisan, Marcos Alberto
author2_role author
author
author
author
dc.subject.none.fl_str_mv LOGIC
MORALITY
MUSIC PSYCHOLOGY
MUSICAL STRUCTURE
SEMANTIC CONTENT
topic LOGIC
MORALITY
MUSIC PSYCHOLOGY
MUSICAL STRUCTURE
SEMANTIC CONTENT
purl_subject.fl_str_mv https://purl.org/becyt/ford/5.1
https://purl.org/becyt/ford/5
dc.description.none.fl_txt_mv Musical theory has built on the premise that musical structures can refer to something different from themselves (Nattiez and Abbate, 1990). The aim of this work is to statistically corroborate the intuitions of musical thinkers and practitioners starting at least with Plato, that music can express complex human concepts beyond merely "happy" and "sad" (Mattheson and Lenneberg, 1958). To do so, we ask whether musical improvisations can be used to classify the semantic category of the word that triggers them. We investigated two specific domains of semantics: morality and logic. While morality has been historically associated with music, logic concepts, which involve more abstract forms of thought, are more rarely associated with music. We examined musical improvisations inspired by positive and negative morality (e.g., good and evil) and logic concepts (true and false), analyzing the associations between these words and their musical representations in terms of acoustic and perceptual features. We found that music conveys information about valence (good and true vs. evil and false) with remarkable consistency across individuals. This information is carried by several musical dimensions which act in synergy to achieve very high classification accuracy. Positive concepts are represented by music with more ordered pitch structure and lower harmonic and sensorial dissonance than negative concepts. Music also conveys information indicating whether the word which triggered it belongs to the domains of logic or morality (true vs. good), principally through musical articulation. In summary, improvisations consistently map logic and morality information to specific musical dimensions, testifying the capacity of music to accurately convey semantic information in domains related to abstract forms of thought.
Fil: Mesz, Bruno. Universidad Nacional de Quilmes. Departamento de Ciencia y Tecnología. Laboratorio de Acústica y Percepción Sonora; Argentina
Fil: Rodríguez Zivic, Pablo Hernán. Universidad de Buenos Aires. Facultad de Ciencias Exactas y Naturales; Argentina. Consejo Nacional de Investigaciones Científicas y Técnicas. Oficina de Coordinación Administrativa Ciudad Universitaria. Instituto de Física de Buenos Aires. Universidad de Buenos Aires. Facultad de Ciencias Exactas y Naturales. Instituto de Física de Buenos Aires; Argentina
Fil: Cecchi, Guillermo Alberto. IBM Research. Thomas J. Watson Research Center; Estados Unidos
Fil: Sigman, Mariano. Consejo Nacional de Investigaciones Científicas y Técnicas. Oficina de Coordinación Administrativa Ciudad Universitaria. Instituto de Física de Buenos Aires. Universidad de Buenos Aires. Facultad de Ciencias Exactas y Naturales. Instituto de Física de Buenos Aires; Argentina
Fil: Trevisan, Marcos Alberto. Consejo Nacional de Investigaciones Científicas y Técnicas. Oficina de Coordinación Administrativa Ciudad Universitaria. Instituto de Física de Buenos Aires. Universidad de Buenos Aires. Facultad de Ciencias Exactas y Naturales. Instituto de Física de Buenos Aires; Argentina
description Musical theory has built on the premise that musical structures can refer to something different from themselves (Nattiez and Abbate, 1990). The aim of this work is to statistically corroborate the intuitions of musical thinkers and practitioners starting at least with Plato, that music can express complex human concepts beyond merely "happy" and "sad" (Mattheson and Lenneberg, 1958). To do so, we ask whether musical improvisations can be used to classify the semantic category of the word that triggers them. We investigated two specific domains of semantics: morality and logic. While morality has been historically associated with music, logic concepts, which involve more abstract forms of thought, are more rarely associated with music. We examined musical improvisations inspired by positive and negative morality (e.g., good and evil) and logic concepts (true and false), analyzing the associations between these words and their musical representations in terms of acoustic and perceptual features. We found that music conveys information about valence (good and true vs. evil and false) with remarkable consistency across individuals. This information is carried by several musical dimensions which act in synergy to achieve very high classification accuracy. Positive concepts are represented by music with more ordered pitch structure and lower harmonic and sensorial dissonance than negative concepts. Music also conveys information indicating whether the word which triggered it belongs to the domains of logic or morality (true vs. good), principally through musical articulation. In summary, improvisations consistently map logic and morality information to specific musical dimensions, testifying the capacity of music to accurately convey semantic information in domains related to abstract forms of thought.
publishDate 2015
dc.date.none.fl_str_mv 2015-07
dc.type.none.fl_str_mv info:eu-repo/semantics/article
info:eu-repo/semantics/publishedVersion
http://purl.org/coar/resource_type/c_6501
info:ar-repo/semantics/articulo
format article
status_str publishedVersion
dc.identifier.none.fl_str_mv http://hdl.handle.net/11336/77206
Mesz, Bruno; Rodríguez Zivic, Pablo Hernán; Cecchi, Guillermo Alberto; Sigman, Mariano; Trevisan, Marcos Alberto; The music of morality and logic; Frontiers Research Foundation; Frontiers in Psychology; 6; 7-2015; 1-10
1664-1078
CONICET Digital
CONICET
url http://hdl.handle.net/11336/77206
identifier_str_mv Mesz, Bruno; Rodríguez Zivic, Pablo Hernán; Cecchi, Guillermo Alberto; Sigman, Mariano; Trevisan, Marcos Alberto; The music of morality and logic; Frontiers Research Foundation; Frontiers in Psychology; 6; 7-2015; 1-10
1664-1078
CONICET Digital
CONICET
dc.language.none.fl_str_mv eng
language eng
dc.relation.none.fl_str_mv info:eu-repo/semantics/altIdentifier/url/http://journal.frontiersin.org/article/10.3389/fpsyg.2015.00908/abstract
info:eu-repo/semantics/altIdentifier/doi/10.3389/fpsyg.2015.00908
dc.rights.none.fl_str_mv info:eu-repo/semantics/openAccess
https://creativecommons.org/licenses/by-nc-sa/2.5/ar/
eu_rights_str_mv openAccess
rights_invalid_str_mv https://creativecommons.org/licenses/by-nc-sa/2.5/ar/
dc.format.none.fl_str_mv application/pdf
application/pdf
application/pdf
dc.publisher.none.fl_str_mv Frontiers Research Foundation
publisher.none.fl_str_mv Frontiers Research Foundation
dc.source.none.fl_str_mv reponame:CONICET Digital (CONICET)
instname:Consejo Nacional de Investigaciones Científicas y Técnicas
reponame_str CONICET Digital (CONICET)
collection CONICET Digital (CONICET)
instname_str Consejo Nacional de Investigaciones Científicas y Técnicas
repository.name.fl_str_mv CONICET Digital (CONICET) - Consejo Nacional de Investigaciones Científicas y Técnicas
repository.mail.fl_str_mv dasensio@conicet.gov.ar; lcarlino@conicet.gov.ar
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score 13.087074

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