Consonance and dissonance are fundamental concepts in the science of music, with a long history of theory and experiment. These combine with statistical learning and culture-specific knowledge to provide a new model of tonal organization. The dynamical principles explain fundamental similarities between unfamiliar Western listeners and encultured Indian listeners. We ask whether this theory can explain cross-cultural invariances in the perception of Hindu-stani classical music, a highly developed style different from the more well-studied Western tonal-harmonic music. Here we use dynamical systems theory to transform recent findings about nonlinear auditory neural processing into predictions about the perception of musical relationships. I S MUSICAL KNOWLEDGE MAINLY ACQUIRED through long-term exposure to the music of one's culture? Or do intrinsic properties of neural processing constrain music perception and cognition? What is the role of short-term exposure and rapid statistical learning? While all these likely play a role, it is unknown how these fundamental mechanisms combine to enable the rich cognitive and emotional experience of music. These findings demonstrate that intrinsic neurodynamics contribute significantly to the perception of musical structure. We show that this theoretical framework combines with short-and long-term learning to explain the perception of Hindustani r¯ agas, not only by encultured Indian listeners but also by Western listeners unfamiliar with the style. Here, we present a dynamical systems analysis of mode-locked neural oscillation that predicts cross-cultural invariances in music perception and cognition. This leads us to reevaluate the significance of frequency relationships in the perception of music. Today evidence is rapidly mounting that oscillatory neurodynamics is an important source of nonlinear auditory responses. Cognitive psychologists have since focused on long-term exposure to the music of one's culture and short-term sensitivity to statistical regularities. Psychophysics rejected frequency ratio theories, focusing on sensory phenomena predicted by linear analysis of sound. SCIENCE SINCE ANTIQUITY HAS ASKED WHETHER mathematical relationships among acoustic frequencies govern musical relationships.
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