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Mind, Body, World- Foundations of Cognitive Science, 2013a

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Another way to view the two classes <strong>of</strong> notes revealed by this analysis is in terms<br />

<strong>of</strong> the two circles <strong>of</strong> major seconds that were presented in Figure 4-10. The first<br />

circle <strong>of</strong> major seconds contains only those notes that have positive coordinates in<br />

Figure 4-16. The other circle <strong>of</strong> major seconds captures the set <strong>of</strong> notes that have<br />

negative coordinates in Figure 4-16. In other words, the jazz progression network<br />

acts as if it has classified notes in terms <strong>of</strong> the circles <strong>of</strong> major seconds!<br />

The order in which the notes are arranged in the one-dimensional map is also<br />

related to the four circles <strong>of</strong> major thirds that were presented in Figure 4-11. The<br />

bars in Figure 4-16 have been coloured to reveal four sets <strong>of</strong> three notes each. Each<br />

<strong>of</strong> these sets <strong>of</strong> notes defines a circle <strong>of</strong> major thirds. The MDS map places notes in<br />

such a way that the notes <strong>of</strong> one such circle are listed in order, followed by the notes<br />

<strong>of</strong> another circle <strong>of</strong> major thirds.<br />

To summarize, one musical formalism is the II-V-I jazz progression. Interestingly,<br />

this formalism can be learned by a network from Old Connectionism, the perceptron.<br />

Even though this network is simple, interpreting its representations is not<br />

straightforward and requires the use <strong>of</strong> multivariate statistics. However, when such<br />

analysis is performed, it appears that the network captures the regularities <strong>of</strong> this<br />

jazz progression using the strange circles that were encountered in the earlier section<br />

on chord classification. That is, the connection weights <strong>of</strong> the perceptron reveal<br />

circles <strong>of</strong> major seconds and circles <strong>of</strong> major thirds.<br />

4.18 What Is Connectionist <strong>Cognitive</strong> <strong>Science</strong>?<br />

The purpose <strong>of</strong> the current chapter was to introduce the elements <strong>of</strong> connectionist<br />

cognitive science, the “flavour” <strong>of</strong> cognitive science that was seen first as Old<br />

Connectionism in the 1940s (McCulloch & Pitts, 1943) and which peaked by the late<br />

1950s (Rosenblatt, 1958, 1962; Widrow, 1962; Widrow & H<strong>of</strong>f, 1960). Criticisms concerning<br />

the limitations <strong>of</strong> such networks (Minsky & Papert, 1969) caused connectionist<br />

research to almost completely disappear until the mid-1980s (Papert, 1988),<br />

when New Connectionism arose in the form <strong>of</strong> techniques capable <strong>of</strong> training<br />

powerful multilayered networks (McClelland & Rumelhart, 1986; Rumelhart &<br />

McClelland, 1986c).<br />

Connectionism is now well established as part <strong>of</strong> mainstream cognitive science,<br />

although its relationship to classical cognitive science is far from clear. Artificial<br />

neural networks have been used to model a dizzying variety <strong>of</strong> phenomena including<br />

animal learning (Enquist & Ghirlanda, 2005; Schmajuk, 1997), cognitive development<br />

(Elman et al., 1996), expert systems (Gallant, 1993), language (Mammone,<br />

1993; Sharkey, 1992), pattern recognition and perception (Pao, 1989; Ripley, 1996;<br />

Wechsler, 1992), and musical cognition (Griffith & Todd, 1999; Todd & Loy, 1991).<br />

198 Chapter 4

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