Psychological and physiological influences in chord progression including the prohibitions

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Show simple item record Uemura, Toru Nishimura, Ryoji Nakashima, Hirotake 2009-08-03T06:45:33Z 2009-08-03T06:45:33Z 2009
dc.description.abstract Harmony is one of three major elements in the music. Harmonics are the basic theory of composition. There are several kinds of prohibitions in relation to the chord progression in the rules of Harmonics. When composers compose music pieces, they pay attention not to contain these prohibitions. The prohibitions are empirically- defined with giving the musical expressions to melody processes by try and error. Even so, there are few studies that are quantitatively examined the perceptual effect of the prohibitions. Therefore, the authors have investigated the perceptual effects of the prohibition quantitatively. The present study deals with the psychological tests and the physiological measurements using electro-encephalograph (EEG) in listening of the chord progressions. When subjects listened to the chord progression including the consecutive chord with one of the prohibitions, how subjects perceive to the consecutive chord by the method of paired comparisons test and how the chord progression induces “P300” by EEG in physiological experiment. Psychological results suggest that subjects can distinguish the consecutive chord with one of the prohibitions. P300 was elicited by the prohibition in the physiological experiment. These results suggest that there is a different response of listening to the consecutive chord with the prohibition. en
dc.format.extent 544-547
dc.language.iso eng
dc.rights openAccess fi
dc.subject.other Harmony en
dc.subject.other Prohibition rules en
dc.subject.other electro-encepharograph en
dc.subject.other mismatch-negativity en
dc.title Psychological and physiological influences in chord progression including the prohibitions en
dc.type Article en
dc.identifier.urn URN:NBN:fi:jyu-2009411329
dc.type.dcmitype Text
dc.identifier.conference ESCOM 2009 : 7th Triennial Conference of European Society for the Cognitive Sciences of Music

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