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dc.contributor.authorLahdelma, Imre
dc.contributor.authorEerola, Tuomas
dc.date.accessioned2016-07-01T04:34:57Z
dc.date.available2016-07-01T04:34:57Z
dc.date.issued2016
dc.identifier.citationLahdelma, I., & Eerola, T. (2016). Mild Dissonance Preferred Over Consonance in Single Chord Perception. <i>i-Perception</i>, <i>7</i>(3). <a href="https://doi.org/10.1177/2041669516655812" target="_blank">https://doi.org/10.1177/2041669516655812</a>
dc.identifier.otherCONVID_26087110
dc.identifier.otherTUTKAID_70475
dc.identifier.urihttps://jyx.jyu.fi/handle/123456789/50661
dc.description.abstractPrevious research on harmony perception has mainly been concerned with horizontal aspects of harmony, turning less attention to how listeners perceive psychoacoustic qualities and emotions in single isolated chords. A recent study found mild dissonances to be more preferred than consonances in single chord perception, although the authors did not systematically vary register and consonance in their study; these omissions were explored here. An online empirical experiment was conducted where participants (N ¼ 410) evaluated chords on the dimensions of Valence, Tension, Energy, Consonance, and Preference; 15 different chords were played with piano timbre across two octaves. The results suggest significant differences on all dimensions across chord types, and a strong correlation between perceived dissonance and tension. The register and inversions contributed to the evaluations significantly, nonmusicians distinguishing between triadic inversions similarly to musicians. The mildly dissonant minor ninth, major ninth, and minor seventh chords were rated highest for preference, regardless of musical sophistication. The role of theoretical explanations such as aggregate dyadic consonance, the inverted-U hypothesis, and psychoacoustic roughness, harmonicity, and sharpness will be discussed to account for the preference of mild dissonance over consonance in single chord perception.
dc.language.isoeng
dc.publisherPion
dc.relation.ispartofseriesi-Perception
dc.subject.otherchord
dc.subject.othervertical harmony
dc.subject.otherconsonance/dissonance
dc.subject.otherpreference
dc.titleMild Dissonance Preferred Over Consonance in Single Chord Perception
dc.typearticle
dc.identifier.urnURN:NBN:fi:jyu-201606303420
dc.contributor.laitosMusiikin laitosfi
dc.contributor.laitosDepartment of Musicen
dc.contributor.oppiaineMusiikkitiedefi
dc.contributor.oppiaineMusicologyen
dc.type.urihttp://purl.org/eprint/type/JournalArticle
dc.date.updated2016-06-30T15:15:03Z
dc.type.coarhttp://purl.org/coar/resource_type/c_2df8fbb1
dc.description.reviewstatuspeerReviewed
dc.relation.issn2041-6695
dc.relation.numberinseries3
dc.relation.volume7
dc.type.versionpublishedVersion
dc.rights.copyright© the Authors, 2016. This is an open access article published by SAGE and distributed under the terms of the Creative Commons Attribution 3.0 License.
dc.rights.accesslevelopenAccessfi
dc.subject.ysopsykoakustiikka
jyx.subject.urihttp://www.yso.fi/onto/yso/p30211
dc.rights.urlhttp://www.creativecommons.org/licenses/by/3.0/
dc.relation.doi10.1177/2041669516655812
dc.type.okmA1


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© the Authors, 2016. This is an open access article published by SAGE and distributed under the terms of the Creative Commons Attribution 3.0 License.
Except where otherwise noted, this item's license is described as © the Authors, 2016. This is an open access article published by SAGE and distributed under the terms of the Creative Commons Attribution 3.0 License.