Pitch salience in chords of harmonic complex tones
Parncutt (1993) estimated the salience of the 12 chroma in chords of octave-complex tones (OCTs, Shepard tones). In each trial, listeners rated how well an OCT went with a preceding chord. The conventional root tended to go better than other chord tones. Non-chord pitches tended to go better if they corresponded to steps of associated scales; tones following the major triad went well if they belonged to the major scale (perfect fourth, major sixth, major seventh), following the minor if in (a) minor scale (major second, perfect fourth, minor sixth, minor seventh). The non-chord tones that went well tended to be missing fundamentals of incomplete harmonic series whose salience can be predicted by spectral or temporal models of pitch perception. Thus, it is unclear whether the data were determined by pitch perception, musical familiarity or both. We repeated the experiment using chords of harmonic complex tones - closer to real music. 20 Western musicians (students at the University of Graz) participated (the task was too difficult for non-musicians). 5 triads (major, minor, diminished, major third plus tritone, suspended fourth) were each presented in root position and two inversions. Each chord was followed by 12 probe tones. 180 trials were presented in a random order that differed for each listener. Chords were built from piano tones. Probe tones were OCTs and were slightly quieter than the chords. Each trial was randomly transposed. Listeners rated how well the tone went with the preceding chord on a 7-point scale. When averaged over inversions, results are similar to those of Parncutt (1993) for chords of OCTs. They are consistent with, but often do not confirm, the following assumptions: roots are more salient than other chord tones, non-chord pitches corresponding to missing fundamentals of incomplete harmonic series are more salient than other non-chord tones, and outer voices are more salient (as predicted by models of masking). The nature-nurture question remains unresolved. A possible interpretation is that pitches at missing fundamentals influenced the historical development of tonal-harmonic syntax, which in turn influenced preferences for specific chord progressions and, via frequent exposure, the perception of relationships between individual triads and preceding and following passages.
...
Konferenssi
ESCOM 2009 : 7th Triennial Conference of European Society for the Cognitive Sciences of MusicMetadata
Näytä kaikki kuvailutiedotKokoelmat
- ESCOM 2009 [101]
Samankaltainen aineisto
Näytetään aineistoja, joilla on samankaltainen nimeke tai asiasanat.
-
Identity Processes in Adulthood: Diverging Domains
Fadjukoff, Päivi; Pulkkinen, Lea; Kokko, Katja (The Society for Research on Identity Formation, 2005)Patterns of identity formation were analyzed in a longitudinal framework, from ages 27 to 36 and then to 42 years of age. Information from all 3 ages was available for 197 participants (100 women, 97 men). A variation ... -
Cue weighting and task processing in melodic classification
Snape, Duncan (2015)Many studies have considered the role of diverse musical parameters in the perception and cognition of specific musical contexts, yet few attempts have been made to integrate these findings into a general cognitive overview ... -
The groundwater pollution of Korneuburg, Austria : its issue life-cycle in the public discourse and collaboration and confrontation strategies of actors
Bauer, Nicolas (2015)This thesis is a case study about the groundwater contamination of Korneuburg, Austria. The company Kwizda was responsible for pesticides leaking into the groundwater. The contamination was kept quiet with the help of local ... -
It’s sad but I like it : the neural dissociation between musical emotions and liking in experts and laypersons
Brattico, Elvira; Bogert, Brigitte; Alluri, Vinoo; Tervaniemi, Mari; Eerola, Tuomas; Jacobsen, Thomas (Frontiers Research Foundation, 2015)Emotion-related areas of the brain, such as the medial frontal cortices, amygdala, and striatum, are activated during listening to sad or happy music as well as during listening to pleasurable music. Indeed, in music, ... -
The Structure of Group Identification
Taipale, Joona (Springer, 2019)The concept of group identification has been widely discussed in the fields of social psychology and social ontology. The debate has been somewhat unbalanced, however. The structure, nature, and experiential status of ...
Ellei toisin mainittu, julkisesti saatavilla olevia JYX-metatietoja (poislukien tiivistelmät) saa vapaasti uudelleenkäyttää CC0-lisenssillä.