Models of pitch space have been developed in music psychology to account for perceived proximity among pitches, chords, or regions. This article introduces a different model that (1) treats pitches, chords, and regions within one framework, (2) correlates with the experimental data, and (3) connects in interesting ways with a variety of music theories.

[Footnotes]

[Footnotes]
1
Weber (1824)
Schoenberg (1954)
2
Balzano (1982)
3
Piston (1941/ 1978)
"Table of Usual Root Progressions" (Chapter 3).
Werts (1983, Chapter 2),
Lewin (1987, Chapter 2)
Riemann (1893).
4
Krumhansl (1983),
(Krumhansl, 1979),
(Krumhansl, Bharucha, & Kessler 1982),
(Krumhansl & Kessler, 1982).
6
(Lerdahl, 1987a).
(Shepard & Cooper, 1982;
Jacken- doff, 1983).
10
(C. Krumhansl, personal communication, 1987).
13
Lewin (1972)
Schoenberg's Violin Fantasy, Mead (1985)
14
Longuet-Higgins (1962/1987),
Carpenter (1983),
Werts (1983),
15
Salzer (1952).
16
Lerdahl (1987b).

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