WE INVESTIGATED THE CONTRIBUTION OF TONAL relationships to the perception of musical ideas and to the feelings of "arousal." Two excerpts of piano sonatas by Beethoven and two atonal variants were used as experimental stimuli. This manipulation destroyed the tonal relationships but preserved both the local and global temporal organization (rhythm and formal). Listeners were asked to indicate the onset of musical ideas, to estimate the arousing properties of the music in a continuous response task, and to rate the similarity of the pieces. A drastic change in the pitch structure strongly affected judgments of similarity. However, it had no effect on the segmentation of musical ideas, nor on the response of arousal. This finding emphasizes the importance of local and global levels of temporal structures on perceptual and emotional judgments, at the cost of the influence of tonal relationships.
The perceptual structure of the five themes of Roger Reynolds's The Angel of Death was investigated. We studied how listeners follow the musical progression of each theme and whether or not they perceive the temporal implications. In the first phase, participants performed three tasks on the full themes, one of which consisted of segmenting the musical ideas online. In the second phase, participants were presented with pairs of excerpts from the themes, judged whether both belonged to the same theme, and if they did which one occurred first in the theme. Participants� segmentations corresponded to surface discontinuities in places, but were strongly influenced by the rhetorical structure of the themes in others. Listeners (particularly nonmusicians) encountered difficulties when they were required to perform more abstract tasks out of the musical context such as the belongingness judgment, which depended on surface similarities, and the temporal-order judgment, which depended on previous hearing of the full themes.