Figure 1. An example of the stimulus chord sequences. The first four chords (A minor, E minor, B minor, D major) establish the key of G major. The fifth chord is the standard tonic ending (G major, upper), the flat supertonic (A♭ major, middle), or the subdominant deviant ending (C major, lower). More

Figure 2. Response patterns from the implicit (upper) and explicit (lower) tasks as a function of condition (key or harmony) and chordal ending (standard or deviant). For the implicit task, there was no interaction between condition and ending. For the explicit task, ratings were higher for standa... More

Figure 3. Difference scores (standard endings – deviant endings) collapsed across key and harmony conditions, for response times in the implicit task (upper) and ratings in the explicit task (lower). For the implicit task, absolute values are illustrated. In both panels, the difference between sta... More

Figure 1. Example of four bars of music from tune M2 (I’ve Heard That Song Before, Cahn & Styne, 1942/2005) , transcribed into A) jazz, B) classical, and C) explicit notations. More

Figure 2. Swing ratings by notation style. A) Violin plots, individual ratings (×), and mean ratings (•) of the performances’ swing. Asterisks indicate significant differences ( p < .05) between notation styles. B) Mean +/− 1 SD of swing ratings grouped by score-dependent and -independent pa... More

Figure 3. Features pointed out by jazz listeners in the evaluation of classical musicians’ swing. Bar height and numbers above bars indicate the number of mentions. Symbol key: Art = articulation; BeatDev = Deviation from beat; BeatSynch = Synchronization with beat; Dyn = Dynamics; Eights = Eighth... More

Figure 1. Linguistic illustration of the rising tone. More

Figure 2. Linguistic illustration of the falling tone. More

Figure 3. Musical illustration of tone-progression vis-à-vis its relationship with a preceding note. More

Figure 4. Musical illustration of the rising tone. More

Figure 5. Musical illustration of the falling tone. More

Figure 6. Mutation of the intended message of “Nụrụ ákwá ụmụ gi” (Hear your children’s cry) through tone-tune variations of / ákwá / HH (cry). More

Figure 7. A) Tone of / íké / HH (strength) as treated in the LTD version of “Ihụnanya M” B) Tone of / íké / HH (strength) as treated in the M/CD version of “Ihụnanya M.” More

Figure 8a & 8b. Tone of / ézí / HH (good) as treated in the LTD and M/CD versions of “Ihụnanya M.” More

Figure 9a & 9b. Tone of / ákwà / HL (cloth) as treated in the LTD and M/CD versions of “Ihụnanya M.” More