Figure 1. The chord loops of “Dynamite” by Taio Cruz (2010), along with chordal analyses in two possible keys. More about this image found in The chord loops of “Dynamite” by Taio Cruz (2010), along with chordal analy...

Figure 2. The structure of Experiment 1’s trials. More about this image found in The structure of Experiment 1’s trials.

Figure 3. Effect of downbeat chord and probe chord on Experiment 1 ratings. More about this image found in Effect of downbeat chord and probe chord on Experiment 1 ratings.

Figure 4. A) An example of the visual representation shown to the participants from the Classical program. B) That shown to those participants enrolled in the popular-music program. More about this image found in A) An example of the visual representation shown to the participants from t...

Figure 5. Effect of downbeat chord on choosing “I” in Experiment 2. More about this image found in Effect of downbeat chord on choosing “I” in Experiment 2.

Figure 6: Key-center ratio calculation, using behavioral data from Experiment 1. More about this image found in Key-center ratio calculation, using behavioral data from Experiment 1.

Figure 7. Tonic-ness scores for A) “Dynamite” by Tao Cruz and B) “1985” by Bowling for Soup, both using Experiment 1 response data. More about this image found in Tonic-ness scores for A) “Dynamite” by Tao Cruz and B) “1985” by Bowling fo...

Figure 1. Transcriptions of the second and third chord of the fifteen chord sequences used in the experiment. More about this image found in Transcriptions of the second and third chord of the fifteen chord sequences...

Figure 2. Waveforms of the C chord played on the three timbres. More about this image found in Waveforms of the C chord played on the three timbres.

Figure 3. Goodness-of-fit ratings for three timbres and fifteen chord sequences. All participants together (upper left plot), participants with Gold-MSI musical training 5-7 (upper right plot), 3-4.99 (lower left plot), and 1-2.99 (lower right plot). The chord names on the x -axis describe the X ... More about this image found in Goodness-of-fit ratings for three timbres and fifteen chord sequences. All ...

Figure 4. Goodness-of-fit ratings for the three levels of music training. More about this image found in Goodness-of-fit ratings for the three levels of music training.

Figure 5. TC for the 3 timbres and 15 chord sequences. Greater TC values can be understood as lower spectral contrast between chords. More about this image found in TC for the 3 timbres and 15 chord sequences. Greater TC values can be under...

Figure 6. Spectrograms of an isolated A3 pitch and the C chord using the three timbres. The height of the grey cells to the right of each spectrogram indicates the bandwidth of the first 34 of the 40 filters that Leman’s model uses. The full range covered by the center frequencies of the auditory ... More about this image found in Spectrograms of an isolated A3 pitch and the C chord using the three timbre...

Figure 1. Harmonization examples of the Indonesian melody (a) in the style of Bach and (b) in the style of Indonesian sléndro . On the top staff is the melody and the staff system(s) below are the harmonizations. More about this image found in Harmonization examples of the Indonesian melody (a) in the style of Bach an...

Figure 2. The percentages of choosing a sandpaper per each harmonization of the Western melody. More about this image found in The percentages of choosing a sandpaper per each harmonization of the Weste...

Figure 3. The percentages of choosing a sandpaper per each harmonization of the Indonesian melody. More about this image found in The percentages of choosing a sandpaper per each harmonization of the Indon...

Figure 4. The violin plots depict the distribution of the responses of matching the given sandpapers per harmonization style. The dots denote the distribution of individual responses, ‘x’ stands for the mean value, and the black horizontal lines refer to the median of the distribution. Asterisks d... More about this image found in The violin plots depict the distribution of the responses of matching the g...