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diatonic-modes

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Journal Articles
Music Perception. 2017; 343352–365 doi: https://doi.org/10.1525/mp.2017.34.3.352
Published: 01 February 2017
...Daphne Tan; David Temperley In a prior study (Temperley & Tan, 2013), participants rated the “happiness” of melodies in different diatonic modes. A strong pattern was found, with happiness decreasing as scale steps were lowered. We wondered: Does this pattern reflect the familiarity of diatonic...
Journal Articles
Music Perception. 2013; 303237–257 doi: https://doi.org/10.1525/mp.2012.30.3.237
Published: 01 February 2013
...David Temperley; Daphne Tan In this experiment, participants (nonmusicians) heard pairs of melodies and had to judge which of the two melodies was happier. Each pair consisted of a single melody presented in two different diatonic modes (Lydian, Ionian, Mixolydian, Dorian, Aeolian, or Phrygian...
Journal Articles
Music Perception. 1990; 73253–258 doi: https://doi.org/10.2307/40285463
Published: 01 April 1990
...Robert J. West; Roz Fryer Playing an ascending or descending diatonic scale establishes a "tonal hierarchy" in which the major-mode tonic is judged by listeners as being in a tonal sense more stable than other notes (Krumhansl, 1983). This article describes a study in which listeners were asked to...
Journal Articles
Music Perception. 2020; 374298–322 doi: https://doi.org/10.1525/mp.2020.37.4.298
Published: 11 March 2020
.... , & Ricci Bitti , P. E. ( 2004 ). Interval distributions, mode, and tonal strength of melodies as predictors of perceived emotion . Music Perception , 22 , 1 – 14 . https://doi.org/10.1525/mp.2004.22.1.1 Costa , M. , Ricci Bitti , P. E. , & Bonfiglioli , L. ( 2000...
Journal Articles
Music Perception. 2018; 362243–249 doi: https://doi.org/10.1525/mp.2018.36.2.243
Published: 01 December 2018
... of mode and musical experience on the attribution of emotions to melodic sequences . Psychomusicology: Music, Mind and Brain , 24 , 21 – 34 . Tan, D. , & Temperley, D. ( 2017 ). Perception and familiarity of diatonic modes . Music Perception , 34 , 352 – 365 . Temperley, D...
Journal Articles
Music Perception. 2019; 363253–272 doi: https://doi.org/10.1525/mp.2019.36.3.253
Published: 01 February 2019
... found that greater pitch and interval range, wider intervals, varied contour, and ambiguous tonality within a Western diatonic framework predicted human perception of distinctiveness. However, only a wider modal (most frequent) interval predicted correct recognition. Distinctiveness improved recognition...
Journal Articles
Music Perception. 2019; 363273–288 doi: https://doi.org/10.1525/mp.2019.36.3.273
Published: 01 February 2019
.... , Bartlett, J. C. , & Dowling, W. J. ( 1998 ). Perception of mode, rhythm, and contour in unfamiliar melodies: Effects of age and experience . Music Perception , 15 , 335 – 355 . Halpern, A. R. , & Bower, G. H. ( 1982 ). Musical expertise and melodic structure in memory for musical...
Journal Articles
Music Perception. 2018; 36140–52 doi: https://doi.org/10.1525/mp.2018.36.1.40
Published: 01 September 2018
... device were active. This is not generally the case in CI users. The participant also used the most recent stimulation mode FS4, which enabled the transmission of the sound's temporal fine structure to four electrodes representing the lowest frequency bands. Melody performance at higher pitches seems to...
Journal Articles
Music Perception. 2018; 354518–523 doi: https://doi.org/10.1525/mp.2018.35.4.518
Published: 01 April 2018
...) scale. Unlike the equal- tempered diatonic scale, in which pitches of constituent notes are based on a division of the frequency range spanning the octave into 12 logarithmically equal units, the equal-tempered B-P scale is based on the division of a tritave (representing the interval of an octave plus...
Journal Articles
Music Perception. 2018; 354475–501 doi: https://doi.org/10.1525/mp.2018.35.4.475
Published: 01 April 2018
... in Just tuning it is not possible to tune an entire diatonic scale without creating ambiguities. If for example the interval between scale degrees 1 and 2 of a major scale is 9:8 (a M2) and between 1 and 6 is 5:3 (a M6), the interval between 2 and 6 is not 3:2 (a P5) but 27:16. If one tries to...
Journal Articles
Music Perception. 1994; 113289–305 doi: https://doi.org/10.2307/40285624
Published: 01 April 1994
...-class sets that provide the most consonant interval-class inventories are the major diatonic scale, the harmonic and melodic minor scales, and equally tempered equivalents of the Japanese Ritsu mode, the common pentatonic scale, and the common "blues" scale. Consonant harmonic intervals are more readily...
Journal Articles
Music Perception. 2017; 352211–234 doi: https://doi.org/10.1525/mp.2017.35.2.211
Published: 01 December 2017
... P8. (For modes lacking the M6, like Dorian, Mixolydian, and Aeolian, the leading note was created through musica ficta, while in the Phrygian mode the leading note was resolved with downward semitonal motion.) According to Dahlhaus (1990, and also in his article on "Har- mony" in GMO), this two-voice...
Journal Articles
Music Perception. 2017; 352165–192 doi: https://doi.org/10.1525/mp.2017.35.2.165
Published: 01 December 2017
... examination of harmonic prin- ciples somewhat more complex than the diatonic harmo- nies encountered in Western Art classical music. At the same time, an empirically derived model of the hypothesis space of possible chord changes allows more theoretical insight from a smaller corpus. The robustness of this...
Includes: Supplementary data
Journal Articles
Music Perception. 2017; 345515–530 doi: https://doi.org/10.1525/mp.2017.34.5.515
Published: 01 June 2017
... pitch collections by cardinality and assume equivalence under transpo- sition and inversion but not complementation. For example, 7-35 denotes the 35th 7-pc set-class, which includes all diatonic modes. Hierarchizability We begin with a thought experiment: You are given a chunk of raw information in the...
Journal Articles
Music Perception. 2017; 345531–540 doi: https://doi.org/10.1525/mp.2017.34.5.531
Published: 01 June 2017
... to a slightly smaller emphasis on diatonic notes in black-key pieces in major keys. An interesting exception concerns non-tonic members of the subdominant harmony (scale degrees 4 and 6), which receive greater emphasis in black-key pieces in both major and minor modes. DISCUSSION These results show...
Journal Articles
Music Perception. 2017; 345541–556 doi: https://doi.org/10.1525/mp.2017.34.5.541
Published: 01 June 2017
... thought (p. 80), rejecting the major and minor modes in favor of the chromatic mode, and the traditional chords in favor of non-diatonic (or vielto¨nigen) harmonies (p. 57) (see also Haimo, 1997; Schoenberg, 1922/1978). Interestingly, the distinction between tonal and atonal is grounded in music...
Journal Articles
Music Perception. 2017; 344405–423 doi: https://doi.org/10.1525/mp.2017.34.4.405
Published: 01 April 2017
... fre- quently than nearly all other diatonic scale degrees. (The least common diatonic scale degree is b7, which is not surprising given the common practice of raising b7 to 7 in the minor mode.) However, this is not the case in the major mode corpus, where scale degree 7 is the least used, despite the...
Journal Articles
Music Perception. 2017; 344387–404 doi: https://doi.org/10.1525/mp.2017.34.4.387
Published: 01 April 2017
...- ern tonal music, present in scales, keys, intervals and chords. The difference between major and minor mode is rooted in the interval structures (i.e., mutual pitch relationships between simultaneous or consecutive notes in the diatonic scale), particularly the position of two semitones of the...
Journal Articles
Music Perception. 2017; 344424–437 doi: https://doi.org/10.1525/mp.2017.34.4.424
Published: 01 April 2017
...Rachna Raman; W. Jay Dowling Modulation, a shift in mode (rĀgam), is important in South Indian classical (Carnātic) music. Here we investigate the sensitivity of Carnātic and Western listeners to such shifts. Carnātic music has two kinds of shifts: rāgamālikā (retaining tonal center, resembling a...
Journal Articles
Music Perception. 2016; 342132–151 doi: https://doi.org/10.1525/mp.2016.34.2.132
Published: 01 December 2016
... processing of sequences with small intervals than of sequences with large intervals. Schellenberg (1997) asserted that pitch proximity can be seen as a principle of conjunct motion motion by scale steps in a given mode (Aldwell & Schachter, 1989) and is relevant to harmonic voice leading as explained by...