Search Results for major
1-20 of 902 Search Results for
Published: 10 June 2020
Figure 3. Muzio Clementi, Piano Sonata in C major (1796), Op. 35, No. 1, mvt. 3, mm. 1–4
Published: 10 June 2020
Figure 4. Ignaz Pleyel, Keyboard Trio in C major, B. 428 (1784), mvt. 1, mm. 1–4
Music Perception. 2017; 344387–404 doi: https://doi.org/10.1525/mp.2017.34.4.387
Published: 01 April 2017
...Paula Virtala; Mari Tervaniemi Major-minor and consonance-dissonance are two profound elements of Western tonal music, and have strong affective connotations for Western listeners. This review summarizes recent evidence on the neurocognitive basis of major-minor and consonance-dissonance by...
Music Perception. 2014; 313223–243 doi: https://doi.org/10.1525/mp.2014.31.3.223
Published: 01 February 2014
...Joshua D. Albrecht; David Huron A large-scale study is reported whose purpose was to elucidate the historical development of the European major and minor modes. The study involved 455 musical works by 259 composers sampled across the years 1400 to 1750. Beginning with the period 1700-1750, a series...
Music Perception. 2008; 253181–191 doi: https://doi.org/10.1525/mp.2008.25.3.181
Published: 01 February 2008
...Andrea R. Halpern; Jeffrey S. Martin; Tara D. Reed COMPOSERS COMMONLY USE MAJOR OR MINOR SCALES to create different moods in music.Nonmusicians show poor discrimination and classification of this musical dimension; however, they can perform these tasks if the decision is phrased as happy vs. sad.We...
Music Perception. 2007; 243315–319 doi: https://doi.org/10.1525/mp.2007.24.3.315
Published: 01 February 2007
...Norman D. Cook ©© 2007 By the Regents of the University of California NORMAN D. COOK Kansai University Osaka, Japan THE STRUCTURE OF MAJOR and minor triads is dis- cussed in relation to the tension inherent to triads showing intervallic equidistance. The fact that tension triads resolve to...
Music Perception. 2017; 345569–584 doi: https://doi.org/10.1525/mp.2017.34.5.569
Published: 01 June 2017
...Zohar Eitan; Moshe Shay Ben-Haim; Elizabeth Hellmuth Margulis It is undisputed that the cognition of tonal music is primarily established by pitch relationships set within a tonal scheme such as a major or minor key. The corresponding notion—that absolute pitch and absolute key are largely...
Music Perception. 2018; 362243–249 doi: https://doi.org/10.1525/mp.2018.36.2.243
Published: 01 December 2018
...Jeffrey Bostwick; George A. Seror; W. Trammell Neill I n most W estern music , notes in a melody relate not only to each other, but also to a “key”—a tonal center combined with an associated scale. Music is often classified as in a major or minor key, but within a scale that defines a major key...
Music Perception. 2019; 364335–352 doi: https://doi.org/10.1525/mp.2019.36.4.335
Published: 01 April 2019
...Jan-Peter Herbst R esearch on rock harmony accords with common practice in guitar playing in that power chords (fifth interval) with an indeterminate chord quality as well as major chords are preferred to more complex chords when played with a distorted tone. This study explored the interrelated...
Music Perception. 1998; 161119–134 doi: https://doi.org/10.2307/40285781
Published: 01 October 1998
...Carol L. Krumhansl This study examines possible parallels between large-scale organization in music and discourse structure. Two experiments examine the psychological reality of topics in the first movements of W. A. Mozart's String Quintet No. 3 in C major, K. 515, and L. van Beethoven's String...
Music Perception. 2018; 36140–52 doi: https://doi.org/10.1525/mp.2018.36.1.40
Published: 01 September 2018
... listeners judged the major chord and the minor chord as the most pleasant ones compared to other chord types. CI users appraised the major chord as more consonant than other chord types. The second task used four-chord sequences, half of which ended on an authentic V-I cadence. In the other presentations...
Music Perception. 2020; 373185–195 doi: https://doi.org/10.1525/mp.2020.37.3.185
Published: 01 February 2020
... Trehub; Michael Veal; Melanie Wald-Fuhrmann Many foundational questions in the psychology of music require cross-cultural approaches, yet the vast majority of work in the field to date has been conducted with Western participants and Western music. For cross-cultural research to thrive, it will require...
Music Perception. 1993; 112185–196 doi: https://doi.org/10.2307/40285615
Published: 01 December 1993
...Laurel J. Trainor; Sandra E. Trehub In this paper, the claim that the major triad has special status for infant as well as adult listeners is evaluated. In Experiment 1, infants and adults were required to detect a downward semitone change in a fivenote melody based on the major triad and in...
Music Perception. 1992; 102205–220 doi: https://doi.org/10.2307/40285607
Published: 01 December 1992
...David Howard; Stuart Rosen; Victoria Broad The extent to which a computer-synthesized continuum of major to minor triads was categorically perceived was examined using labeling and discrimination tests. The 32 listeners varied widely in " musicality," assessed by an objective test of basic musical...
Music Perception. 1990; 82189–201 doi: https://doi.org/10.2307/40285496
Published: 01 December 1990
...Marianna Pinchot Kastner; Robert G. Crowder Thirty-eight children between ages 3 and 12 listened to 12 short musical passages derived from a counterbalanced 2 × 2 arrangement of (1) major versus minor modes and (2) harmonized versus simple melodic realizations of these modes. For each passage, they...
Music Perception. 1988; 611–20 doi: https://doi.org/10.2307/40285413
Published: 01 October 1988
... remains constant. The components of each tone form a major triad within each octave. The component frequencies were increased by steps of 1/10 octave from tone to tone, until the first tone was obtained again. According to our paired comparison experiments for pitch, which were analyzed using the...
Music Perception. 2018; 353315–331 doi: https://doi.org/10.1525/mp.2018.35.3.315
Published: 01 February 2018
...Paula Virtala; Minna Huotilainen; Esa Lilja; Juha Ojala; Mari Tervaniemi Guitar distortion used in rock music modifies a chord so that new frequencies appear in its harmonic structure. A distorted dyad (power chord) has a special role in heavy metal music due to its harmonics that create a major...
Music Perception. 2016; 333332–343 doi: https://doi.org/10.1525/mp.2016.33.3.332
Published: 01 February 2016
...’ perception of rock harmony, we adapted a rating task developed by Krumhansl (1990) in her pioneering studies of the common-practice harmonic hierarchy. Participants provided surprise and liking ratings for 35 (major, minor, dominant 7, and control) target chords that followed short key-establishing musical...
Music Perception. 1986; 33221–257 doi: https://doi.org/10.2307/40285335
Published: 01 April 1986
...Joos Vos In this study, the relationship between the degree of tempering of musical intervals and the subjective purity of these intervals was investigated. Subjective purity was determined for fifths and major thirds. The intervals were presented in isolation, that is, they were not given in a...
Music Perception. 2019; 365448–456 doi: https://doi.org/10.1525/mp.2019.36.5.448
Published: 01 June 2019
..., thereby contributing to (dis)preference for a musical stimulus. Bonin et al. (2016) conducted two experiments, the results of which were ostensibly consistent with the SDH. However, their research designs introduced major confounds that undermined the ability of these initial studies to offer unequivocal...