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melodic-harmonic-interaction

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Journal Articles
Music Perception. 1997; 15169–98 doi: https://doi.org/10.2307/40285739
Published: 01 October 1997
... little intrinsic interest unless they interact with other variables. THE MELODIC AND HARMONIC SERIES Figures 6 and 7 display the shift-corrected grand averages for the post- stimulus portions of the waveforms at Pz for the melodic and harmonic series, by stimulus type. Shift (contingent negative...
Journal Articles
Music Perception. 2020; 374298–322 doi: https://doi.org/10.1525/mp.2020.37.4.298
Published: 11 March 2020
... versions without dynamics and/or without agogic accents, as well as versions in which the music was reduced to its melodic, harmonic, or outer voice components. The modifications that canceled dynamics and agogics largely preserved the pattern of tension resolution, even if tension ratings were...
Journal Articles
Music Perception. 2020; 374347–358 doi: https://doi.org/10.1525/mp.2020.37.4.347
Published: 11 March 2020
... Proceedings of the 10th International Seminar on Speech Production (pp. 73 – 77 ). Cologne, DE : ISSP . Cummins , F. ( 2014 b). Voice, (inter-)subjectivity, and real time recurrent interaction . Frontiers in Psychology , 5 ( 760 ). Cummins , F. ( 2018 ). The ground from which...
Journal Articles
Music Perception. 2020; 374263–277 doi: https://doi.org/10.1525/mp.2020.37.4.263
Published: 11 March 2020
... the duration of each stimulus after tapping to a given metrical level (Block 2). Stimuli in both blocks were presented twice and in randomized order. Figure 3. Results of the time estimation ratios for each main factor and significant interaction effects. Error bars indicate 95% confidence...
Journal Articles
Music Perception. 2020; 373208–224 doi: https://doi.org/10.1525/mp.2020.37.3.208
Published: 01 February 2020
... melodic voice-leading distance when applied to common-practice Western music. Harmonic writing in common-practice Western music commonly uses pitches drawn from a three-octave span centered on middle C (C4, 261.63 Hz) ( Huron, 2001 ). This three-octave span corresponds approximately to the combined...
Journal Articles
Music Perception. 2020; 373225–239 doi: https://doi.org/10.1525/mp.2020.37.3.225
Published: 01 February 2020
... melodic materials and traditional Japanese melodic materials. In scale-tone (Experiment 1) and center (Experiment 2) conditions, the final tone corresponds to the tonal center (i.e., tonic) in the key: C in the Western and Japanese examples. In non-scale-tone condition (Experiment 1), the final tone...
Journal Articles
Music Perception. 2020; 373185–195 doi: https://doi.org/10.1525/mp.2020.37.3.185
Published: 01 February 2020
... Academic Press . Pearson , L. ( 2016 ). Coarticulation and gesture: An analysis of melodic movement in South Indian raga performance . Music Analysis , 35 ( 3 ), 280 – 313 . Perlman , M. , & Krumhansl , C. L. ( 1996 ). An experimental study of internal interval standards in...
Journal Articles
Music Perception. 2020; 373240–258 doi: https://doi.org/10.1525/mp.2020.37.3.240
Published: 01 February 2020
... effect of harmonic context on phoneme monitoring in vocal music . Cognition , 81 ( 1 ), B11 – B20 . Bigand , E. , Vieillard , S. , Madurell , F. , Marozeau , J. , & Dacquet , A. ( 2005 ). Multidimensional scaling of emotional responses to music: The effect of musical...
Journal Articles
Music Perception. 2019; 372165–178 doi: https://doi.org/10.1525/mp.2019.37.2.165
Published: 01 December 2019
... collected from 28 participants were found to positively correlate most strongly with melodic and harmonic information content, which corresponded to descriptive musical features such as the proportion of out-of-key notes and tonal ambiguity. When individual differences were considered, these explained more...
Journal Articles
Music Perception. 2019; 372111–133 doi: https://doi.org/10.1525/mp.2019.37.2.111
Published: 01 December 2019
... for some structural aspects of the music, like melodic material or even single tones ( Iyer, 2002 ; Palmer, 1996 ; Repp, 1996 ). Groove players' discourse involves discussing microrhythmic nuances like “pushing,” “pulling,” or playing “laid back” or “on the beat,” often with specific reference to...
Journal Articles
Music Perception. 2019; 372134–146 doi: https://doi.org/10.1525/mp.2019.37.2.134
Published: 01 December 2019
... happy and sad melodies may reflect different musical scale (or interval) structures, we included 60 happy and 60 sad melodic stimuli in order to avoid the possible interaction between timbre type and scale structure of the melody. The selections were based on musicological analysis and self-reports from...
Journal Articles
Music Perception. 2019; 37295–110 doi: https://doi.org/10.1525/mp.2019.37.2.95
Published: 01 December 2019
..., 2008 ). For instance, joyful music is often associated with fast pace and animated pitch contours (as is happy speech), melancholic music with slower and flatter melodic lines and dark timbres (as is sad speech), and exciting music with high intensity and high levels of distortion and roughness (as may...
Journal Articles
Music Perception. 2019; 37166–91 doi: https://doi.org/10.1525/mp.2019.37.1.66
Published: 01 September 2019
... ). Multiple intelligences: The theory in practice . New York : Basic Books . Gerardi, G. M. , & Gerken, L. ( 1995 ). The development of affective responses to modality and melodic contour . Music Perception , 12 , 279 – 290 . Gomez, P. , & Danuser, B. ( 2004 ). Affective and...
Journal Articles
Music Perception. 2019; 37126–41 doi: https://doi.org/10.1525/mp.2019.37.1.26
Published: 01 September 2019
... Experiments 1 and 2 . While the drum stimuli obviously lack melodic or harmonic cues, we were able to create a set of distinctive stimuli within the various BPM sub-ranges that were percussive analogs to the stimuli used in Experiments 1 and 2 . Our primary hypothesis is that for tempo-shifted...
Journal Articles
Music Perception. 2019; 365448–456 doi: https://doi.org/10.1525/mp.2019.36.5.448
Published: 01 June 2019
... effects were qualified by a significant Harmonicity X Altered Timbre interaction, Wald χ 2 (1, N = 311) = 45.74, p < .0001, suggesting that the preference for inharmonic versus harmonic mixed-timbre melodic variants differed based on the particular altered timbre used to produce the stimuli: As...
Journal Articles
Music Perception. 2019; 365435–447 doi: https://doi.org/10.1525/mp.2019.36.5.435
Published: 01 June 2019
... that went outside the key, or 3) ended on an in-key but less expected chord harmonically. Whereas adults tend to show an early right anterior negativity (ERAN) in response to unexpected chords ( Koelsch, 2009 ), 3.5-year-olds in our study showed an immature response that was positive rather than...
Journal Articles
Music Perception. 2019; 365468–479 doi: https://doi.org/10.1525/mp.2019.36.5.468
Published: 01 June 2019
...: 10.1017/S0265051706006905 Moore, R. S. ( 1994 ). Effects of age, sex, and melodic/harmonic patterns on vocal pitch-matching skills of talented 8-11-yearolds . Journal for Research in Music Education , 42 , 5 – 32 . DOI: 10.2307/3345332 Nichols, B. E. ( 2015 ). Critical variables in...
Journal Articles
Music Perception. 2019; 364406–430 doi: https://doi.org/10.1525/mp.2019.36.4.406
Published: 01 April 2019
... Society of America , 59 , 915 – 919 . Holleran, S. , Jones, M. R. , & Butler, D. ( 1995 ). Perceiving implied harmony: The influence of melodic and harmonic context . Journal of Experimental Psychology: Learning, Memory, and Cognition , 21 ( 3 ), 737 – 753 Huron, D. ( 2001...
Journal Articles
Music Perception. 2019; 364335–352 doi: https://doi.org/10.1525/mp.2019.36.4.335
Published: 01 April 2019
... acoustic features of guitar chords? 3) How do distortion level and harmonic complexity interact acoustically? 4) How do increasing levels of distortion and harmonic complexity affect listeners’ perception of pleasantness of guitar chords? 5) What is the relative influence of distortion...
Journal Articles
Music Perception. 2019; 364371–389 doi: https://doi.org/10.1525/mp.2019.36.4.371
Published: 01 April 2019
... on 2 and 4. Gradually elements are added, such as a melodic synth feature gradually mixed into the soundscape. Uplifters/risers are added in addition to a drum roll at the end of the build-up. The drum roll ends in a brief switch of rhythm, through a syncopated five-on-four polyrhythmic figure. This...