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Wolfgang Amadeus Mozart, String Quintet No. 4 in G <b>minor</b>, K. 516 (1787), mv...
Published: 10 June 2020
Figure 5. Wolfgang Amadeus Mozart, String Quintet No. 4 in G minor, K. 516 (1787), mvt. 4, mm. 1–4 More
Journal Articles
Music Perception (2017) 34 (4): 387–404.
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...
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Excerpt from Brahms’ Clarinet Sonata No.1 in F <b>minor</b>, Op. 120, No. 1, with ...
Published: 01 December 2018
FIGURE 1. Excerpt from Brahms’ Clarinet Sonata No.1 in F minor, Op. 120, No. 1, with four regions highlighted. FIGURE 1. Excerpt from Brahms’ Clarinet Sonata No.1 in F minor, Op. 120, No. 1, with four regions highlighted. More
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Excerpt from Brahms’ Clarinet Sonata No. 1 in F <b>minor</b>, Op. 120, No. 1, incl...
Published: 01 December 2018
FIGURE 8. Excerpt from Brahms’ Clarinet Sonata No. 1 in F minor, Op. 120, No. 1, including the piano, with four regions highlighted. FIGURE 8. Excerpt from Brahms’ Clarinet Sonata No. 1 in F minor, Op. 120, No. 1, including the piano, with four regions highlighted. More
Journal Articles
Music Perception (2014) 31 (3): 223–243.
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...
Journal Articles
Music Perception (2013) 31 (1): 59–67.
Published: 01 September 2013
...Joshua Albrecht; Daniel Shanahan Computational models of key estimation have struggled to emulate the accuracy levels of human listeners, especially with pieces in the minor mode. The current study proposes a new key-finding algorithm, which utilizes Euclidean distance, rather than correlation, and...
Journal Articles
Music Perception (2013) 30 (5): 441–462.
Published: 01 June 2013
... and linguistic literature, is associated with a particular intonational formula—the calling contour —and intriguingly, with a purportedly cross-cultural musical fingerprint: the interval of the minor third. A reading task was used to systematically compare the stylized interjection to four other...
Journal Articles
Music Perception (2011) 28 (5): 461–472.
Published: 01 June 2011
... the minor scale can have one of three distinct forms: natural, harmonic, or melodic. The experiment reported here fills this gap by testing if listeners form distinct mental representations of the minor tonal hierarchy based on the three forms of the minor scale. Listeners heard a musical context (a...
Journal Articles
Music Perception (2008) 25 (3): 181–191.
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...
Journal Articles
Music Perception (2007) 24 (3): 315–319.
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...
Journal Articles
Music Perception (1998) 16 (1): 119–134.
Published: 01 October 1998
... Quartet No. 15 in A minor, Op. 132. Listeners made real-time judgments on three continuous scales: memorability, openness, and amount of emotion. All three kinds of judgments could be accounted for by the topics identified in these pieces by Agawu (1991) independently of the listeners' musical training...
Journal Articles
Music Perception (2018) 36 (2): 243–249.
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...
Journal Articles
Music Perception (1992) 10 (2): 205–220.
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...
Journal Articles
Music Perception (1992) 10 (1): 63–72.
Published: 01 October 1992
...Mitchell Karno; Vladimir J. Konečni In a debate in this journal concerning the importance of structure in the effects of musical compositions, Robert Batt suggested the first movement of Mozart's Symphony in G Minor K. 550 as the ideal example on which research could contravene the minimal effects...
Journal Articles
Music Perception (1990) 8 (2): 189–201.
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...
Journal Articles
Music Perception (2019) 36 (4): 335–352.
Published: 01 April 2019
... sensorial pleasantness. A listening test demonstrated power and major chords being perceived as significantly more pleasant than minor and altered dominant chords when being played with an overdriven or distorted guitar tone. This result accords with musical practice within rock genres. Rather clean rock...
Journal Articles
Music Perception (2019) 36 (4): 406–430.
Published: 01 April 2019
...Richard Parncutt; Sabrina Sattmann; Andreas Gaich; Annemarie Seither-Preisler W e investigated perception of virtual pitches at missing fundamentals (MFs) in musical chords of three chromas (simultaneous trichords). Tone profiles for major, minor, diminished, augmented, suspended, and four other...
Journal Articles
Music Perception (2018) 36 (1): 53–59.
Published: 01 September 2018
... heighten the expression of happiness in music that was in a major key nor promote the expression of tenderness in music that was in a minor key. This suggests that final ritardandi do not generally heighten emotional expressivity and only amplify the emotional message already established by other cues...
Includes: Multimedia, Supplementary data
Journal Articles
Music Perception (2018) 36 (1): 40–52.
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...
Journal Articles
Music Perception (2017) 34 (4): 424–437.
Published: 01 April 2017
... shift from C major to C minor in Western music) and grahabēdham (shifting tonal center, resembling a shift from C major to A minor). Listeners heard modulating pieces of music and indicated the point of modulation, and were measured for accuracy and latency. Indians were more accurate than Westerners...