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Journal Articles
Music Perception. 2017; 345531–540 doi: https://doi.org/10.1525/mp.2017.34.5.531
Published: 01 June 2017
... pieces and 596 minor-key pieces in the Yale-Classical Archives Corpus, we found that scale-degree distributions differ significantly from one key to another, and further analysis revealed that pieces keys with signatures having relatively more accidentals exhibit significantly more chromaticism than keys...
Journal Articles
Music Perception. 2013; 31159–67 doi: https://doi.org/10.1525/mp.2013.31.1.59
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. 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...
Journal Articles
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...
Journal Articles
Music Perception. 2013; 304407–417 doi: https://doi.org/10.1525/mp.2013.30.4.407
Published: 01 April 2013
... music and music in a minor key would not necessarily correspond to the one they felt. Twenty-four participants listened to 21 newly composed musical stimuli and rated the intensities of two kinds of emotions by using a two-dimensional evaluation: valence (pleasant/unpleasant) and arousal (active/passive...
Journal Articles
Music Perception. 2018; 36153–59 doi: https://doi.org/10.1525/mp.2018.36.1.53
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. 1997; 152175–188 doi: https://doi.org/10.2307/40285748
Published: 01 December 1997
... of the intervals after each addition, values are assigned to each tone that are significantly correlated (p< .001) with ratings of stability that tones display in major and minor key contexts reported by Krumhansl and Kessler (1982). These findings suggest that tonal consonance is not only...
Journal Articles
Music Perception. 2000; 18125–57 doi: https://doi.org/10.2307/40285900
Published: 01 October 2000
... (top- down) key had been established; in the pitch model, the second chord influenced the tone profile more than the first (recency effect). Progressions of three chords comprised forward (e. g., FG-C) and backward (C-G-F) cadences in major and minor keys. The pitch and key models were successful for...
Journal Articles
Music Perception. 2003; 203283–305 doi: https://doi.org/10.1525/mp.2003.20.3.283
Published: 01 March 2003
...Petr Janata; Jeffrey L. Birk; Barbara Tillmann; Jamshed J. Bharucha We investigated the spontaneous detection of "wrong notes" in a melody that modulated continuously through all 24 major and minor keys. Three variations of the melody were composed, each of which had distributed within it 96 test...
Journal Articles
Music Perception. 1998; 16143–54 doi: https://doi.org/10.2307/40285776
Published: 01 October 1998
... memory for mode (whether chords appear in the major or minor key) and the root of common triads is investigated. The results indicate that a change in pitch is substantially easier to detect than a change in mode. Factors that might qualify this finding are discussed. References Baddeley, A. (1986...
Published: 01 September 2019
FIGURE 1. Mean ratings for all 48 pieces In the WTC (separated by preludes and fugues) plotted across the 2D circumplex space for (a) Experiment 1 , (b) Experiment 2 , and (c) Experiment 3 . Major key pieces are shown with a cross through the circle, minor key pieces are shown with an open
Journal Articles
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...
Journal Articles
Music Perception. 2014; 313223–243 doi: https://doi.org/10.1525/mp.2014.31.3.223
Published: 01 February 2014
... University of Mary Hardin-Baylor, 900 College Street, Belton, TX 76513. E-mail: jalbrecht@umhb.edu . modes key-finding algorithm corpus cluster analysis tonality A STATISTICAL APPROACH TO TRACING THE HISTORICAL DEVELOPMENT OF MAJOR AND MINOR PITCH DISTRIBUTIONS, 1400-1750 JOSHUA D. ALBRECHT...
Journal Articles
Music Perception. 2020; 375373–391 doi: https://doi.org/10.1525/mp.2020.37.5.373
Published: 10 June 2020
... the psychology of expectation . Cambridge, MA : MIT Press . Huron , D. ( 2008 ). A comparison of average pitch height and interval size in major- and minor-key themes: Evidence consistent with affect-related pitch prosody . Empirical Musicology Review , 3 , 59 – 63 . Huron...
Journal Articles
Music Perception. 1996; 142185–223 doi: https://doi.org/10.2307/40285717
Published: 01 December 1996
... key(s) of eight WTK fugue themes (Experiment 1) and to rate the key transparency for seven contrapuntal variations of the A minor subject of J. S. Bach's Kunst der Fuge (Experiment 2). A substantial concordance between listeners' judgments and the key inferences produced by the model was found in both...
Journal Articles
Music Perception. 2011; 284333–366 doi: https://doi.org/10.1525/mp.2011.28.4.333
Published: 01 April 2011
...), which are based on thousands of melodies in major and minor keys. The correlation is not perfect, however. A striking difference is that is 1 is generally more stable, but not more preva- lent, than 5 . Scale degree 5 is more prevalent than 1 in the major key, and the two scale degrees are about...
Journal Articles
Music Perception. 2020; 374298–322 doi: https://doi.org/10.1525/mp.2020.37.4.298
Published: 11 March 2020
..., major-minor seventh chords, and minor seventh chords when preceded and followed by a major triad on the same scale. The results showed that chords belonging to the key context created less tension than did nondiatonic chords. Diatonic chords falling on the first, fourth, and fifth scale degrees created...
Journal Articles
Music Perception. 2020; 373225–239 doi: https://doi.org/10.1525/mp.2020.37.3.225
Published: 01 February 2020
... listening level. The experimental procedure for elementary school children (i.e., between 6 and 12 years of age) was basically the same as that for teenagers (i.e., between 13 and 15 years of age) and adults. However, there were minor differences explained below. The experiment for elementary school...
Journal Articles
Music Perception. 2019; 372165–178 doi: https://doi.org/10.1525/mp.2019.37.2.165
Published: 01 December 2019
... long, two beats per chord and harmonic complexity was measured using IDyOM trained on chord progressions from the Montreal Billboard Corpus ( Burgoyne, Wild, & Fujinaga, 2011 ), in which the alphabet of possible chords includes major, minor, seventh, and various extension chords in almost any...
Journal Articles
Music Perception. 2019; 37166–91 doi: https://doi.org/10.1525/mp.2019.37.1.66
Published: 01 September 2019
...FIGURE 1. Mean ratings for all 48 pieces In the WTC (separated by preludes and fugues) plotted across the 2D circumplex space for (a) Experiment 1 , (b) Experiment 2 , and (c) Experiment 3 . Major key pieces are shown with a cross through the circle, minor key pieces are shown with an open...