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probe-tone

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Journal Articles
Music Perception. 2015; 324364–393 doi: https://doi.org/10.1525/mp.2015.32.4.364
Published: 01 April 2015
...Andrew J. Milne; Robin Laney; David B. Sharp In this paper, we introduce a small family of novel bottom-up (sensory) models of the Krumhansl and Kessler (1982) probe tone data. The models are based on the spectral pitch class similarities between all twelve pitch classes and the tonic degree and...
Journal Articles
Music Perception. 2000; 174481–509 doi: https://doi.org/10.2307/40285830
Published: 01 July 2000
...Marc Leman Auditory modeling is used to investigate the role of short-term memory in probe-tone experiments. A framework for auditory modeling is first defined, based on a distinction between auditory images, processes, and stimulus-driven inferences. Experiments I and II of the probe-tone...
Journal Articles
Music Perception. 1990; 73253–258 doi: https://doi.org/10.2307/40285463
Published: 01 April 1990
... rate probe tones for suitability as tonics after presentation of a variety of "random" orderings of all seven notes of a given scale. The results indicate that even musically trained listeners do not differentiate the major-mode tonic as uniquely suitable as the tonal center. In fact the major-mode...
Journal Articles
Music Perception. 2017; 345569–584 doi: https://doi.org/10.1525/mp.2017.34.5.569
Published: 01 June 2017
... inconsequential for tonal cognition—thus seems inevitable. Here, we challenge the latter notion, presenting data suggesting that absolute pitch and absolute key significantly modify listeners’ judgments of tonal fit and tonal tension. In two experiments extending the probe tone technique (as applied in Krumhansl...
Journal Articles
Music Perception. 2016; 335601–612 doi: https://doi.org/10.1525/mp.2016.33.5.601
Published: 01 June 2016
... occurred more frequently on strong than on weak metrical positions (Experiment 2). Participants then indicated which of two short test sequences matched the familiarization sequence (Experiments 1a and 2a), or they provided fit ratings for individual probe tones following short test sequences (Experiments...
Journal Articles
Music Perception. 1987; 5131–77 doi: https://doi.org/10.2307/40285385
Published: 01 October 1987
...Carol L. Krumhansl; Gregory J. Sandell; Desmond C. Sergeant Four experiments are reported in which the materials are derived from two 12-tone serial compositions (Schoenberg's Wind Quintet and String Quartet, No. 4). Two experiments use the probe tone method (Krumhansl & Shepard, 1979) to...
Journal Articles
Music Perception. 2011; 285461–472 doi: https://doi.org/10.1525/mp.2011.28.5.461
Published: 01 June 2011
... scale or a sequence of chords) consisting of one of the three minor types (natural, harmonic, or melodic) and rated a probe tone according to how well it belonged with the preceding context. Listeners' probe tone ratings corresponded well to the minor type that had been heard in the preceding context...
Journal Articles
Music Perception. 1994; 114371–407 doi: https://doi.org/10.2307/40285632
Published: 01 July 1994
... the intervallic rivalry model was considered. In the present study, listeners with different levels of musical training rated probe tones in the context of three different melodic patterns: arpeggiated major triads, ascending major scales, and arpeggiated diminished triads. Results of Experiment 1...
Journal Articles
Music Perception. 1986; 42153–184 doi: https://doi.org/10.2307/40285359
Published: 01 December 1986
... Petroushka; it outlines in arpeggiated form the tonic triads of two maximally distant major keys, C and F# major. The first experiment demonstrates, using the probe-tone technique, that the two component voices presented in isolation establish the expected keys and that when they are combined some influence...
Journal Articles
Music Perception. 1984; 22131–165 doi: https://doi.org/10.2307/40285289
Published: 01 December 1984
...Edward J. Kessler; Christa Hansen; Roger N. Shepard Krumhansl and Shepard's probe-tone method, in which listeners rate the musical relatedness of probe tones to preceding musical contexts, was adapted for a cross-cultural comparison of the perception of Western and Balinese melodies by both Western...
Journal Articles
Music Perception. 2016; 333367–393 doi: https://doi.org/10.1525/mp.2016.33.3.367
Published: 01 February 2016
...Rachna Raman; W. Jay Dowling We used Toiviainen and Krumhansl’s (2003) concurrent probe-tone technique to track Indian and Western musicians’ tonal-hierarchy profiles through modulations in Carnātic (South Indian classical) music. Changes of mode (rāgam) are particularly interesting in Carnātic...
Journal Articles
Music Perception. 2016; 334401–413 doi: https://doi.org/10.1525/mp.2016.33.4.401
Published: 01 April 2016
... assessed tonality perception using a probe-tone paradigm. Recovery of the tonal hierarchy was less evident for the amusic group than for the control group, and this reduced sensitivity to tonality in amusia was also unrelated to poor pitch discrimination. These findings support the view that music...
Journal Articles
Music Perception. 2000; 174437–459 doi: https://doi.org/10.2307/40285828
Published: 01 July 2000
... frequency ratio relations (4: 5: 6) on memory (absolute judgment) for tones in an unfamiliar context (b) the applicability of a model based on a key-finding algorithm to pitch memory in a tonal context, and (c) the probe-tone task. [Footnotes] 1 Baddeley (1986) (Baddeley, 1986) Berz, 1995...
Journal Articles
Music Perception. 1989; 63219–241 doi: https://doi.org/10.2307/40285588
Published: 01 April 1989
.... The probe-tone testing procedure most often used to substantiate the tonal hierarchy theory is criticized for the ambiguity of its response task, so that test results could be an artifact of effects of short-term memory. An alternative perceptual theory is proposed to describe the timedependent nature...
Journal Articles
Music Perception. 2000; 174417–436 doi: https://doi.org/10.2307/40285827
Published: 01 July 2000
... fragments) and tonally complex or even polytonal stimuli. Finally, we consider the (dis) advantages of various possible experimental paradigms, notably the production of a tonic and tonal center, the probe-tone paradigm, and tonality rating. For each of the three methodological subdomains, we propose...
Journal Articles
Music Perception. 1991; 84449–468 doi: https://doi.org/10.2307/40285522
Published: 01 July 1991
... comprising the scales were measured. Using a standard categorization experimental paradigm, the musician was unable to categorize intervals in the absence of musical context. In a probe-tone rating experiment, the musician was asked to contemplate the sentiment associated with a particular modal scale, and...
Journal Articles
Music Perception. 2003; 203283–305 doi: https://doi.org/10.1525/mp.2003.20.3.283
Published: 01 March 2003
... hierarchy results obtained using judgments about discrete probes following short contexts. When the test tones were nondiatonic notes in the present context they elicited a response, whereas when the test tones occupied a prominent position in the tonal hierarchy they were not detected. Our findings could...
Images
Published: 01 February 2020
Figure 1. One trial of the auditory event sequence. Trial segments are labeled. The timekeeping segment is enlarged to show more detail. Circle represent higher pitch tones, squares represent lower pitch tones, and lines indicate silent events. Unfilled circles display possible probe tone
Images
Published: 01 February 2020
Figure 4. A binary logistic regression analysis comparing the absolute tap asynchronies from the expected onset of the probe tone to the response accuracy on a trial-by-trial basis for both pianists and non-pianists. Figure 4. A binary logistic regression analysis comparing the absolute tap
Journal Articles
Music Perception. 2020; 373196–207 doi: https://doi.org/10.1525/mp.2020.37.3.196
Published: 01 February 2020
...Figure 1. One trial of the auditory event sequence. Trial segments are labeled. The timekeeping segment is enlarged to show more detail. Circle represent higher pitch tones, squares represent lower pitch tones, and lines indicate silent events. Unfilled circles display possible probe tone...