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tonal-experience

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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. 1984; 211–5 doi: https://doi.org/10.2307/40285278
Published: 01 October 1984
...Robert Erickson There is a need to search for universals in our tonal experience of music which arise as a consequence of our perceptual and cognitive processes and which do not require a specific tonal setting for demonstration. Certain findings in perceptual and cognitive psychology are...
Journal Articles
Music Perception. 2016; 335601–612 doi: https://doi.org/10.1525/mp.2016.33.5.601
Published: 01 June 2016
...Matthew A. Rosenthal; Erin E. Hannon Musical expectations may arise from short-term sensitivity to the statistics of the immediate context and from long-term knowledge acquired through previous listening experiences. Here we investigate the influence of two statistical structures on tonal...
Journal Articles
Music Perception. 2018; 362243–249 doi: https://doi.org/10.1525/mp.2018.36.2.243
Published: 01 December 2018
..., emphasizing different notes as the tonic yields different “modes.” Thus, within a set of notes, changing the tonal center changes the putative role of any given note. In this experiment, we eliminated all structural cues to the tonic within a melody by presenting notes randomly selected from the C major scale...
Journal Articles
Music Perception. 2016; 334401–413 doi: https://doi.org/10.1525/mp.2016.33.4.401
Published: 01 April 2016
... and tonality processing. In Experiment 1, we assessed whether congenital amusia is associated with impaired explicit processing of musical syntax. Congruity ratings were examined for syntactically regular or irreg- ular endings in harmonic and melodic contexts. Unlike controls, amusic participants...
Journal Articles
Music Perception. 2009; 263211–221 doi: https://doi.org/10.1525/mp.2009.26.3.211
Published: 01 February 2009
... (the third scale degree) over leading tones (the seventh scale degree) presented in melodic contexts. Experiment 1 used a timbre discrimination task and Experiment 2 an intonation task. Facilitated processing was observed for the more tonally stable mediants over the less stable leading tones, thus...
Journal Articles
Music Perception. 2015; 324413–433 doi: https://doi.org/10.1525/mp.2015.32.4.413
Published: 01 April 2015
...J. Fernando Anta Two experiments investigated the role of pitch-related information in tonality induction. In both experiments, participants were asked to: 1) identify (sing) the tonic of either an original sequence of tones or a distorted version in which pitch class distribution was preserved but...
Journal Articles
Music Perception. 2012; 30119–35 doi: https://doi.org/10.1525/mp.2012.30.1.19
Published: 01 September 2012
...' ratings concurred reliably and corroborated the dual-process theory. Experiment 3 showed that, as the theory predicts, consonant chords are rated as less dissonant when they occur in a tonal sequence (the cycle of fifths) than in a random sequence, whereas this manipulation has no reliable effect on...
Journal Articles
Music Perception. 2015; 3313–11 doi: https://doi.org/10.1525/mp.2015.33.1.3
Published: 01 September 2015
...-level time course of melodic experiences, and address how the listener/performer identifies a melody as distinct in a complex auditory scene, how expectations unfold in implications and realizations that contribute to coherence, and how hierarchical tonal relationships of stability are detected. The...
Journal Articles
Music Perception. 2016; 34171–93 doi: https://doi.org/10.1525/mp.2016.34.1.71
Published: 01 September 2016
...Morwaread M. Farbood This study examines how long the percept of a tonal center is retained in memory following a modulation to a new key, and how harmonic context in the new key area affects recall of the original key. In Experiment 1, musically trained listeners ( N = 50) were asked to rate...
Journal Articles
Music Perception. 2018; 353295–314 doi: https://doi.org/10.1525/mp.2018.35.3.295
Published: 01 February 2018
... consistent than nonmusician listeners. Finally, a subset of the musical qualia ratings were compared against Krumhansl and Kessler’s (1982) scale-degree “profiles.” While profiles created from the present data, overall, were correlated with the K&K profiles, their claim that tonal stability accounts for...
Journal Articles
Music Perception. 2017; 351118–121 doi: https://doi.org/10.1525/mp.2017.35.1.118
Published: 01 September 2017
... (nature and nurture) interact to shape how we experience music, and theories that neglect the former do so at their peril. Received: March 7, 2017, accepted July 17, 2017. Key words: aesthetics, psychoacoustics, neurobiology, culture, evolution T HE ORIGINS OF MUSICAL TONALITY HAVEbeen debated for...
Journal Articles
Music Perception. 2004; 214499–543 doi: https://doi.org/10.1525/mp.2004.21.4.499
Published: 01 June 2004
...Bradley W. Frankland; Annabel J. Cohen In two experiments, the empirical parsing of melodies was compared with predictions derived from four grouping preference rules of A Generative Theory of Tonal Music (F. Lerdahl & R. Jackendoff, 1983). In Experiment 1 (n = 123), listeners representing a...
Journal Articles
Music Perception. 1989; 63219–241 doi: https://doi.org/10.2307/40285588
Published: 01 April 1989
... experiments, is cited to demonstrate that listeners both with and without extensive formal training in music form strong (and usually tacit) mental representations of unambiguous tonality when tones are arranged across time so as to form meaningful tonal referents. [Footnotes] 2 Deutsch (1982...
Journal Articles
Music Perception. 2016; 333274–286 doi: https://doi.org/10.1525/mp.2016.33.3.274
Published: 01 February 2016
... (1990) states that her own experimental findings are strongly correlated with statistical proper- ties of tonal music. This, then, supports Meyer s (1956) view that through experience with music, listeners have abstracted and internalized certain probabilistic regular- ities underlying the musical...
Journal Articles
Music Perception. 2011; 285461–472 doi: https://doi.org/10.1525/mp.2011.28.5.461
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. 2014; 314372–386 doi: https://doi.org/10.1525/mp.2014.31.4.372
Published: 01 April 2014
...Stefanie Acevedo; David Temperley; Peter Q. Pfordresher We report two experiments exploring whether matched metrical and motivic structure facilitate the recognition of melodic patterns. Eight tonal melodies were composed from binary (four-note) or ternary (three-note) motivic patterns, and were...
Images
Examples of Western melodic materials and traditional Japanese melodic mate...
Published: 01 February 2020
Figure 1. Examples of Western 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 Figure 1. Examples of Western 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 More
Journal Articles
Music Perception. 2016; 34121–32 doi: https://doi.org/10.1525/mp.2016.34.1.21
Published: 01 September 2016
... vocabulary could match with the actions underlying a tonal context, we employed tonally ambiguous stimuli. Generally speak- ing, we expected the subjects newly acquired motor expertise (in terms of first-hand experience with the learning condition involving playing the piano mute or with sound) to show its...
Journal Articles
Music Perception. 1986; 34411–426 doi: https://doi.org/10.2307/40285346
Published: 01 July 1986
...Robert J. Weber; Suellen Brown An objective indicator of musical imagery is developed that involves tracking the up and down movements of the tonal contour of an imagined musical phrase or tune. In two experiments, college students' imagery of music was examined. In both experiments, subjects...