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Music Perception (2020) 37 (4): 298–322.
Published: 11 March 2020
...Marco Costa; Mattia Nese Perceived valence, tension, and movement of harmonic musical intervals (from the unison to the octave presented in a low- and high-register) and standard noises (brown, pink, white, blue, purple) were assessed in two studies that differed in the crossmodal procedure by...
Music Perception (2016) 34 (1): 1–20.
Published: 01 September 2016
...Meghan Goodchild; Bruno Gingras; Stephen McAdams This study focuses on the relationships between music analysis, performance, and tension perception. Part 1 examines harpsichordists’ analyses and performances of an unmeasured prelude—a semi-improvisatory genre open to interpretive freedom. Twelve...
Music Perception (2009) 27 (2): 81–88.
Published: 01 December 2009
...) and listeners who had experience with only Indian or Western culture (I or W listeners) participated in recognition memory and tension judgment experiments where they listened to Western and Indian music. We found that while I and W listeners showed an in-culture bias, IW listeners showed equal...
Music Perception (2009) 27 (1): 25–42.
Published: 01 September 2009
... not account for even the basics of triadic harmony. By introducing a 3-tone "tension" factor, I show how the sonority of the triads of diatonic music can be explained.Moreover, the relative size of the intervals among the partials in triads determines the major/minor modality of chords: major chords...