AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |
Back to Blog
Musical contexts form and structure2/6/2024 ![]() Innateness, experience, and music perception. British Journal of Mathematical & Statistical Psychology, 19, 163–179. Triadic comparisons of musical intervals. Journal of the Acoustical Society of America, 45, 1460–1469. Consonance theory part 2: Consonance of complex tones and its calculation method. Journal of the Acoustical Society of America, 45, 1451–1459. Consonance theory part 1: Consonance of dyads. Journal of the Acoustical Society of America, 66, 87–99. Musical pitch of two-tone complexes and predictions by modern pitch theories. Critical bandwidth and consonance in relation to cochlear frequency-position coordinates. Journal of the Acoustical Society of America, 54, 1496–1516. An optimum processor theory for the central formation of the pitch of complex tones. Journal of the Acoustical Society of America, 63, 498–510. Evidence for a general template in central optimal processing for pitch of complex tones. Frequency discrimination for pure and complex tones. New York: Wiley.įastl, H., & Weinberger, M. ![]() Swets (Ed.), Signal detection and recognition by human observers: Contemporary readings (Appendix 1, pp. Perception & Psychophysics, 42, 594–598.Įlliot, P. Adjustment of successive and simultaneous intervals by musically experienced and inexperienced subjects. Orlando, FL: Academic Press.Įlliot, J., Platt, J. Journal of the Acoustical Society of America, 56, 144–151.ĭowling, W. Identification of temporal order in three-tone sequences. Perception & Psychophysics, 41, 73–84.ĭivenyi, P. Tonal fusion of consonant musical intervals: The oomph in Stumpf. Journal of the Acoustical Society of America, 76, 57–66.ĭeWitt, L. The perceptual reality of tone chroma in early infancy. Canadian Journal of Psychology, 41, 33–47.ĭemany, L., & Armand, F. Infants’ perception of musical relations in short transposed tone sequences. Canadian University Music Review, 3, 15–30.Ĭohen, A. Exploring the sensitivity to structure in music. Deutsch (Ed.), The psychology of music (pp. Journal of Auditory Research, 20, 31–42.īregman, A. Psychoacoustic and experiential determinants of tonal consonance. When the harmonics did not fuse into a single percept (tones consisting of the fundamental and one of 5, 6, 7, or 8), there was no effect of ratio simplicity.Īyres, T., Aeschbach, S., & Walker, E. When the harmonics fused into a single percept (tones consisting of harmonics 1, 2, and one of 5, 6, 7, or 8), performance was higher when harmonics 6 or 8 were present than when harmonics 5 or 7 were present. In Experiment 2, the effects of harmonics 6 and 8, which stand in octave-equivalent simple ratios to the fundamental (2∶3 and 1∶2, respectively) were compared with harmonics 5 and 7, which stand in more complex ratios (4:5 and 4:7, respectively). fundamental alone) and when the second harmonic (of tones consisting of the first two harmonics) was in tune compared with when it was out of tune. In Experiment 1, performance was superior when more harmonics were present (first five vs. The contribution of different harmonics to pitch salience in a musical context was examined by requiring subjects to discriminate a small (1/4 semitone) pitch change in one note of a melody that repeated in transposition.
0 Comments
Read More
Leave a Reply. |