A perceptual investigation of polytonality
Identifieur interne : 000F61 ( Main/Exploration ); précédent : 000F60; suivant : 000F62A perceptual investigation of polytonality
Auteurs : William Forde Thompson [Canada] ; Shulamit Mor [Canada]Source :
- Psychological Research [ 0340-0727 ] ; 1992-06-01.
English descriptors
- Teeft :
- Angular dimensions, Average ratings, Beta, Beta weight, Beta weights, Bitonal, Bitonal music, Bitonal passage, Chromatic notes, Chromatic tones, Component keys, Cuddy, Diatonic, Dubois, Dubois excerpt, Excerpt, Experimental trials, Fifth partials, Formal training, Fourier, Fourier analysis, Higher ratings, Immediate context, Internal representations, Kessler, Krumhansl, Krumhansl kessler, Krumhansl schmuckler, Macintosh computer, Major keys, Mental representations, Milhaud, Milhaud excerpt, Multiple correlation, Multiple regression, Musical excerpt, Musical keys, Musical materials, Normal hearing, Octave, Octave equivalence, Octave registers, Other diatonic probe tones, Other probe tones, Piano sound, Polytonal, Polytonal music, Predictor, Predictor variables, Probe, Probe tone, Probe tones, Probe tones diatonic, Probetone, Probetone ratings, Rating, Regression, Regression analysis, Regression coefficients, Regression equation, Regression model, Relative importance, Roland sound module, Schmuckler, Significant comparisons, Significant effect, Simple correlations, Standard profile, Standard profiles, Tonal hierarchies, Tonal organization, Tonal structure, Tonality, Tonic, Tonic triad, Triad, Variance.
Abstract
Summary: Four experiments investigated the perception of tonal structure in polytonal music. The experiments used musical excerpts in which the upper stave of the music suggested a different key than the lower stave. In Experiment 1, listeners rated the goodness of fit of probe tones following an excerpt from Dubois's Circus. Results suggested that listeners were sensitive to two keys, and weighted them according to their perceived importance within the excerpt. Experiment 2 confirmed that music within each stave reliably conveyed key structure on its own. In Experiment 3, listeners rated probe tones following an excerpt from Milhaud's Sonata No. 1 for Piano, in which different keys were conveyed in widely separate pitch registers. Ratings were collected across three octaves. Listeners did not associate each key with a specific register. Rather, ratings for all three octave registers reflected only the key associated with the upper stave. Experiment 4 confirmed that the music within each stave reliably conveyed key structure on its own. It is suggested that when one key predominates in a polytonal context, other keys may not contribute to the overall perceived tonal structure. The influence of long-term knowledge and immediate context on the perception of tonal structure in polytonal music is discussed.
Url:
DOI: 10.1007/BF00937134
Affiliations:
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Le document en format XML
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<term>Bitonal</term>
<term>Bitonal music</term>
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<term>Octave equivalence</term>
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<term>Other diatonic probe tones</term>
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<term>Significant effect</term>
<term>Simple correlations</term>
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<term>Standard profiles</term>
<term>Tonal hierarchies</term>
<term>Tonal organization</term>
<term>Tonal structure</term>
<term>Tonality</term>
<term>Tonic</term>
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<front><div type="abstract" xml:lang="en">Summary: Four experiments investigated the perception of tonal structure in polytonal music. The experiments used musical excerpts in which the upper stave of the music suggested a different key than the lower stave. In Experiment 1, listeners rated the goodness of fit of probe tones following an excerpt from Dubois's Circus. Results suggested that listeners were sensitive to two keys, and weighted them according to their perceived importance within the excerpt. Experiment 2 confirmed that music within each stave reliably conveyed key structure on its own. In Experiment 3, listeners rated probe tones following an excerpt from Milhaud's Sonata No. 1 for Piano, in which different keys were conveyed in widely separate pitch registers. Ratings were collected across three octaves. Listeners did not associate each key with a specific register. Rather, ratings for all three octave registers reflected only the key associated with the upper stave. Experiment 4 confirmed that the music within each stave reliably conveyed key structure on its own. It is suggested that when one key predominates in a polytonal context, other keys may not contribute to the overall perceived tonal structure. The influence of long-term knowledge and immediate context on the perception of tonal structure in polytonal music is discussed.</div>
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