Simultaneous Consonance in Music Perception and Composition
Simultaneous Consonance in Music Perception and Composition
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DOI：
10.1037/rev0000169
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发表时间：
2020-03-01
影响因子：
5.4
通讯作者：
Pearce, Marcus T.
中科院分区：
文献类型：
--
作者：
Harrison, Peter M. C.;Pearce, Marcus T.
同时协和是一种显著的感知现象，对应于同时发声的音乐音调的感知愉悦。几个世纪以来，人们提出了各种相互竞争的协和理论，但最近达成的共识是，同时协和主要是由和声感知驱动的。在这里，我们质疑这一观点，通过批判性地回顾来自各种学科的历史协和研究，重新分析代表500多名参与者的4个先前行为研究的协和感知数据，并对代表10万多首乐曲的三个西方音乐语料库进行建模，来证实我们的论点。我们的结论是，同时和谐是一种复合现象，在很大程度上来自三种现象：干扰，周期性/和谐性，和文化熟悉。我们用一个计算模型来形式化这一结论，该模型从这三个特征预测音乐和弦的同时协和，并将该模型发布在开源R包Incon中，以及本文中评估的其他15个计算模型。我们希望这套软件包将促进进一步的心理学和音乐学研究同时协和。
Simultaneous consonance is a salient perceptual phenomenon corresponding to the perceived pleasantness of simultaneously sounding musical tones. Various competing theories of consonance have been proposed over the centuries, but recently a consensus has developed that simultaneous consonance is primarily driven by harmonicity perception. Here we question this view, substantiating our argument by critically reviewing historic consonance research from a broad variety of disciplines, reanalyzing consonance perception data from 4 previous behavioral studies representing more than 500 participants, and modeling three Western musical corpora representing more than 100,000 compositions. We conclude that simultaneous consonance is a composite phenomenon that derives in large part from three phenomena: interference, periodicity/harmonicity, and cultural familiarity. We formalize this conclusion with a computational model that predicts a musical chord's simultaneous consonance from these three features, and release this model in an open-source R package, incon, alongside 15 other computational models also evaluated in this paper. We hope that this package will facilitate further psychological and musicological research into simultaneous consonance.