Schema driven properties in melody cognition: Experiments on final tone extrapolation by music experts.
Schema driven properties in melody cognition: Experiments on final tone extrapolation by music experts.
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旋律认知中的图式驱动特性：音乐专家对最终音调外推的实验。
DOI：
10.1037/h0094149
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发表时间：
1990
期刊：
影响因子：
--
通讯作者：
E. Hoshino
中科院分区：
文献类型：
--
作者：
J. Abe;E. Hoshino
通过两个实验，研究了两位音乐专家（一位是西方古典音乐专家，另一位是日本传统音乐专家）的终音推断行为。第一个实验验证了专家旋律认知的语义驱动特性。两位专家的最终音调推断都是高度规则化的，但他们的旋律图式的潜在属性似乎大不相同。西方古典音乐专家倾向于在西方全音阶框架内处理给定的旋律，而日本传统音乐专家倾向于“双音乐”地操作。即后者根据日本传统调性框架处理部分刺激音序列，而根据全音阶调性框架处理其他刺激音序列。同时也证实了西方音乐专家的旋律认知更加以和声为导向，而日本音乐专家的旋律认知则相对以轮廓为导向。第二个实验对西方音乐专家推断最后音调的规则进行了更详细的调查。只关注了这位专家的反应与西方全音阶结构之间的关系。对比分析了该专家对刺激旋律的主观调性结构，并从调性图式的角度对其进行了讨论。
Two experiments were conducted to investigate the final-tone extrapolating behavior of two music experts, one of Western classical music and the other of Japanese traditional music. The first experiment verified sehema-driven properties of the experts’ melody cognition. Both experts’ final tone extrapolation was highly rule-govemed, but the underlying properties of their melodic schema seemed quite different. The Western classical music expert tended to process given melodies within the Western diatonic tonal frame, while the Japanese traditional music expert tended to operate “bimusically.” That is, the latter processed some stimulus tone sequences based on the Japanese traditional tonal frame, but processed others based on the diatonic tonal frame. It was also confirmed that the melodic cognition of the Western music expert was more harmony-oriented, while that of the Japanese music expert was relatively contour-oriented. The second experiment conducted a more detailed investigation of the Western music experts’ rules in extrapolating the final tones. Only the relationship between the responses of this expert and the Western diatonic scale structures was focused on. The response structures of this expert were analyzed in contrast to her subjective tonal structures for stimulus melodies and are discussed in terms of her tonal schema.