Perception of musical tension in short chord sequences: The influence of harmonic function, sensory dissonance, horizontal motion, and musical training
Perception of musical tension in short chord sequences: The influence of harmonic function, sensory dissonance, horizontal motion, and musical training
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DOI：
10.3758/bf03205482
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发表时间：
1996-01-01
期刊：
影响因子：
--
通讯作者：
Lerdahl, F
中科院分区：
文献类型：
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作者：
Bigand, E;Parncutt, R;Lerdahl, F
这项研究调查了四个变量（音调层次结构，感觉和弦辅音，水平运动和音乐训练）的影响。要求参与者在C主要上下文密钥中以三个和弦（C大调 - > X-> C大调）的序列评估和弦X产生的张力。 X和弦可能是主要的或次要的三合会主要少数第七，也可以是在色量表的12个音符上建造的第七和弦。将数据与Krumhansl（1990）的谐波层次结构进行了比较，并预测了Lerdahl（1988）的认知理论，Hutchinson and Knopoff（1978）和Parncutt（1989）的感官心理声学理论，以及本文中水平运动模型的模型。作为一个主要结果，似乎对紧张的判断源于几种认知和心理声学影响的融合，其相对重要性取决于音乐训练。
This study investigates the effect of four variables (tonal hierarchies, sensory chordal consonance, horizontal motion, and musical training) on perceived musical tension. Participants were asked to evaluate the tension created by a chord X in sequences of three chords (C major --> X --> C major) in a C major context key. The X chords could be major or minor triads major-minor seventh, or minor seventh chords built on the 12 notes of the chromatic scale. The data were compared with Krumhansl's (1990) harmonic hierarchy and with predictions of Lerdahl's (1988) cognitive theory, Hutchinson and Knopoff's (1978) and Parncutt's (1989) sensory-psychoacoustical theories, and the model of horizontal motion de fined in the paper. As a main outcome, it appears that judgments of tension arose from a convergence of several cognitive and psychoacoustics influences, whose relative importance varies, depending on musical training.