Responsiveness of Western adults to pitch-distributional information in melodic sequences
Responsiveness of Western adults to pitch-distributional information in melodic sequences
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西方成年人对旋律序列中音高分布信息的反应
DOI：
10.1007/bf00447080
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发表时间：
1995
期刊：
影响因子：
--
通讯作者：
N. Oram
中科院分区：
文献类型：
--
作者：
N. Oram;L. Cuddy;N. Oram
评估了受过音乐训练和未受过音乐训练的成年人对旋律背景下的音高分布信息的反应能力。在实验 1 中，旋律上下文是纯音序列，由全音阶或四个非全音阶音调之一生成，其中音高分布信息是通过音调中音调出现的相对频率的变化来操纵的。音调出现的相对频率的分配以及序列中音调的（固定）时间顺序的构造都违反了西方音调音乐的惯例。采用了探测音技术。每个序列的呈现后面都会有一个探测音，这是八度音阶内 12 个半音阶音符之一。听众评价探测音与序列的音乐契合度。对于受过训练和未经训练的听众来说，探测音评级与序列中探测音出现的频率显着相关。此外，随着序列中探测音和最终音之间的音高距离的增加，探测音评级也会降低。对于受过音乐训练的听众来说，全音阶序列的探测音评级也往往反映了内在音调模式的影响。实验 2 证明，序列中音调的时间位置不能单独解释实验 1 中出现频率的影响。实验 3 在实验 1 的条件下测试未受过音乐训练的听众，但每个序列中音调的时间顺序在试验中是随机的。实验1中发现的出现频率的影响得到了重复和加强。
Responsiveness of musically trained and untrained adults to pitch-distributional information in melodic contexts was assessed. In Experiment 1, melodic contexts were pure-tone sequences, generated from either a diatonic or one of four nondiatonic tonesets, in which pitch-distributional information was manipulated by variation of the relative frequency of occurrence of tones from the toneset. Both the assignment of relative frequency of occurrence to tones and the construction of the (fixed) temporal order of tones within the sequences contravened the conventions of western tonal music. A probe-tone technique was employed. Each presentation of a sequence was followed by a probe tone, one of the 12 chromatic notes within the octave. Listeners rated the goodness of musical fit of the probe tone to the sequence. Probe-tone ratings were significantly related to frequency of occurrence of the probe tone in the sequence for both trained and untrained listeners. In addition, probe-tone ratings decreased as the pitch distance between the probe tone and the final tone of the sequence increased. For musically trained listeners, probe-tone ratings for diatonic sequences tended also to reflect the influence of an internalized tonal schema. Experiment 2 demonstrated that the temporal location of tones in the sequences could not alone account for the effect of frequency of occurrence in Experiment 1. Experiment 3 tested musically untrained listeners under the conditions of Experiment 1, with the exception that the temporal order of tones in each sequence was randomized across trials. The effect of frequency of occurrence found in Experiment 1 was replicated and strengthened.