TONAL PROFILES OF ARTIFICIAL SCALES : IMPLICATIONS FOR MUSIC LEARNING
TONAL PROFILES OF ARTIFICIAL SCALES : IMPLICATIONS FOR MUSIC LEARNING
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人工音阶的音调轮廓：对音乐学习的影响
DOI：
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发表时间：
2002
期刊：
影响因子：
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通讯作者：
E. Newport
中科院分区：
文献类型：
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作者：
Sarah C. Creel;E. Newport
音乐研究人员注意到，旋律中结构上重要的音调通过完美的音程（五度和八度）相互关联，并且频繁出现并位于旋律的最终位置。在这里，我们询问后两个提示（频率和最终位置）对于缺乏完美音程的音调集合是否具有旋律意义。三组旋律是从全音音阶（C4-A#4）生成的。在一种情况下，E 既是最后出现的，也是最频繁出现的。在另一个例子中，E 出现频率较低，但最后出现，而 G# 出现频率最高。在第三种情况下，所有音调以相同的频率出现。参与者先简单熟悉一组旋律，然后聆听该组旋律中的每首旋律，然后聆听每个探测音，为每组旋律创建一个评级概况。在所有条件下，参与者对旋律中出现的音调的评价高于未出现的音调。频率和最终性都产生影响。每种条件下的平均评分与 Krumhansl 和 Kessler 的 [7] 大调音阶概况没有显着相关，这表明评分并不是对西方音调音乐熟悉程度的产物。目前的工作显示了频率和最终位置对音符意义的影响，但音调之间没有完美的音程关系。
Music researchers have noted that structurally important tones in a melody are related to one another by perfect intervals (fifths and octaves) and occur frequently and in melody-final position. Here we ask whether the latter two cues—frequency and final position—have melodic significance for tone collections lacking perfect intervals. Three sets of melodies were generated from a whole-tone scale (C4-A#4). In one condition, E occurred both finally and most frequently. In another, E occurred infrequently but finally, while G# occurred most frequently. In a third condition, all tones occurred with equal frequency. Participants were briefly familiarized to one set of melodies, then heard each melody from the set, followed by each probe tone, creating a rating profile for each set. Participants in all conditions rated tones that had occurred in the melodies higher than tones that had not. Frequency and finality both exerted effects. Averaged ratings in each condition did not correlate significantly with Krumhansl and Kessler’s [7] major scale profiles, suggesting that ratings were not an artifact of familiarity with Western tonal music. The present work this shows effects of frequency and final position on note significance, without perfect interval relationships between the tones.