The Psychophysics of Harmony Perception: Harmony is a Three-Tone Phenomenon
The Psychophysics of Harmony Perception: Harmony is a Three-Tone Phenomenon
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DOI：
10.18061/1811/24080
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发表时间：
2006-01-01
影响因子：
--
通讯作者：
Fujisawa, Takashi X.
中科院分区：
文献类型：
--
作者：
Cook, Norman D.;Fujisawa, Takashi X.
根据音乐的“常识”（但与音乐心理物理学的百年传统相反），我们表明，和声是一个固有的三音现象。以前试图解释情感反应的大/小调和弦和解决/未解决的和弦的基础上的总和的间隔不和谐已经显着不成功，但考虑到相对大小的间隔包含在三和弦直接导致解决这些历史问题。我们模型的核心是伦纳德迈耶1956年关于“间隔等距”的想法--即，具有两个相等大小的音程的任何三音调组合所固有的“紧张”感觉（例如，增强和弦）。通过包括上分音的影响，可以很容易地实现对三和弦（大和弦>小和弦>减和弦>增和弦）的感知响度以及大和弦和小和弦的情感效价的心理物理学解释。我们的结论是，传统的全音阶和声的感性的变化既不是由于间隔效应的总和，也不是简单的任意的，学到的文化文物，而是和谐有一个心理物理基础依赖于三个音的组合。
In line with musical "common sense" (but contrary to the century-old tradition of musical psychophysics), we show that harmony is an inherently three-tone phenomenon. Previous attempts at explaining the affective response to major/minor chords and resolved/unresolved chords on the basis of the summation of interval dissonance have been notably unsuccessful, but consideration of the relative size of the intervals contained in triads leads directly to solutions to these historical problems. At the heart of our model is Leonard Meyer's idea from 1956 concerning "intervallic equidistance" - i.e., the perception of "tension" inherent to any three-tone combination that has two intervals of equivalent size (e.g., the augmented chord). By including the effects of the upper partials, a psychophysical explanation of the perceived sonority of the triads (major> minor> diminished> augmented) and the affective valence of major and minor chords is easily achieved. We conclude that the perceptual regularities of traditional diatonic harmony are neither due to the summation of interval effects nor simply arbitrary, learned cultural artifacts, but rather that harmony has a psychophysical basis dependent on three-tone combinations.