Perceptual processes and emotional responses of music: cross-cultural investigation and cognitive modeling

本研究项目探讨音乐的知觉过程和情绪反应。我们特别关注音乐的调性组织过程，并对这一过程进行了如下的实验研究。音高设置似乎是识别旋律的主要线索。先前的研究已经提出了旋律中额外的序列属性（例如，增四度，减五度，完成五度等），这些属性可能作为进一步的线索，然而，后者在关键识别中的作用是有争议的。我们的一项实验研究旨在调查哪些类型的序列属性，即局部属性，如果有的话，可以作为密钥识别的可靠线索。听众被要求识别450个旋律的音调，这些旋律由相同的音调组合组成，但顺序限制不同。使用多重判别分析，我们评估了尽可能多种类的局部序列属性的相对贡献（例如，单个间隔，每个序列位置的单个间隔，每个序列位置的单个音高类，等等）。结果表明，除了最终音的音高类别需要谨慎解释外，所检测的局部序列属性对关键识别都没有显著贡献。这一发现表明，与先前的发现相反，关键鉴定来源于未识别的属性，而不是特定的序列属性。

This research project investigated the perceptual processes and emotional responses of music. We especially focused on the tonal organization processes of music, and executed several experimental studies on that processes as follows.Pitch set appears to serve as a primary cue for key identification of a melody. Previous studies have proposed additional sequence properties in a melody (e.g., augmented fourth, the diminished fifth, perfect fifth and so on) that may function as further cues, however, the role of the latter in key identification is controversial. One of our experimental studies was designed to investigate what kinds of sequence properties, i.e., local properties, if any, function as reliable cues for key identification. Listeners were asked to identify keys for 450 melodies that consisted of the same pitch set but differed in sequential constraints. Using multiple discriminant analyses, we evaluated relative contributions of as many kinds of local sequence properties as possible (e.g., single intervals, single intervals in each sequential position, single pitch classes in each sequential position, and so on). The results showed that, except for the pitch class of the final tone, for which interpretation should be taken cautiously, none of local sequence properties examined contributed significantly to key identification. This finding suggests that, contrary to prior findings, key identification is derived from unidentified properties other than the specific sequence properties.