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

该研究项目调查了音乐的感知过程和情感反应。我们特别关注音乐的音调组织过程，并对该过程进行了如下几项实验研究。音调集似乎是识别旋律的关键线索。先前的研究提出了旋律中的附加序列特性（例如增四度、减五度、纯五度等），这些特性可能起到进一步的提示作用，然而，后者在调性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种序列特性（即局部特性，如果有的话）可以作为关键识别的可靠线索。听众被要求识别 450 个旋律的调，这些旋律由相同的音高组组成，但顺序约束不同。使用多重判别分析，我们评估了尽可能多的局部序列属性的相对贡献（例如，单个音程、每个顺序位置中的单个音程、每个顺序位置中的单个音级等等）。结果表明，除了最终音调的音级（对此应谨慎解释）外，所检查的任何局部序列属性都对调识别没有显着贡献。这一发现表明，与之前的发现相反，关键识别源自除特定序列特性之外的未识别特性。

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.