Trends in consonance preference across musical cultures

不同音乐文化中协和音偏好的趋势

• 批准号: 2890031
• 金额: --
• 依托单位: University of Cambridge
• 依托单位国家: 英国
• 项目类别: Studentship
• 财政年份: 2023
• 资助国家: 英国
• 起止时间: 2023 至 无数据
• 项目状态: 未结题
• 来源: https://gtr.ukri.org/projects?ref=studentship-2890031
• 关键词: Trends; consonance; preference; across; musical

The musical phenomenon of consonance preference - the perception of specific pitch combinationsas more pleasant than others - has intrigued scholars since antiquity. Recent empirical studies(Eerola & Lahdelma, 2021; Friedman et al., 2021; Harrison & Pearce, 2020; Smit et al., 2019) havemade progress in identifying the factors underlying consonance preference, with roughness,harmonicity, and familiarity emerging as core contributors (Harrison, 2021). However, theconception of consonance as a function of low roughness and high harmonicity is informed bylistening experiments involving almost exclusively Western participants, and analyses of Westernmusical scores. There is preliminary evidence that background scale structures across diversecultures favour smooth and harmonic intervals (McBride & Tlusty, 2020; Gill & Purves, 2009), butclaims that actual musical practice exhibits a cross-cultural trend towards roughness minimisationand harmonicity maximisation (Bowling et al., 2017; Schellenberg & Trehub, 1996) are not rigorouslysubstantiated. No studies of musical corpora (collections of music in audio or notated form) haveinvestigated the statistical prevalence of simultaneous pitch combinations (a proxy for consonance;Parncutt et al., 2019; Harrison & Pearce, 2020) in non-Western musics. The possibility remains openthat consonance preference as a function of low roughness and high harmonicity is a phenomenonisolated to contemporary Western listeners and recent Western musical practice. This possibilitymust be investigated to shed light on the similarities and differences in human music perceptionacross cultures, to determine whether Western-centric assumptions of universality are valid, and tohighlight music from non-Western countries as worthy of scientific inquiry.I propose to fill in the abovementioned gaps in contemporary consonance research, to establishwhether recent findings generalise cross-culturally and historically. This will be accomplishedthrough corpus studies and listening experiments. The corpus studies will expand existing researchinto historical Western music (Parncutt et al., 2019) using improved sampling methods and moreappropriate computational models (Harrison & Pearce, 2020; Eerola & Lahdelma, 2021) and breaknew ground by examining culturally diverse corpora, to determine the historical stability of theWestern consonance concept and its applicability to music at a global scale. The findings of thesecorpus studies will inform hypotheses for designing methodologically sound and culturally sensitivecross-cultural listening experiments to provide direct evidence of the behaviour of the consonancephenomenon in listeners from non-Western cultures.

协和偏好的音乐现象--特定音高组合的感觉比其他音高组合更令人愉快--自古以来就引起了学者们的兴趣。最近的实证研究（Eerola & Lahdelma，2021; Friedman等人，2021; Harrison &皮尔斯，2020; Smit等人，2019）在确定和谐偏好的潜在因素方面取得了进展，粗糙度，和谐性和熟悉度成为核心贡献者（哈里森，2021）。然而，和谐作为低粗糙度和高和谐度的函数的概念是通过几乎完全涉及西方参与者的听力实验和西方乐谱的分析而得到的。有初步证据表明，不同文化的背景音阶结构有利于平滑和和谐的音程（McBride & Tlusty，2020; Gill & Purves，2009），但声称实际的音乐实践表现出跨文化的趋势，粗糙度最小化和和谐度最大化（Bowling等人，2017年;谢伦贝格和Trehub，1996年）没有得到严格证实。没有研究音乐语料库（音频或注释形式的音乐集合）调查了同时音高组合的统计流行率（协和的代理;Parncutt等人，2019年;哈里森&皮尔斯，2020年）在非西方音乐。这种可能性仍然是开放的，作为低粗糙度和高和谐度的函数的协和偏好是一种现象，孤立于当代西方听众和最近的西方音乐实践。这种可能性必须被调查，以揭示人类音乐感知的相似性和差异，跨文化，以确定是否西方为中心的假设的普遍性是有效的，并强调来自非西方国家的音乐作为值得科学探究。我建议填补上述空白，在当代协和研究，以建立最近的研究结果是否概括跨文化和历史。这一点将通过语料库研究和听力实验加以验证。语料库研究将扩展现有的研究到历史西方音乐（Parncutt等人，2019）使用改进的采样方法和更合适的计算模型（哈里森和皮尔斯，2020; Eerola和Lahdelma，2021）和breakwon地面通过检查文化多样性语料库，以确定西方协和概念的历史稳定性及其在全球范围内对音乐的适用性。这些语料库研究的结果将为设计方法上合理和文化上敏感的跨文化听力实验提供假设，以提供非西方文化听众中辅音现象行为的直接证据。