A Theory of Harmony

Stainer, John

doi:10.1017/cbo9780511693267

2009

DOI: 10.1017/cbo9780511693267

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A Theory of Harmony

John Stainer¹

Abstract: This book reproduces the text of the original edition. The content and language reflect the beliefs, practices and terminology of their time, and have not been updated.

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“…The tonal center of a musical context is the tonic (Jones, 1974;Stainer, 2009), a chord of three tones in thirds (e.g., c -e -g). It is built on the first tone of a scale.…”

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confidence: 99%

Neuromagnetic representation of musical roundness in chord progressions

Wöhrle,

Reuter,

Rupp

et al. 2024

Front. Neurosci.

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IntroductionMusical roundness perception relies on consonance/dissonance within a rule-based harmonic context, but also on individual characteristics of the listener. The present work tackles these aspects in a combined psychoacoustic and neurophysiological study, taking into account participant’s musical aptitude.MethodsOur paradigm employed cadence-like four-chord progressions, based on Western music theory. Chord progressions comprised naturalistic and artificial sounds; moreover, their single chords varied regarding consonance/dissonance and harmonic function. Thirty participants listened to the chord progressions while their cortical activity was measured with magnetoencephalography; afterwards, they rated the individual chord progressions with respect to their perceived roundness.ResultsRoundness ratings differed according to the degree of dissonance in the dominant chord at the progression’s third position; this effect was pronounced in listeners with high musical aptitude. Interestingly, a corresponding pattern occurred in the neuromagnetic N1m response to the fourth chord (i.e., at the progression’s resolution), again with somewhat stronger differentiation among musical listeners. The N1m magnitude seemed to increase during chord progressions that were considered particularly round, with the maximum difference after the final chord; here, however, the musical aptitude effect just missed significance.DiscussionThe roundness of chord progressions is reflected in participant’s psychoacoustic ratings and in their transient cortical activity, with stronger differentiation among listeners with high musical aptitude. The concept of roundness might help to reframe consonance/dissonance to a more holistic, gestalt-like understanding that covers chord relations in Western music.

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“…The tonal center of a musical context is the tonic (Jones, 1974;Stainer, 2009), a chord of three tones in thirds (e.g., c -e -g). It is built on the first tone of a scale.…”

mentioning

confidence: 99%

Neuromagnetic representation of musical roundness in chord progressions

Wöhrle,

Reuter,

Rupp

et al. 2024

Front. Neurosci.

View full text Add to dashboard Cite

show abstract

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A Theory of Harmony

Abstract: This book reproduces the text of the original edition. The content and language reflect the beliefs, practices and terminology of their time, and have not been updated.

Cited by 1 publication

References 0 publications

Neuromagnetic representation of musical roundness in chord progressions

Neuromagnetic representation of musical roundness in chord progressions

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