Modelling Tonal Attraction Between Adjacent Musical Elements

Woolhouse, Matthew

doi:10.1080/09298210903180252

Cited by 18 publications

(44 citation statements)

References 45 publications

Supporting

Mentioning

Contrasting

Order By: Relevance

“…The difference between these different instructions is illustrated as follows: In the static attraction experiment a C major context primes the C major key such that C (the tonic) as a probe tone receives maximal attraction, followed by the members of the tonic triad G (the dominant) and E (the mediant). By contrast, in the dynamic attraction experiment a C major context primes the F major key because the chord CEG is the dominant triad of F major which is resolved by its tonic triad FAC, making the probe tone F most likely, followed by C and then A (Woolhouse 2009). Yet another possibility could be melodic progression where C primes its minor and major second intervals below and above, i.e.…”

Section: Introductionmentioning

confidence: 91%

“…Depending on the instruction, one can distinguish between probe tone experiments on static or dynamic attraction (Parncutt 2011). In the static attraction paradigm subjects are asked to rate how well the probe tone fits into the preceding context (Krumhansl and Kessler 1982), while in the dynamic attraction paradigm subjects are asked to rate how well the probe tone completes or resolves the preceding context (Temperley 2008, Woolhouse 2009).…”

Section: Introductionmentioning

confidence: 99%

“…The paper is structured as follows: In the next section 2 we present, after a brief recapitulation of the essential concepts of music theory, two tonal attraction experiments of Krumhansl and Kessler (1982) on static attraction and of Woolhouse (2009) on dynamic attraction. Section 3 reports our theory for modeling these results.…”

Section: Introductionmentioning

confidence: 99%

See 2 more Smart Citations

Quantum approaches to music cognition

Graben

Blutner

2019

Journal of Mathematical Psychology

View full text Add to dashboard Cite

Quantum cognition emerged as an important discipline of mathematical psychology during the last two decades. Using abstract analogies between mental phenomena and the formal framework of physical quantum theory, quantum cognition demonstrated its ability to resolve several puzzles from cognitive psychology. Until now, quantum cognition essentially exploited ideas from projective (Hilbert space) geometry, such as quantum probability or quantum similarity. However, many powerful tools provided by physical quantum theory, e.g., symmetry groups have not been utilized in the field of quantum cognition research sofar. Inspired by seminal work by Guerino Mazzola on the symmetries of tonal music, our study aims at elucidating and reconciling static and dynamic tonal attraction phenomena in music psychology within the quantum cognition framework. Based on the fundamental principles of octave equivalence, fifth similarity and transposition symmetry of tonal music that are reflected by the structure of the circle of fifths, we develop different wave function descriptions over this underlying tonal space. We present quantum models for static and dynamic tonal attraction and compare them with traditional computational models in musicology. Our approach replicates and also improves predictions based on symbolic models of music perception. Highlights.• Quantum models for tonal attraction are compared with symbolic models in musicology• Symbolic models of tonal attraction are parsimoniously derived from fundamental symmetries of music cognition• Tones appear as Gestalts, i.e. wave fields over the circle of fifths

show abstract

Section: Introductionmentioning

confidence: 91%

Section: Introductionmentioning

confidence: 99%

See 1 more Smart Citation

Quantum approaches to music cognition

Graben

Blutner

2019

Journal of Mathematical Psychology

View full text Add to dashboard Cite

show abstract

“…For more detailed descriptions and supporting empirical research, see Woolhouse (2007) and Woolhouse (2009).…”

Section: Notesmentioning

confidence: 99%

“…[1] In this article I attempt to tackle the thorny issue of major-minor tonality in the seventeenth century by recourse to a grouping model, referred to as interval cycle proximity (Woolhouse, 2007;Woolhouse, 2009;Woolhouse and Cross, 2010). The topic of the emergence of major-minor tonality is as broad as it is controversial.…”

Section: Introductionmentioning

confidence: 99%

Modes on the Move: Interval Cycles and the Emergence of Major-Minor Tonality

Woolhouse¹

2010

Empirical Musicology Review

Self Cite

View full text Add to dashboard Cite

The issue of the emergence of major-minor tonality is addressed by recourse to a novel pitch grouping process, referred to as interval cycle proximity (ICP). An interval cycle is the minimum number of (additive) iterations of an interval that are required for octave-related pitches to be re-stated, a property conjectured to be responsible for tonal attraction. It is hypothesised that the actuation of ICP in cognition, possibly in the latter part of the sixteenth century, led to a hierarchy of tonal attraction which favoured certain pitches over others, ostensibly the tonics of the modern major and minor system. An ICP model is described that calculates the level of tonal attraction between adjacent musical elements. The predictions of the model are shown to be consistent with music-theoretic accounts of common practice period tonality, including Piston's Table of Usual Root Progressions. The development of tonality is illustrated with the historical quotations of commentators from the sixteenth to the eighteenth centuries, and can be characterised as follows. At the beginning of the seventeenth century multiple 'finals' were possible, each associated with a different interval configuration (mode). By the end of the seventeenth century, however, only two interval configurations were in regular use: those pertaining to the modern majorminor key system. The implications of this development are discussed with respect interval cycles and their hypothesised effect within music.

show abstract

Objective Evaluation of Tonal Fitness for Chord Progressions Using the Tonal Interval Space

Navarro-Cáceres

Caetano

Bernardes

2020

Artificial Intelligence in Music, Sound, Art and Design

View full text Add to dashboard Cite

Chord progressions are core elements of Western tonal harmony regulated by multiple theoretical and perceptual principles. Ideally, objective measures to evaluate chord progressions should reflect their tonal fitness. In this work, we propose an objective measure of the fitness of a chord progression within the Western tonal context computed in the Tonal Interval Space, where distances capture tonal music principles. The measure considers four parameters, namely tonal pitch distance, consonance, hierarchical tension and voice leading between the chords in the progression. We performed a listening test to perceptually assess the proposed tonal fitness measure across different chord progressions, and compared the results with existing related models. The perceptual rating results show that our objective measure improves the estimation of a chord progression's tonal fitness in comparison with existing models.

show abstract

Modelling Tonal Attraction Between Adjacent Musical Elements

Cited by 18 publications

References 45 publications

Quantum approaches to music cognition

Quantum approaches to music cognition

Modes on the Move: Interval Cycles and the Emergence of Major-Minor Tonality

Objective Evaluation of Tonal Fitness for Chord Progressions Using the Tonal Interval Space

Contact Info

Product

Resources

About