Musical Tension and the Interaction of Dynamic Auditory Parameters

Granot, Roni; Eitan, Zohar

doi:10.1525/mp.2011.28.3.219

Cited by 42 publications

(60 citation statements)

References 52 publications

(46 reference statements)

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“…In the former category are psychoacoustic features such as loudness, timbre, and pitch register. Dynamics has been discussed frequently as a contributor to tension (Burnsed & Sochinski, 1998Granot & Eitan, 2011;Ilie & Thompson, 2006;Krumhansl, 1996;Misenhelter, 2001;Nielsen 1983Nielsen , 1987. From a biological perspective, loudness is a potential warning sign of danger and is subject to reflexive response (Granot & Eitan, 2011;Huron, 2006).…”

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confidence: 99%

“…Dynamics has been discussed frequently as a contributor to tension (Burnsed & Sochinski, 1998Granot & Eitan, 2011;Ilie & Thompson, 2006;Krumhansl, 1996;Misenhelter, 2001;Nielsen 1983Nielsen , 1987. From a biological perspective, loudness is a potential warning sign of danger and is subject to reflexive response (Granot & Eitan, 2011;Huron, 2006). Unlike the case for loudness, relatively few studies have examined pitch register explicitly (Granot & Eitan 2011;Ilie & Thompson, 2006).…”

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A Parametric, Temporal Model of Musical Tension

Farbood

2012

Music Perception

140

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tension in music is a high-level concept that is difficult to formalize due to its complex, multidimensional nature. This paper proposes a quantitative model of musical tension that takes into account the dynamic, temporal aspects of listening. The model is based on data from two experiments. The first was a web-based study that was designed to examine how individual musical parameters contribute directly to a listener's overall perception of tension and how those parameters interact. The second study was an in-lab experiment in which listeners were asked to provide continuous responses to longer, more complex musical stimuli. Both studies took into account a number of musical parameters including harmony, pitch height, melodic expectation, dynamics, onset frequency, tempo, meter, rhythmic regularity, and syncopation. As an initial step, linear and nonlinear models were explored for predicting tension given analytical descriptions of various musical parameters. These models were tested on the continuous-response data from Experiment 2 and shown to be insufficient. An alternate model was proposed based on the notion of a moving perceptual window in time and the concept of trend salience. High correlation with empirical data indicates that this parametric, temporal model accurately predicts tension judgments for complex musical stimuli.

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confidence: 99%

A Parametric, Temporal Model of Musical Tension

Farbood

2012

Music Perception

140

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“…In addition, it has been argued that correspondences can be affected depending on whether the stimuli used for testing vary in a discreet or continues manner, (Eitan 2013, Granot & Eitan 2011. For instance, while small physical size is often associated with high auditory pitch sounds and larger size with lower auditory pitch, a shrinking shape is associated with a fall in pitch and an expanding shape is best associated with a rise in pitch (Eitan, Schupak, Gotler, & Marks 2011).…”

Section: Standing Issues and Practical Suggestionsmentioning

confidence: 99%

The Parallels between the Study of Crossmodal Correspondence and the Design of Cross-Sensory Mappings

Tsiros

2017

Electronic Workshops in Computing

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The aim of this paper is to examine how recent research findings and methodologies from the field of cognitive science could be utilised to inform the design and evaluation of cross-modal mappings for multimodal user interaction. In this paper we argue that by using empirical methods to enact embodied knowledge about cross-modal correspondences, we can form an adequate empirical framework for the design of multimodal mappings that successfully align with prior perceptual knowledge. This alignment can significantly improve the human computer dialogue and the analytical, creative and pedagogical value of user interfaces.Display and interaction design. Mappings. Perceptual learning. Crossmodal correspondence.

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“…Moreover, descending melodic intervals at cadences are more ''natural'' than ascending intervals because the former are implicatively weaker in terms of registral direction (re: scale-steps 2-1 vs. 7-8)-all this based on the theory of the triplex scale (Figure 3). Like low, loud speaking, loud descending singing-from an emotional, affective point of view-creates very strong tension (Granot & Eitan, 2011), partly because it goes noncongruently against the closing of a falling line.…”

Section: Registral Direction Tension and Affectmentioning

confidence: 99%

Toward a Unified Theory of the I-R Model (Part 1)

Narmour

2015

Music Perception

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By extensively revising the I-R model of melody (Meyer, 1973; Narmour, 1984, 1989, 1990, 1991a, 1991b, 1992, 1996, 2000) we can explain the structural functions of many musical parameters. Here I will deal with melodic interval, registral direction, pitch height, scale-step (major and minor), duration (interval, length, rate, speed, and pace), tempo, dynamics (loudness), and texture (saving the other parameters for a later essay). By reconceptualizing the model’s core concept of functional directionality within parametric scales, only three isomorphic structural analogues become cognitively necessary, namely, process (and its variant duplication), reversal, and return. Attached signs (0, ∼, −, and +) augment the main symbols (P, D, and R) so as to track strength of implication, realization, and denial. A new theory of rhythmic structure is put forth. And with an aim toward theoretical unification, the reconfigured model confronts the combinatorial complexities of parametric interactions and offers convincing interpretations of congruence and noncongruence—the primary sources of musical affects. Works of Brahms, Debussy, Mussorgsky-Ravel, and Schoenberg are analyzed.

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Musical Tension and the Interaction of Dynamic Auditory Parameters

Cited by 42 publications

References 52 publications

A Parametric, Temporal Model of Musical Tension

A Parametric, Temporal Model of Musical Tension

The Parallels between the Study of Crossmodal Correspondence and the Design of Cross-Sensory Mappings

Toward a Unified Theory of the I-R Model (Part 1)

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