Perceptual tests of musical key-finding

Schmuckler, Mark A.; Tomovski, Robert

doi:10.1037/e536982012-709

Cited by 4 publications

(10 citation statements)

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“…A much more informative test would be to choose contexts in which the models make contrasting predictions and determine which approach best predicts listeners' percepts in response to such passages. A similar strategy was applied by Schmuckler and Tomovski (2000) in comparing the Krumhansl-Schmuckler algorithm and the intervallic rivalry model of Brown and Butler (Brown, 1988; Brown & Butler, 1981; Butler & Brown, 1994).…”

Section: Discussionmentioning

confidence: 99%

Perceptual Tests of an Algorithm for Musical Key-Finding.

Schmuckler¹,

Tomovski²

2005

Journal of Experimental Psychology: Human Perception and Perfor

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Perceiving the tonality of a musical passage is a fundamental aspect of the experience of hearing music. Models for determining tonality have thus occupied a central place in music cognition research. Three experiments investigated 1 well-known model of tonal determination: the Krumhansl-Schmuckler key-finding algorithm. In Experiment 1, listeners' percepts of tonality following short musical fragments derived from preludes by Bach and Chopin were compared with predictions of tonality produced by the algorithm; these predictions were very accurate for the Bach preludes but considerably less so for the Chopin preludes. Experiment 2 explored a subset of the Chopin preludes, finding that the algorithm could predict tonal percepts on a measure-by-measure basis. In Experiment 3, the algorithm predicted listeners' percepts of tonal movement throughout a complete Chopin prelude. These studies support the viability of the Krumhansl-Schmuckler key-finding algorithm as well as a model of listeners' tonal perceptions of musical passages.

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Section: Discussionmentioning

confidence: 99%

Perceptual Tests of an Algorithm for Musical Key-Finding.

Schmuckler¹,

Tomovski²

2005

Journal of Experimental Psychology: Human Perception and Perfor

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“…The efficacy of these models and their abilities to predict listeners' judgments of musical key have been discussed extensively (Brown & Butler, 1981;Butler, 1989Butler, , 1990Cuddy, 1991;Krumhansl, 1990b;Schmuckler & Tomovski, 1997, 2000.…”

Section: The Perception Of Tonality and The Probe-tone Techniquementioning

confidence: 99%

“…by comparing the frequency of occurrence or duration (but see also Huron & Parncutt, 1993) of the component tones of a musical passage with the tonal hierarchy values shown in Figure 1. The efficacy of these models and their abilities to predict listeners' judgments of musical key have been discussed extensively (Brown & Butler, 1981;Butler, 1989Butler, , 1990Cuddy, 1991;Krumhansl, 1990b;Schmuckler & Tomovski, 1997, 2000.…”

Section: The Perception Of Tonality and The Probe-tone Techniquementioning

confidence: 99%

“…Along with correlates of musical structure, the data arising from the probe-tone method have also been found to be robust across a wide array of musical contexts and to be related to a number of psychological processes involved in music perception. For example, the probe-tone procedure, along with variants in which pairs of tones or simultaneous tones (called chords ) are used as the probes, has been successfully used when the musical context consisted of schematic key-defining passages (e.g., Bharucha & Krumhansl, 1983; Krumhansl, 1979; Krumhansl, Bharucha, & Castellano, 1982; Krumhansl, Bharucha, & Kessler, 1982; Krumhansl & Kessler, 1982; Krumhansl & Shepard, 1979); realistic musical materials, such as short melodies or more complex passages (e.g., Cuddy, 1993; Cuddy & Badertscher, 1987; Cuddy & Smith, 2000; Schmuckler, 1989; Schmuckler & Tomovski, 1997, 2000; Smith & Cuddy, 2003); 20th century musical materials representing either extensions of or alternatives to traditional tonal music (e.g., Krumhansl, Sandell, & Sargent, 1987; Krumhansl & Schmuckler, 1986b); and non-Western musics, such as North Indian (e.g., Castellano, Bharucha, & Krumhansl, 1984) and Balinese (e.g., Kessler, Hansen, & Shepard, 1984) music. In sum, the probe-tone technique provides a very general indicator of perceived tonal structure across a variety of musical contexts.…”

Section: The Perception Of Tonality and The Probe-tone Techniquementioning

confidence: 99%

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The Perception of Tonal Structure Through the Differentiation and Organization of Pitches.

Smith

Schmuckler

2004

Journal of Experimental Psychology: Human Perception and Perfor

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The role of 2 psychological processes, differentiation and organization, were examined in the perception of musical tonality. Differentiation distinguishes elements from one another and was varied in terms of the distribution of pitch durations within tone sequences. Organization establishes relations between differentiated elements and was varied in terms of either conformity with or deviation from a hierarchical description of tonality. Multiple experiments demonstrated that the perception of tonality depended on a minimal degree of differentiation in the distribution of the duration-but not frequency of occurrence-of pitches and only when pitch distributions were hierarchically organized. Moreover, the mere differentiation of the tonic from nontonic pitches was not sufficient to induce tonal percepts. These results are discussed in relation to tonal strength, musical expressiveness, and principles of auditory pattern processing.

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“…Successful key-inference algorithms have been devised using a variety of techniques (Aarden, 2003;Bellman, 2005;Holtzman, 1977;Krumhansl & Schmuckler, 1986;Sapp, 2008;Schmuckler & Tomovski, 1997, 2000Takeuchi, 1994;Temperley, 2007). However, reliable key inference by machine does not necessarily mean that listeners use an equivalent mental process.…”

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confidence: 99%

Minor mode cuing: Do composers signal minor mode sooner than major mode?

Ladinig¹,

Huron²

2013

Psychomusicology: Music, Mind, and Brain

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Westem-enculturated listeners use different tonal schémas when listening to major versus minor mode (e.g., C. L. Krumhansl and E. J. Kessler, 1982, Tracing the dynamic changes in perceived tonal organization in a spatial representation of musical keys. Psychological Review, Vol. 89, pp. 334-368). To avoid possible tonal ambiguity, one might expect compo.sers to attempt to disambiguate or clarify the mode soon after a work begins. The major mode is the most common tonal schema in Western music, so listeners might expect that an unknown work will be in the major mode. This suggests that composers might tend to cue listeners sooner when presenting works in the (rarer) minor mode. In this article, we report on 2 studies that test the hypothesis that mode-defining pitches occur earlier for minor-mode works. Surprisingly, the studies do not support this hypothesis: in fact, mode-defining scale tones (mediant and submediant) appear significantly later in notated music than in scrambled versions of the same scores, regardless of the mode. Repercussions of the results are discussed.

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Perceptual tests of musical key-finding

Cited by 4 publications

References 0 publications

Perceptual Tests of an Algorithm for Musical Key-Finding.

Perceptual Tests of an Algorithm for Musical Key-Finding.

The Perception of Tonal Structure Through the Differentiation and Organization of Pitches.

Minor mode cuing: Do composers signal minor mode sooner than major mode?

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