Recognition of Tone Series Containing Tonic Triads

Croonen, W. L. M.

doi:10.2307/40285530

Cited by 4 publications

(2 citation statements)

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“…One might assume logically that key distance effects would depend on how strongly a melody actually induces a key in the listener. Several characteristics in melodic sequences have been shown to playa role in key induction: (1) the presence of the tones of a diatonic scale (Bartlett & Dowling, 1980;Dowling, 1978Dowling, , 1991Krum- hansl, 1990), (2) the presence of rare intervals, such as the tritone (Brown & Butler, 1981;Butler, 1983Butler, , 1989, (3) the order ofthe tones (Bartlett & Dowling, 1980;Bharucha, 1984b;Brown, Butler, & Jones, 1994;Deutsch, 1984), and (4) the underlying harmony (Croonen, 1991;Croonen & Kop, 1989;Cuddy et al, 1981). A second factor is related to the possibility that a transposition may be perceived as a shift on the scale of the original melody, which will be referred to as a tonal transposition.…”

Section: Similarity Judgments On Transposed Tonal Melodiesmentioning

confidence: 99%

The influence of height and key on the perceptual similarity of transposed melodies

Egmond

Povel

Maris

1996

Perception & Psychophysics

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In two experiments, the perceptual similarity between a strong tonal melody and various transpositions was investigated using a paradigm in which listeners compared the perceptual similarity of a melody and its transposition with that of the same melody and another transposition. The paradigm has the advantage that it provides a direct judgment regarding the similarity of transposed melodies. The experimental results indicate that the perceptual similarity of a strong tonal melody and its transposition is mainly determined by two factors: (1) the distance on the height dimension between the original melody and its transposition (pitch distance), and (2) the distance between keys as inferred from the circle of fifths (key distance). The major part of the variance is explained by the factor pitch distance, whereas key distance explains only a small part.

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Section: Similarity Judgments On Transposed Tonal Melodiesmentioning

confidence: 99%

The influence of height and key on the perceptual similarity of transposed melodies

Egmond

Povel

Maris

1996

Perception & Psychophysics

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“…The latter claim, that chunking is supported by the presence of melodic cells with a clear verbal label, has been empirically supported by the finding that the presence of major triads starting on the tonic of a given key supported the memory for musical sounds (Croonen, 1991). Discussing Miller's famous article on chunking, Shiffrin and Nosofsky (1994) claimed that "a chunk is a pronounceable label that may be cycled within short-term memory" (p. 360).…”

Section: Chunking In Musical Information Processingmentioning

confidence: 99%

Chunking in tonal contexts: Information compression during serial recall of visually presented musical notes

Lörch

2021

Psychology of Music

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Chunking is defined as information compression by means of encoding meaningful units. To advance the understanding of chunking in musical memory, the present study tested characteristics of melodic sequences that might enable a parsimonious memory representation, namely, the presence of a clear tonal context and of melodic cells with clear labels. Musical note symbols, which formed either triads (Experiment 1) or cadences (Experiment 2), were presented visually and sequentially to musically experienced participants for immediate serial recall. The melodic sequences were varied on the within-participant factors list length (long vs. short list) and tonal structure (chunking-supportive vs. chunking-obstructive). Chunking-supportive sequences contained tones from a single diatonic key that formed melodic cells with a clear label, such as “C major triad”. Transitional errors showed that participants grouped notes into melodic cells. Mixed logistic regression modeling revealed that recall was more accurate in chunking-supportive sequences and that this advantage was more pronounced for more experienced participants in the long list length condition of Experiment 2. The findings suggest that a clear tonal context and melodic cells with clear labels benefit chunking in melodic processing, but that the subtleties of the process are additionally influenced by type, size, and number of melodic cells.

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Perception and Cognition in Music: Musically Trained and Untrained Adults Compared to Sixth-Grade and Eighth-Grade Children

Madsen¹,

Madsen

2002

Journal of Research in Music Education

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We investigated different levels of age and musical training in relation to subjects' melodic perception in music by testing their ability to perceive a target melody when extremely similar melodies are interpolated between this original melody and its reoccurrence. Participants were sixth graders, eighth graders, young adults, and trained musicians who listened to 16 original melodies, each of which was followed by 8 extremely similar melodies. Two different experiments (A and B) tested different arrangements of mode and meter interpolations. We also asked the adult musicians to specify cognitive strategies for accomplishing the task. Results demonstrated greater accuracy among experienced musicians, yet results show that even young students are capable of remembering and discriminating similar melodies with high accuracy. Written analyses of strategies used by musicians indicated they considered the task extremely difficult and that their past musical training helped with the task; they also indicated that children could not do this task, which was not the case. they are played at different serial positions within sets of highly similar melodies. Since all the melodies in the experiment are quite similar, the study tests the relative interference effects of the passage of time and number of interpolated melodies between the original presentation of the target melody and its appearance in the set of test melodies. We also asked adult musicians to specify cognitive strategies for accomplishing the task and classified responses by frequency of occurrence.The study represents a continuing line of research that was begun more than three decades ago concerning perception and cognition of interpolated melodies (Collings, 1966; Madsen, Collings, McLeod, & Madsen, 1969; Madsen & Staum, 1983; Madsen, 2000; Madsen & Madsen, 2001).Research concerning perception and how subjects are able to remember has been both long and continuous because tonal (musical) memory and discrimination seem to be important (Deutsch, 1972(Deutsch, , 1973(Deutsch, , 1975(Deutsch, , 1979Dowling, 1973;Murdock, 1974;Tanguiane, 1994). With verbal memory, the detrimental effect of prior learning (proactive interference) and temporally later learning (retroactive interference) are affected by the number of items in a sequence, by the length or amount of time occurring between items, by the length of time between sequence presentation and beginning of recall, and by the number of prior sequences learned (Murdock, 1974). Grouping of information in "chunks" also seems important in verbal memory (Miller, 1956).In tonal memory, there are myriad ways that researchers have investigated memory and interference for isolated tones. Interference for tones seems to be generalized across all octaves (Deutsch, 1973), inhibited by semantic content (Long, 1977), and enhanced by the interpolation of familiar melodies (Dowling, 1973). Memory for tones also seems to be affected by attending to interpolations (Deutsch, 1971), by the similarity and repetitions of tones wit...

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Recognition of Tone Series Containing Tonic Triads

Cited by 4 publications

References 24 publications

The influence of height and key on the perceptual similarity of transposed melodies

The influence of height and key on the perceptual similarity of transposed melodies

Chunking in tonal contexts: Information compression during serial recall of visually presented musical notes

Perception and Cognition in Music: Musically Trained and Untrained Adults Compared to Sixth-Grade and Eighth-Grade Children

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