The Perception of Musical Tones

Rasch, Rudolf; Plomp, R.

doi:10.1016/b978-0-12-213562-0.50005-x

Cited by 47 publications

(26 citation statements)

References 52 publications

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“…One possibility is that fairly low-level psychoacoustic factors, such as the consonance and dissonance of tones, come into play. Although a thorough review of consonance and dissonance cannot be undertaken here (see Rasch & Plomp, 1999, for such a review), there are any number of reasons to think that such a factor might play a role in this context. First, the discrimination of consonant (the subjective experience of two or more simultaneous frequencies sounding pleasant) versus dissonant (the subjective experience of two or more simultaneous frequencies sounding unpleasant) sounds is one that can be seen even in infancy (e.g., Schellenberg & Trainor, 1996;Schellenberg & Trehub, 1996;Trainor & Heinmiller, 1998;Zentner & Kagan, 1996, thus rendering it a very fundamental property of musical sequences.…”

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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“…Sounds are perceived in terms of pitch , loudness, timbre, and other features typically analyzed by psychologists and psychophysicists (e.g. , Rasch & Plomp, 1999). Alternatively, listeners can focus on the distal stimulus.…”

Section: Everyday Versus Musical Listeningmentioning

confidence: 99%

“…Certain tasks may demand a particular listening mode. For example, discriminating between different melodies (e .g., Dowling , 1986) versus identifying the timbre of a voice or instrument (e.g., Rasch & Plomp, 1999). In the present controlled experiment, stimuli did not demand one or other mode and instructions were used to focus participants' attention on the sound or its source.…”

Section: Everyday Versus Musical Listeningmentioning

confidence: 99%

Extracting Meaning from Sound: Nomic Mappings, Everyday Listening, and Perceiving Object Size from Frequency

Coward

Stevens

2004

Psychol Rec

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In developing a theoretical framework for the field of ecological acoustics, Gaver (1993b) distinguished between the experience of musical listening (perceiving sounds) and everyday listening (perceiving sources of sounds). Within the everyday listening experience, Gaver (1993a) proposed that the frequency of an object results from, and therefore specifies, the size of that object. The relation in which frequency and object size stand to one another is an example of a nomic mapping. A symbolic mapping involves the pairing of unrelated dimensions and, relative to a nomic mapping, requires an additional step in recognition and learning. Using a perceptual identification task, an experiment investigated the hypothesis that nomic mappings are identified more easily than symbolic mappings. It was predicted that the advantage manifests only during the everyday listening experience, and that the initially superior recognition of nomic mappings is equaled by symbolic mappings after extended exposure. The results provided support for the hypotheses. Theoretical implications of the differential recognition of nomic and symbolic mappings are discussed, together with practical applications of nomic relations.While speech and music perception have received considerable attention in experimental psychology (Deutsch, 1999;Jusczyk, 1997), relatively little is known about the way in which humans perceive other environmental sounds. Recent research in ecological acoustics has focused on the way in which a sound may contain meaningful information for the listener (e.g

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“…First, the tasks used to derive the mel scale have ambiguous interpretations (e.g., half as high), and responses to the tasks are not always reliable (Rasch & Plomp, 1999). It has been argued that the mel scale cannot be derived from other measures of pitch, such as difference limens, critical bands, or equal cochlear distances (Greenwood, 1997, p. 200), and different strategies of deriving the mel scale yield somewhat different functions (Lewis, 1942; but see Schneider, Parker, & Upenieks, 1982).…”

mentioning

confidence: 99%