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Music Perception

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Tone Profiles of Isolated Musical Chords: Psychoacoustic Versus Cognitive Models
Richard Parncutt, Sabrina Sattmann, Andreas Gaich, Annemarie Seither-Preisler
Music Perception: An Interdisciplinary Journal, Vol. 36 No. 4, April 2019; (pp. 406-430) DOI: 10.1525/mp.2019.36.4.406
Richard Parncutt
University of Graz, Graz, Austria
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Sabrina Sattmann
University of Graz, Graz, Austria
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Andreas Gaich
University of Graz, Graz, Austria
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Annemarie Seither-Preisler
University of Graz, Graz, Austria
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Abstract

We investigated perception of virtual pitches at missing fundamentals (MFs) in musical chords of three chromas (simultaneous trichords). Tone profiles for major, minor, diminished, augmented, suspended, and four other trichords of octave-complex tones were determined. In Experiment 1, 40 musicians rated how well a tone went with a preceding chord; in Experiment 2, whether the tone was in the chord. Mean ratings for nine non-chord tones were compared with predictions of four models: MFs, diatonicity, 5th-interval relations, and tones that complete familiar tetrachords (e.g., 7th chords). Profiles were accounted for by all four models in Experiment 1, and two (MFs, 5th relations) in Experiment 2. Overall, effect size was largest for MFs. In Experiment 3, listeners heard a chord and chose a matching tone from 12 possibilities. Profile peaks were predicted by pitch models (usually, the lower tone of a perfect 5th). Participants who more likely attended to MFs in isolated harmonic complex tones (fundamental listeners) were not more sensitive to MFs in chords, suggesting their responses instead depended on statistical properties of familiar music. We propose a speculative, psychohistoric explanation: MFs influenced the historical development of musical structure, which in turn influenced the perception of enculturated modern listeners.

  • harmony
  • tonality
  • pitch
  • missing fundamental
  • chord root

Footnotes

  • We thank Erica Bisesi, Andreas Fuchs, Fabio Kaiser, Daniel Reisinger, and Craig Sapp for computing support and assistance with music database analyses.

    Parts of this paper were presented at the Ninth Triennial Conference of the European Society for the Cognitive Sciences of Music, Manchester, August 17-22, 2015.

  • Received June 24, 2016.
  • Accepted February 3, 2019.
  • © 2019 by The Regents of the University of California
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Vol. 36 No. 4, April 2019

Music Perception: An Interdisciplinary Journal: 36 (4)
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Tone Profiles of Isolated Musical Chords: Psychoacoustic Versus Cognitive Models
Richard Parncutt, Sabrina Sattmann, Andreas Gaich, Annemarie Seither-Preisler
Music Perception: An Interdisciplinary Journal, Vol. 36 No. 4, April 2019; (pp. 406-430) DOI: 10.1525/mp.2019.36.4.406
Richard Parncutt
University of Graz, Graz, Austria
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Sabrina Sattmann
University of Graz, Graz, Austria
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Andreas Gaich
University of Graz, Graz, Austria
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Annemarie Seither-Preisler
University of Graz, Graz, Austria
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Tone Profiles of Isolated Musical Chords: Psychoacoustic Versus Cognitive Models
Richard Parncutt, Sabrina Sattmann, Andreas Gaich, Annemarie Seither-Preisler
Music Perception: An Interdisciplinary Journal, Vol. 36 No. 4, April 2019; (pp. 406-430) DOI: 10.1525/mp.2019.36.4.406
Richard Parncutt
University of Graz, Graz, Austria
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Sabrina Sattmann
University of Graz, Graz, Austria
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Andreas Gaich
University of Graz, Graz, Austria
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Annemarie Seither-Preisler
University of Graz, Graz, Austria
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  • Article
    • Abstract
    • Method
    • Auditory Ambiguity Test (AAT)
    • Experiment 1
    • Experiment 2
    • A Comparison of Four Theories
    • Results for Fundamental Versus Spectral Listeners
    • Experiment 3
    • Qualitative Data
    • Correlation Analyses
    • General Discussion
    • Conclusion
    • Footnotes
    • Notes
    • References
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