{"title":"在无调性语境中听四和弦","authors":"J. Brown, Nathan Cornelius","doi":"10.1080/09298215.2020.1749285","DOIUrl":null,"url":null,"abstract":"This study examines the perception of tetrachords. Musicians were divided into four groups. One group heard a Bartók composition predominated by [0167]; other groups heard it recomposed with any instance of [0167] replaced with [0148], [0268], or [0257]. Analysis of ratings before and after familiarisation suggests that participants recognized the tetrachord from familiarisation, no matter which set-class was prominent in familiarisation and despite confounds of hearing real music. Tetrachords with similar intervals to the motive were also rated higher after familiarisation. Notably, participants demonstrated ability to generalise from a melodic presentation in familiarisation to a harmonic presentation in ratings phases.","PeriodicalId":16553,"journal":{"name":"Journal of New Music Research","volume":null,"pages":null},"PeriodicalIF":1.1000,"publicationDate":"2020-04-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/09298215.2020.1749285","citationCount":"0","resultStr":"{\"title\":\"Hearing tetrachords in an atonal context\",\"authors\":\"J. Brown, Nathan Cornelius\",\"doi\":\"10.1080/09298215.2020.1749285\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"This study examines the perception of tetrachords. Musicians were divided into four groups. One group heard a Bartók composition predominated by [0167]; other groups heard it recomposed with any instance of [0167] replaced with [0148], [0268], or [0257]. Analysis of ratings before and after familiarisation suggests that participants recognized the tetrachord from familiarisation, no matter which set-class was prominent in familiarisation and despite confounds of hearing real music. Tetrachords with similar intervals to the motive were also rated higher after familiarisation. Notably, participants demonstrated ability to generalise from a melodic presentation in familiarisation to a harmonic presentation in ratings phases.\",\"PeriodicalId\":16553,\"journal\":{\"name\":\"Journal of New Music Research\",\"volume\":null,\"pages\":null},\"PeriodicalIF\":1.1000,\"publicationDate\":\"2020-04-13\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"https://sci-hub-pdf.com/10.1080/09298215.2020.1749285\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Journal of New Music Research\",\"FirstCategoryId\":\"94\",\"ListUrlMain\":\"https://doi.org/10.1080/09298215.2020.1749285\",\"RegionNum\":4,\"RegionCategory\":\"计算机科学\",\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"Q4\",\"JCRName\":\"COMPUTER SCIENCE, INTERDISCIPLINARY APPLICATIONS\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Journal of New Music Research","FirstCategoryId":"94","ListUrlMain":"https://doi.org/10.1080/09298215.2020.1749285","RegionNum":4,"RegionCategory":"计算机科学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"Q4","JCRName":"COMPUTER SCIENCE, INTERDISCIPLINARY APPLICATIONS","Score":null,"Total":0}
This study examines the perception of tetrachords. Musicians were divided into four groups. One group heard a Bartók composition predominated by [0167]; other groups heard it recomposed with any instance of [0167] replaced with [0148], [0268], or [0257]. Analysis of ratings before and after familiarisation suggests that participants recognized the tetrachord from familiarisation, no matter which set-class was prominent in familiarisation and despite confounds of hearing real music. Tetrachords with similar intervals to the motive were also rated higher after familiarisation. Notably, participants demonstrated ability to generalise from a melodic presentation in familiarisation to a harmonic presentation in ratings phases.
期刊介绍：
The Journal of New Music Research (JNMR) publishes material which increases our understanding of music and musical processes by systematic, scientific and technological means. Research published in the journal is innovative, empirically grounded and often, but not exclusively, uses quantitative methods. Articles are both musically relevant and scientifically rigorous, giving full technical details. No bounds are placed on the music or musical behaviours at issue: popular music, music of diverse cultures and the canon of western classical music are all within the Journal’s scope. Articles deal with theory, analysis, composition, performance, uses of music, instruments and other music technologies. The Journal was founded in 1972 with the original title Interface to reflect its interdisciplinary nature, drawing on musicology (including music theory), computer science, psychology, acoustics, philosophy, and other disciplines.
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