Recursos de colección

The KnowledgeBank at OSU (75.784 recursos)

Knowledge Bank contains collections of presentations, publications and reports related to Ohio State University.

Volume 1

Mostrando recursos 1 - 20 de 48

  1. Announcements


    Calls for Papers and Conference announcements

  2. Announcements

    Butler, David
    Calls for Papers and Conference announcements

  3. Commentary on Cook & Fujisawa's "The Psychophysics of Harmony Perception: Harmony is a Three-Tone Phenomenon"

    Parncutt, Richard
    Cook & Fujisawa (2006) point out that, contrary to the predictions of psychoacoustic models, the diminished triad is more consonant and prevalent in western tonal music than the augmented. A possible simple explanation is that the diminished triad often functions as an incomplete dominant (major-minor) seventh chord, the most prevalent tetrad in mainstream tonal music.

  4. Commentary on Cook & Fujisawa's "The Psychophysics of Harmony Perception: Harmony is a Three-Tone Phenomenon"

    Parncutt, Richard
    Cook & Fujisawa (2006) point out that, contrary to the predictions of psychoacoustic models, the diminished triad is more consonant and prevalent in western tonal music than the augmented. A possible simple explanation is that the diminished triad often functions as an incomplete dominant (major-minor) seventh chord, the most prevalent tetrad in mainstream tonal music.

  5. Commentary on Keith Mashinter's "Calculating Sensory Dissonance: Some Discrepancies Arising from the Models of Kameoka & Kuriyagawa, and Hutchinson & Knopoff"

    Parncutt, Richard
    Mashinter’s (2006) mathematical model of sensory dissonance neglects the dependence of roughness on waveform, the role of masking, the distribution of roughness across critical bands, the possible positive contribution of fusion or toneness to euphony, and the familiarity and music-theoretical functions of a sonority. Of course not all these aspects can reasonably be included in a model, but they can affect the data with which its predictions are compared.

  6. Commentary on Keith Mashinter's "Calculating Sensory Dissonance: Some Discrepancies Arising from the Models of Kameoka & Kuriyagawa, and Hutchinson & Knopoff"

    Parncutt, Richard
    Mashinter’s (2006) mathematical model of sensory dissonance neglects the dependence of roughness on waveform, the role of masking, the distribution of roughness across critical bands, the possible positive contribution of fusion or toneness to euphony, and the familiarity and music-theoretical functions of a sonority. Of course not all these aspects can reasonably be included in a model, but they can affect the data with which its predictions are compared.

  7. Commentary on "The Processing of Pitch and Scale: An ERP Study of Musicians Trained Outside of the Western Musical System" by Bischoff Renninger, Wilson, and Donchin

    Janata, Petr
    Electrophysiological measures of expectancy violation processing by the brain, such as the P300 component of the event-related potential, have provided insight into the way in which humans with varying amounts of musical experience maintain representations of musical information, in particular tonal representations. Bischoff Renninger and colleagues (2006) seek to extend this work by examining the P300 in the context of the very interesting topic of cross-cultural music perception, using Western listeners who either have or have not undergone training in Javanese music. Their study highlights the myriad issues and complexities of experimental design and analysis that must be addressed if one is to conduct an ethologically compelling and...

  8. Commentary on "The Processing of Pitch and Scale: An ERP Study of Musicians Trained Outside of the Western Musical System" by Bischoff Renninger, Wilson, and Donchin

    Janata, Petr
    Electrophysiological measures of expectancy violation processing by the brain, such as the P300 component of the event-related potential, have provided insight into the way in which humans with varying amounts of musical experience maintain representations of musical information, in particular tonal representations. Bischoff Renninger and colleagues (2006) seek to extend this work by examining the P300 in the context of the very interesting topic of cross-cultural music perception, using Western listeners who either have or have not undergone training in Javanese music. Their study highlights the myriad issues and complexities of experimental design and analysis that must be addressed if one is to conduct an ethologically compelling and...

  9. The Processing of Pitch and Scale: An ERP Study of Musicians Trained Outside of the Western Musical System

    Bischoff Renninger, Laura; Wilson, Michael P.; Donchin, Emanuel
    The current study extends the efforts of Bischoff Renninger, Granot and Donchin (2003) to non-Western musical systems and focuses specifically on Event-Related Potential (ERP) responses to scalar deviations within the Javanese pélog scale by groups of musicians trained within the Western and Javanese systems. The principal aim is to ascertain whether results found in previous experiments may be obtained cross-culturally. Participants include five subjects trained in the Western system only (control group) and five subjects trained in both the Western and Javanese systems (experimental group). Tasks include identifying scalar deviations within the Western diatonic scale, identifying scalar deviations within the...

  10. The Processing of Pitch and Scale: An ERP Study of Musicians Trained Outside of the Western Musical System

    Bischoff Renninger, Laura; Wilson, Michael P.; Donchin, Emanuel
    The current study extends the efforts of Bischoff Renninger, Granot and Donchin (2003) to non-Western musical systems and focuses specifically on Event-Related Potential (ERP) responses to scalar deviations within the Javanese pélog scale by groups of musicians trained within the Western and Javanese systems. The principal aim is to ascertain whether results found in previous experiments may be obtained cross-culturally. Participants include five subjects trained in the Western system only (control group) and five subjects trained in both the Western and Javanese systems (experimental group). Tasks include identifying scalar deviations within the Western diatonic scale, identifying scalar deviations within the...

  11. Review: Eric Clarke, Ways of Listening: An Ecological Approach to the Perception of Musical Meaning


    review of Eric Clarke’s "Ways of Listening: An Ecological Approach to the Perception of Musical Meaning"

  12. Review: Eric Clarke, Ways of Listening: An Ecological Approach to the Perception of Musical Meaning

    Spiegelberg, Scott
    review of Eric Clarke’s "Ways of Listening: An Ecological Approach to the Perception of Musical Meaning"

  13. The Psychophysics of Harmony Perception: Harmony is a Three-Tone Phenomenon


    In line with musical “common sense” (but contrary to the century-old tradition of musical psychophysics), we show that harmony is an inherently three-tone phenomenon. Previous attempts at explaining the affective response to major/minor chords and resolved/unresolved chords on the basis of the summation of interval dissonance have been notably unsuccessful, but consideration of the relative size of the intervals contained in triads leads directly to solutions to these historical problems. At the heart of our model is Leonard Meyer’s idea from 1956 concerning “intervallic equidistance” – i.e., the perception of “tension” inherent to any three-tone combination that has two intervals...

  14. The Psychophysics of Harmony Perception: Harmony is a Three-Tone Phenomenon

    Cook, Norman D.; Fujisawa, Takashi X.
    In line with musical “common sense” (but contrary to the century-old tradition of musical psychophysics), we show that harmony is an inherently three-tone phenomenon. Previous attempts at explaining the affective response to major/minor chords and resolved/unresolved chords on the basis of the summation of interval dissonance have been notably unsuccessful, but consideration of the relative size of the intervals contained in triads leads directly to solutions to these historical problems. At the heart of our model is Leonard Meyer’s idea from 1956 concerning “intervallic equidistance” – i.e., the perception of “tension” inherent to any three-tone combination that has two intervals...

  15. Commentary on William Thomson's "Pitch Frames as Melodic Archetypes"

    Temperley, David
    While the concept of the perceptual “pitch frame” resembles leading theories of pitch structure in music in some respects, it contains some innovative elements that are discussed in this commentary. Additionally, the commentary focuses on the question of whether the “pitch frame” is a temporal or atemporal construct.

  16. Commentary on William Thomson's "Pitch Frames as Melodic Archetypes"

    Temperley, David
    While the concept of the perceptual “pitch frame” resembles leading theories of pitch structure in music in some respects, it contains some innovative elements that are discussed in this commentary. Additionally, the commentary focuses on the question of whether the “pitch frame” is a temporal or atemporal construct.

  17. Pitch Frames as Melodic Archetypes


    In our history we have recognized scales of some variety as keystones to music’s pitch structure. And yet, empirical studies of perception and archeological appraisals of human evolution confirm an unchanging cognitive/perceptual ground for the musical experience; they render the ragas and modes and tonoi and scales of the past to be understood only as "local" explanations for things better understood by the space/time kinetics of limited elements rather than by frozen note paradigms. This paper concludes that an empirical study of music from a broad variety of times and cultures argues for a more elemental basis: thus coinage of...

  18. Pitch Frames as Melodic Archetypes

    Thomson, William
    In our history we have recognized scales of some variety as keystones to music’s pitch structure. And yet, empirical studies of perception and archeological appraisals of human evolution confirm an unchanging cognitive/perceptual ground for the musical experience; they render the ragas and modes and tonoi and scales of the past to be understood only as "local" explanations for things better understood by the space/time kinetics of limited elements rather than by frozen note paradigms. This paper concludes that an empirical study of music from a broad variety of times and cultures argues for a more elemental basis: thus coinage of...

  19. Calculating Sensory Dissonance: Some Discrepancies Arising from the Models of Kameoka & Kuriyagawa, and Hutchinson & Knopoff


    The phenomena of consonance and dissonance are thought to involve both learned and innate components. Work by Greenwood (1961) and Plomp and Levelt (1965) established that an aspect of dissonance perception can be traced to unique physiological properties of the hearing organ. This aspect of dissonance is commonly referred to as sensory dissonance. Two computable models of sensory dissonance are described and discussed—those of Kameoka and Kuriyagawa (1969a; 1969b) and Hutchinson and Knopoff (1978). Software implementations of both models are provided, and their behaviors explored. Both models exhibit a number of conceptual and technical problems.

  20. Calculating Sensory Dissonance: Some Discrepancies Arising from the Models of Kameoka & Kuriyagawa, and Hutchinson & Knopoff

    Mashinter, Keith
    The phenomena of consonance and dissonance are thought to involve both learned and innate components. Work by Greenwood (1961) and Plomp and Levelt (1965) established that an aspect of dissonance perception can be traced to unique physiological properties of the hearing organ. This aspect of dissonance is commonly referred to as sensory dissonance. Two computable models of sensory dissonance are described and discussed—those of Kameoka and Kuriyagawa (1969a; 1969b) and Hutchinson and Knopoff (1978). Software implementations of both models are provided, and their behaviors explored. Both models exhibit a number of conceptual and technical problems.

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