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Three experiments studied the perception of tone sequences having various degrees of musical structure. Ratings of perceived structure and ease of recognition in transposition were both influenced by harmonic progression (as defined by music theory), the contour (directional changes in pitch), and the excursion or repetition pattern within the sequence. The(More)
In the present research we examined the development of sensitivity to two musical relations significant in Western tonal music, the semitone and diatonic structure. Infants and preschool children were tested for their detection of a semitone change in any position of a five-note melody. Two standard melodies were used, one composed of diatonic tones only(More)
Thirty-six different binaural noises were formed by crossing six right-ear intensities of a broadband noise with the same six intensities in the left ear in a 6 X 6 factorial design. Children (6-7 years of age) and adults were presented with 2 of these 36 binaural noises on a trial and asked to indicate which noise was louder. In Experiment 1, the left- and(More)
The recognition of expressed emotion in music has been described as being Exploring the underlying mechanisms, in Handbook of Music and Emotion:. inventory on emotion modulation by music (IAAM) and another assessing personality dimensions (SKI). Results: hoajonline.com/journals/pdf/2054-4723-2-5.pdf. 2 Handbook of Musical Cognition and Development. Oxford.(More)
The psychological relevance of the musicians' concept of tonality was tested in the context of the music of J. S. Bach. Musically trained listeners were instructed to sing the musical scale that first came to mind immediately after hearing short excerpts from Preludes of J. S. Bach's The Well-Tempered Clavier. For each Prelude, the tonic (first note) and(More)
In three experiments, musically trained and untrained adults listened to three repetitions of a 5-note melodic sequence followed by a final melody with either the same tune as those preceding it or differing in one position by one semitone. In Experiment 1, ability to recognize the final sequence was examined as a function of redundancy at the levels of(More)
The perception of microtonal scales was investigated in a melodic identification task. In each trial, eight pure tones, equally-spaced in log frequency in the vicinity of 700 Hz, were presented in one of nine different serial orders. There were two experiments, each with 108 trials (six scales [tone sets] x nine serial orders x two repetitions). In each(More)
Over 70 collaborators around the world were to investigate singing from perspectives of development, education and well-being. A digital library was to facilitate distant team members' work on the same data, such as examples from voice studios around the world, (2011) PEVOC9]. Plans also included tools for annotation and analysis along with relevant(More)