“…The design of this experiment derives from one component from a "hybrid" theoretical model, which encompasses elements from three different theories -Schenkerian method, neo-Riemannian theory and pitchclass set theory (Baker, 1980(Baker, & 1990Hicken, 1974;Lewis, 1981, Morrison, 1991Baker, 1983;Cinnamon, 1993;Pople, 1989;Travis 1959;Wilson, 1984). This model was created to address the harmonic issues posed by post-tonal repertoire, more specifically neoclassical works, as these works contains vestiges of tonality as well as post-tonal elements.…”