Tonpsychologie

Stumpf, Carl

doi:10.1017/cbo9781139833769.004

Cited by 74 publications

(117 citation statements)

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“…The second most fused interval is the octave, whereas the third most fused interval is the perfect fifth (DeWitt & Crowder, 1987;Stumpf, 1890). Following Stumpf, many music researchers have assumed that tonal fusion and tonal consonance are the same phenomenon and that both arise from simple integer frequency ratios.…”

Section: Tonal Fusion Principlementioning

confidence: 99%

Tone and Voice: A Derivation of the Rules of Voice-Leading from Perceptual Principles

Huron¹

2001

Music Perception

228

225

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The traditional rules of voice-leading in Western music are explicated using experimentally established perceptual principles. Six core principles are shown to account for the majority of voice-leading rules given in historical and contemporary music theory tracts. These principles are treated in a manner akin to axioms in a formal system from which the traditional rules of voice-leading are derived. Nontraditional rules arising from the derivation are shown to predict formerly unnoticed aspects of voice-leading practice. In addition to the core perceptual principles, several auxiliary principles are described. These auxiliary principles are occasionally linked to voice-leading practice and may be regarded as compositional "options" that shape the music-making in perceptually unique ways. It is suggested that these auxiliary principles distinguish different types of part writing, such as polyphony, homophony, and close harmony. A theory is proposed to account for the aesthetic origin of voice-leading practices.

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Section: Tonal Fusion Principlementioning

confidence: 99%

Tone and Voice: A Derivation of the Rules of Voice-Leading from Perceptual Principles

Huron¹

2001

Music Perception

228

225

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“…The topic of AP has interested psychologists for a long time (e.g., Revesz, 1913;Stumpf, 1883;Wellek, 1963). Some investigators have argued that AP possessors are rare even among musicians and that AP is, therefore, a special endowment.…”

Section: Musical Pitch Identification By Absolute Pitch Possessorsmentioning

confidence: 99%

Musical pitch identification by absolute pitch possessors

Miyazaki

1988

Perception & Psychophysics

161

160

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“…Also, the standard music notation system maps pitches to vertical locations, whereby notes corresponding to higher pitches are represented with higher spatial positions on the staff. Stumpf (1883) was looking for the origin of the association between pitch height and the vertical spatial dimension which emerged consistently across languages. He argued that cross-modality associative bonds and relations of similarity are used as effective metaphors but, in fact, no real spatial characterization is intrinsic to the tonal sensation.…”

Section: Introductionmentioning

confidence: 99%

Spatial representation of pitch height: the SMARC effect

et al. 2006

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Through the preferential pairing of response positions to pitch, here we show that the internal representation of pitch height is spatial in nature and affects performance, especially in musically trained participants, when response alternatives are either vertically or horizontally aligned. The finding that our cognitive system maps pitch height onto an internal representation of space, which in turn affects motor performance even when this perceptual attribute is irrelevant to the task, extends previous studies on auditory perception and suggests an interesting analogy between music perception and mathematical cognition. Both the basic elements of mathematical cognition (i.e. numbers) and the basic elements of musical cognition (i.e. pitches), appear to be mapped onto a mental spatial representation in a way that affects motor performance. q

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Tonpsychologie

Cited by 74 publications

References 0 publications

Tone and Voice: A Derivation of the Rules of Voice-Leading from Perceptual Principles

Tone and Voice: A Derivation of the Rules of Voice-Leading from Perceptual Principles

Musical pitch identification by absolute pitch possessors

Spatial representation of pitch height: the SMARC effect

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