Pitch-space journeys in two Chopin preludes.

2004 ◽  
pp. 171-191 ◽  
Author(s):  
Fred Lerdahl
Keyword(s):  
Pitch Space

Widening Unequal Tempered Microtonal Pitch Space for Metaphoric and Cognitive Purposes with New Prime Number Scales

Leonardo ◽  
2009 ◽  
Vol 42 (1) ◽  
pp. 94-95 ◽  
Author(s):  
Roger T. Dean
Keyword(s):  
Prime Number ◽  
Digital Processing ◽  
Number Series ◽  
Cognitive Studies ◽  
Pitch Space

I define a new set of microtonal scales based on the prime number series, and containing 41 to 91 pitches spread over the whole audible range, rather than subdividing the octave. I designed these scales for metaphorical purposes, and applied one within my performance piece Ubasuteyama (2008), written with Hazel Smith, for speaker, computer sound and digital processing. Simple timbres using partials bearing prime number ratios to their fundamental were also used to embody the scale. The scales and timbres will be amongst the subjects of cognitive studies of pitch combinations, of large and unbroken pitch intervals in melodies, and of the relation between scale and timbre.

scholarly journals The embodied and the cultural in the conceptualization of pitch space in Croatian

Jezikoslovlje ◽  
2019 ◽  
Vol 20 (2) ◽  
pp. 199-219
Author(s):  
Sanja Kiš Žuvela ◽  
Ana Ostroški Anić
Keyword(s):  
Human Perception ◽  
Cross Cultural ◽  
Space Thickness ◽  
Conceptual Metaphors ◽  
Image Schemas ◽  
Musical Pitch ◽  
The Creation ◽  
Linguistic Influences ◽  
Pitch Space

Most conceptual metaphors that conceptualize musical pitch rely heavily on human perception, images and experience structured through spatial and orientation image schemas such as the schema of verticality. The paper analyses conceptual metaphors that structure pitch relations in terms of vertical space, thickness and size as they appear in the Croatian musical terminology. The image schemas of verticality and size are analysed within the conceptual metaphors pitch relations are relations in vertical space and pitch relations are relations in size in order to define to what extent their motivation is embodied and universal, and what can be attributed to cross-cultural and cross-linguistic influences present in the creation and understanding of music terminology in Croatia.

Modeling Tonal Tension

2007 ◽  
Vol 24 (4) ◽  
pp. 329-366 ◽  
Author(s):  
Fred Lerdahl ◽  
Carol L. Krumhansl
Keyword(s):  
Tonal Music ◽  
Space Model ◽  
Attraction Model ◽  
Cognitive Principles ◽  
Data Point ◽  
Pitch Space

THIS STUDY PRESENTS AND TESTS a theory of tonal tension (Lerdahl, 2001). The model has four components: prolongational structure, a pitch-space model, a surfacetension model, and an attraction model. These components combine to predict the rise and fall in tension in the course of listening to a tonal passage or piece. We first apply the theory to predict tension patterns in Classical diatonic music and then extend the theory to chromatic tonal music. In the experimental tasks, listeners record their experience of tension for the excerpts. Comparisons between predictions and data point to alternative analyses within the constraints of the theory. We conclude with a discussion of the underlying perceptual and cognitive principles engaged by the theory's components.

Instrumental expertise and musical timbre modulate the spatial representation of pitch

2020 ◽  
Vol 73 (8) ◽  
pp. 1162-1172 ◽  
Author(s):  
Carlotta Lega ◽  
Zaira Cattaneo ◽  
Noemi Ancona ◽  
Tomaso Vecchi ◽  
Luca Rinaldi
Keyword(s):  
Mental Representation ◽  
Horizontal Plane ◽  
Spatial Representation ◽  
Vertical Plane ◽  
Unified Framework ◽  
Instrumental Training ◽  
Younger Age ◽  
Bottom Side ◽  
The One ◽  
Pitch Space

Humans show a tendency to represent pitch in a spatial format. A classical finding supporting this spatial representation is the Spatial–Musical Association of Response Codes (SMARC) effect, reflecting faster responses to low tones when pressing a left/bottom-side key and to high tones when pressing a right/top-side key. Despite available evidence suggesting that the horizontal and vertical SMARC effect may be differently modulated by instrumental expertise and musical timbre, no study has so far directly explored this hypothesis in a unified framework. Here, we investigated this possibility by comparing the performance of professional pianists, professional clarinettists and non-musicians in an implicit timbre judgement task, in both horizontal and vertical response settings. Results showed that instrumental expertise significantly modulates the SMARC effect: whereas in the vertical plane a comparable SMARC effect was observed in all groups, in the horizontal plane the SMARC effect was significantly modulated by the specific instrumental expertise, with pianists showing a stronger pitch–space association compared to clarinettists and non-musicians. Moreover, the influence of pitch along the horizontal dimension was stronger in those pianists who started the instrumental training at a younger age. Results also showed an influence of musical timbre in driving the horizontal, but not the vertical, SMARC effect, with only piano notes inducing a pitch–space association. Taken together, these findings suggest that sensorimotor experience due to instrumental training and musical timbre affect the mental representation of pitch on the horizontal space, whereas the one on the vertical space would be mainly independent from musical practice.

Tonalité immanenté, tonalite manlfestee Quelques ré flexions à propos de Tonal Pitch Space de Fred Lerdahl

2003 ◽  
Vol 7 (1) ◽  
pp. 87-100 ◽  
Author(s):  
Nicolas Meeùs
Keyword(s):  
Tonal Pitch ◽  
Pitch Space

La théorie de Tonal Pitch Space, contrairement à d'autres theories spatiales de la tonalité, est une théorie du systeme tonal plutôt que du discours tonal. L'espace décrit et les distances qu'on peut y mesurer sont precompositionnelles; les contraintes de type fonctionnel qui peuvent regir les deplacements” dans l'espace ne sont pas reellement considerees parce qu'elles n'appartiennent pas au niveau du systeme immanent. D'autres theories au contraire, notamment les theories transformationnelles, privilegient la description des mouvements et des transformations et n'utilisent l'espace tonal que comme visualisation des contraintes auxquelles ils sont soumis. Ces deux types de description doivent Stre considers comme complementaires.

Paths in Pitch Space

2005 ◽  
pp. 89-141
Author(s):  
Fred Lerdahl
Keyword(s):  
Pitch Space

Travelling Through Pitch Space Speeds up Musical Time

2009 ◽  
Vol 26 (3) ◽  
pp. 205-209 ◽  
Author(s):  
ÉÉrico Artioli Firmino ◽  
Joséé Lino Oliveira Bueno ◽  
Emmanuel Bigand
Keyword(s):  
Time Estimation ◽  
Time Interval ◽  
Space Theory ◽  
Harmonic Structure ◽  
Musical Time ◽  
Chord Sequence ◽  
Tonal Pitch ◽  
Pitch Space

SEVERAL MODELS OF TIME ESTIMATION HAVE BEEN developed in psychology; a few have been applied to music. In the present study, we assess the influence of the distances travelled through pitch space on retrospective time estimation. Participants listened to an isochronous chord sequence of 20-s duration. They were unexpectedly asked to reproduce the time interval of the sequence. The harmonic structure of the stimulus was manipulated so that the sequence either remained in the same key (CC) or travelled through a closely related key (CFC) or distant key (CGbC). Estimated times were shortened when the sequence modulated to a very distant key. This finding is discussed in light of Lerdahl's Tonal Pitch Space Theory (2001), Firmino and Bueno's Expected Development Fraction Model (in press), and models of time estimation.

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