Sensory consonance of two simultaneous sine-tones

2013 ◽  
Vol 133 (5) ◽  
pp. 3286-3286
Author(s):  
Reinhart Frosch
Keyword(s):  
Sensory Consonance

scholarly journals Different Brain Mechanisms Mediate Sensitivity to Sensory Consonance and Harmonic Context: Evidence from Auditory Event-Related Brain Potentials

2001 ◽  
Vol 13 (2) ◽  
pp. 241-255 ◽  
Author(s):  
Pascaline Regnault ◽  
Emmanuel Bigand ◽  
Mireille Besson
Keyword(s):  
Harmonic Function ◽  
Time Course ◽  
Sensory Level ◽  
Target Onset ◽  
Positive Component ◽  
Top Down ◽  
Brain Potentials ◽  
Late Positive Component ◽  
Sensory Consonance ◽  
Harmonic Context

The goal of this study was to analyze the time-course of sensory (bottom-up) and cognitive (top-down) processes that govern musical harmonic expectancy. Eight-chord sequences were presented to 12 musicians and 12 nonmusicians. Expectations for the last chord were manipulated both at the sensory level (i.e., the last chord was sensory consonant or dissonant) and at the cognitive level (the harmonic function of the target was varied by manipulating the harmonic context built up by the first six chords of the sequence). Changes in the harmonic function of the target chord mainly modulate the amplitude of a positive component peaking around 300 msec (P3) after target onset, reflecting top-down influences on the perceptual stages of processing. In contrast, changes in the acoustic structure of the target chord (sensory consonance) mainly modulate the amplitude of a late positive component that develops between 300 and 800 msec after target onset. Most importantly, the effects of sensory consonance and harmonic context on the event-related brain potentials associated with the target chords were found to be independent, thus suggesting that two separate processors contribute to the building up of musical expectancy.

Functional MRI/Event-related potential study of sensory consonance and dissonance in musicians and nonmusicians

Neuroreport ◽  
2009 ◽  
Vol 20 (1) ◽  
pp. 87-92 ◽  
Author(s):  
Ludovico Minati ◽  
Cristina Rosazza ◽  
Ludovico DʼIncerti ◽  
Emanuela Pietrocini ◽  
Laura Valentini ◽  
...  
Keyword(s):  
Functional Mri ◽  
Event Related Potential ◽  
Potential Study ◽  
Sensory Consonance ◽  
Consonance And Dissonance

Impaired Perception of Sensory Consonance and Dissonance in Cochlear Implant Users

2016 ◽  
Vol 37 (3) ◽  
pp. 229-234 ◽  
Author(s):  
Meredith T. Caldwell ◽  
Patpong Jiradejvong ◽  
Charles J. Limb
Keyword(s):  
Cochlear Implant ◽  
Sensory Consonance ◽  
Consonance And Dissonance

The Concept of Musical Consonance: A Link between Music and Psychoacoustics

1984 ◽  
Vol 1 (3) ◽  
pp. 276-295 ◽  
Author(s):  
Ernst Terhardt
Keyword(s):  
Present Author ◽  
Musical Experience ◽  
Tonal Music ◽  
Specific Component ◽  
Two Component ◽  
Sensory Consonance ◽  
Definition Of ◽  
Musical Sounds

This paper is a presentation of the essentials of a new concept and foundation of musical consonance described by the present author in German in Acustica 36,121-137 (1976). Musical consonance is considered from the terminological, musical, conceptual, and psychoacoustic aspects. An appropriate definition of musical consonance is given, based on the principles governing tonal music. Recent results on psychoacoustic evaluation of consonance, which at first glance appear to be in conflict with musical experience, can be reconciled by a two-component concept of musical consonance. The first component is called sensory consonance; it represents the graded absence of annoying factors and is not confined to musical sounds, that is, not music specific. The second component of musical consonance is called harmony; it represents the typical, musicspecific principles of tonal affinity, compatibility, and fundamental-note relation (root). This concept is discussed in the context of Helmholtz's work on Konsonanz and Klangverwandtschaft. Helmholtz's work turns out to be an excellent basis of modern solutions to the consonance problem, as much of it still is valid, while the remainder can readily be replaced by more appropriate new solutions. The psychoacoustic foundations of sensory consonance, as provided by modern psychoacoustics, are largely identical with those found by Helmholtz. With regard to harmony, that is, the music-specific component of musical consonance, a new psychoacoustic foundation is provided by the established principles of virtualpitch perception. Several consequences and prospects of the concept for musical science are briefly considered.

Preference for Sensory Consonance in 2- and 4-Month-Old Infants

2002 ◽  
Vol 20 (2) ◽  
pp. 187-194 ◽  
Author(s):  
Laurel J. Trainor ◽  
Christine D. Tsang ◽  
Vivian H. W. Cheung
Keyword(s):  
Inner Ear ◽  
Auditory Nerve ◽  
Time Preference ◽  
Scale Structure ◽  
Pitch Structure ◽  
Sensory Consonance ◽  
Firing Characteristics ◽  
Consonance And Dissonance

The preferences of 2- and 4-month-old infants for consonant versus dissonant two-tone intervals was tested by using a looking-time preference procedure. Infants of both ages preferred to listen to consonant over dissonant intervals and found it difficult to recover interest after a sequence of dissonant trials. Thus, sensitivity to consonance and dissonance is found before knowledge of scale structure and may be based on the innate structure of the inner ear and the firing characteristics of the auditory nerve. It is likely that consonance perception provides a bootstrap into the task of learning the pitch structure of the musical system to which the infant is exposed.

A "Cumulative" Method of Quantifying Tonal Consonance in Musical Key Contexts

1997 ◽  
Vol 15 (2) ◽  
pp. 175-188 ◽  
Author(s):  
Allan B. Smith
Keyword(s):  
Single Tone ◽  
Tonal Hierarchy ◽  
The Mean ◽  
Sensory Consonance

Huron (1994) recently calculated the tonal (sensory) consonance for interval categories for all scales that can be drawn from the 12 equally tempered pitch classes. Among scales with seven tones, the combinations that allow the highest tonal consonance were found in the diatonic major, natural minor, and several other scales. In this paper, an extension of Huron's approach that begins with a single tone and successively adds tones that bring the most tonal consonance to the existing set is tested. Based on (1) the order in which tones are added and (2) the mean tonal consonance of the intervals after each addition, values are assigned to each tone that are significantly correlated (p< .001) with ratings of stability that tones display in major and minor key contexts reported by Krumhansl and Kessler (1982). These findings suggest that tonal consonance is not only facilitated in major and minor scales, as Huron found, but that tonal consonance may also account for the tonal hierarchy for tones in both major and minor key contexts.

Chord Discrimination by Pigeons

2010 ◽  
Vol 27 (3) ◽  
pp. 183-196 ◽  
Author(s):  
Daniel I. Brooks ◽  
Robert G. Cook
Keyword(s):  
The Third ◽  
Major Chord ◽  
Sensory Consonance

PIGEONS WERE TRAINED IN A GO/NO-GO TASK TO discriminate a major triad from four other chord triads. These latter chords were constructed by altering the third or fifth of the triad by one semitone, creating minor, suspended fourth, augmented, or flat five chords. Experiment 1 used a C root to test these chords. Experiment 2 examined the discrimination of these chords using the D root. Pigeons could discriminate these harmonically complex triads, with manipulations of the fifth supporting better discrimination than manipulations of the third. The augmented chord was perceived as the most dissimilar from the major chord and the suspended fourth chord as the most similar. A combination of attention to sensory consonance and absolute properties of the chords is suggested to account for the results. Comparable human results suggested some overlap in their perception of harmonic elements, but a considerable difference in their flexibility to use this information across different contexts.

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