Consonance and prevalence of sonorities in Western polyphony: Roughness, harmonicity, familiarity, evenness, diatonicity

References

• Aures, W. (1985). Ein Berechnungsverfahren der Rauhigkeit. Acustica, 58(5), 268–281.
   Google Scholar
• Ayari, M., & McAdams, S. (2003). Aural analysis of Arabic improvised instrumental music (Taqsīīm). Music Perception, 21(2), 159–216. doi: 10.1525/mp.2003.21.2.159
   Web of Science ®Google Scholar
• Babbitt, M. (1961). Set structure as a compositional determinant. Journal of Music Theory, 5(1), 72–94. doi: 10.2307/842871
   Google Scholar
• Barbera, C. A. (1977). Arithmetic and geometric divisions of the tetrachord. Journal of Music Theory, 21(2), 294–323. doi: 10.2307/843492
   Web of Science ®Google Scholar
• Barlow, C. (1987). Two essays on theory. Computer Music Journal, 11, 44–59. doi: 10.2307/3680177
   Web of Science ®Google Scholar
• Bent, M., & Silbiger, A. (2001). Musica ficta [musica falsa]. In S. Sadie & J. Tyrrell (Eds.), New Grove dictionary of music and musicians (2nd ed.). London: Macmillan.
   Google Scholar
• Berlyne, D. E. (1960). Conflict, arousal, and curiosity. New York, NY: McGraw-Hill.
   Google Scholar
• Bharucha, J. J. (1984). Anchoring effects in music: The resolution of dissonance. Cognitive Psychology, 16(4), 485–518. doi: 10.1016/0010-0285(84)90018-5
   Web of Science ®Google Scholar
• Bharucha, J. J. (1987). Music cognition and perceptual facilitation: A connectionist framework. Music Perception: An Interdisciplinary Journal, 5(1), 1–30. doi: 10.2307/40285384
   Web of Science ®Google Scholar
• Bigand, E., Parncutt, R., & Lerdahl, F. (1996). Perception of musical tension in short chord sequences: Influence of harmonic function, sensory dissonance, horizontal motion, and musical training. Perception & Psychophysics, 58, 125–141. doi: 10.3758/BF03205482
   Web of Science ®Google Scholar
• Caleon, I. S., & Subramaniam, R. (2007). From Pythagoras to Sauveur: Tracing the history of ideas about the nature of sound. Physics Education, 42(2), 173–179. doi: 10.1088/0031-9120/42/2/007
   Google Scholar
• Cazden, N. (1945). Musical consonance and dissonance: A cultural criterion. The Journal of Aesthetics and Art Criticism, 4, 3–11. doi: 10.2307/426253
   Google Scholar
• Christensen, T. (1993). Rameau and musical thought in the enlightenment. Cambridge: Cambridge University Press.
   Google Scholar
• Cousineau, M., McDermott, J. H., & Peretz, I. (2012). The basis of musical consonance as revealed by congenital amusia. Proceedings of the National Academy of Sciences, 109(48), 19858–19863. doi: 10.1073/pnas.1207989109
   PubMed Web of Science ®Google Scholar
• Daniel, P., & Weber, R. (1997). Psychoacoustical roughness: Implementation of an optimized model. Acustica, 83(1), 113–123.
   Google Scholar
• Demorest, S. M., Morrison, S. J., Jungbluth, D., & Beken, M. N. (2008). Lost in translation: An enculturation effect in music memory performance. Music Perception: An Interdisciplinary Journal, 25(3), 213–223. doi: 10.1525/mp.2008.25.3.213
   Web of Science ®Google Scholar
• Devaney, J., Mandel, M. I., Fujinaga, I. (2012). A study of intonation in three-part singing using the Automatic Music Performance Analysis and Comparison Toolkit (AMPACT). In F. Gouyon, P. Herrera, L. G. Martins, & M. Müller (Eds.), Proceedings of the 13th international society for music information retrieval conference (pp. 511–516). Porto, Portugal: FEUP.
   Google Scholar
• Duke, R. A. (1985). Wind instrumentalists’ intonational performance of selected musical intervals. Journal of Research in Music Education, 33(2), 101–111. doi: 10.2307/3344730
   Web of Science ®Google Scholar
• Eberlein. (1994). Die Entstehung der tonalen Klangsyntax. Frankfurt am Main: Lang.
   Google Scholar
• Forte, A. (1977). The structure of atonal music. New Haven, CT: Yale University Press.
   Google Scholar
• Fuller, S. (1986). On sonority in fourteenth-century polyphony: Some preliminary reflections. Journal of Music Theory, 30(1), 35–70. doi: 10.2307/843408
   Web of Science ®Google Scholar
• Fuller, S. (1992). Tendencies and resolutions: The directed progression in ‘ars nova’ music. Journal of Music Theory, 36(2), 229–258. doi: 10.2307/843932
   Web of Science ®Google Scholar
• Gilmore, B. (1995). Changing the metaphor: Ratio models of musical pitch in the work of Harry Partch, Ben Johnston, and James Tenney. Perspectives of New Music, 33, 458–503.
   Google Scholar
• Greene, P. C. (1937). Violin intonation. The Journal of the Acoustical Society of America, 8(3), 207. doi: 10.1121/1.1901994
   Google Scholar
• Hagel, S. (2009). Ancient Greek music: A new technical history. Cambridge, UK: Cambridge University Press.
   Google Scholar
• Hagerman, B., & Sundberg, J. (1980). Fundamental frequency adjustment in barbershop singing. Department for Speech, Music and Hearing: Quarterly Progress and Status Report, 21(1), 28–42.
   Google Scholar
• Hair, G., Pearson, I., Morrison, A., Bailey, N., McGilvray, D., & Parncutt, R. (2007). The Rosegarden Codicil: Rehearsing music in nineteen-tone equal temperament. Scottish Music Review, 1(1), 99–126.
   Google Scholar
• Hasegawa, R. (2006). Tone representation and just intervals in contemporary music. Contemporary Music Review, 25(3), 263–281. doi: 10.1080/07494460600726529
   Google Scholar
• Hawkins, J. (1776). A general history of the science and practice of music (Vol. 1). London: Payne.
   Google Scholar
• Helmholtz, H. v. (1863). Die Lehre von den Tonempfindungen als physiologische Grundlage für die Theorie der Musik [The theory of tone sensations as a physiological foundation for music theory]. Braunscheig: Vieweg.
   Google Scholar
• Hirose, H., & Gay, T. (1973). Laryngeal control in vocal attack. Folia Phoniatrica et Logopaedica, 25(3), 203–213. doi: 10.1159/000263688
   Google Scholar
• Huron, D. (1988). Error categories, detection, and reduction in a musical database. Computers and the Humanities, 22(4), 253–264. doi: 10.1007/BF00118601
   Google Scholar
• Huron, D. (1991). Tonal consonance versus tonal fusion in polyphonic sonorities. Music Perception: An Interdisciplinary Journal, 9(2), 135–154. doi: 10.2307/40285526
   Web of Science ®Google Scholar
• Huron, D. (1994). Interval-class content in equally tempered pitch-class sets: Common scales exhibit optimum tonal consonance. Music Perception: An Interdisciplinary Journal, 11(3), 289–305. doi: 10.2307/40285624
   Web of Science ®Google Scholar
• Huron, D., & Sellmer, P. (1992). Critical bands and the spelling of vertical sonorities. Music Perception: An Interdisciplinary Journal, 10(2), 129–149. doi: 10.2307/40285604
   Web of Science ®Google Scholar
• Hutchinson, W., & Knopoff, L. (1978). The acoustical component of Western consonance. Interface, 7, 1–29. doi: 10.1080/09298217808570246
   Google Scholar
• Jordan, D. S., & Shepard, R. N. (1987). Tonal schemas: Evidence obtained by probing distorted musical scales. Perception, & Psychophysics, 41(6), 489–504. doi: 10.3758/BF03210484
   PubMedGoogle Scholar
• Karrick, B. (1998). An examination of the intonation tendencies of wind instrumentalists based on their performance of selected harmonic musical intervals. Journal of Research in Music Education, 46(1), 112–127. doi: 10.2307/3345764
   Web of Science ®Google Scholar
• Kelly, T. F. (2011). Early music: A very short introduction. Oxford: Oxford University Press.
   Google Scholar
• Krumhansl, C. L. (1990). Cognitive foundations of musical pitch. New York, NY: Oxford University Press.
   Google Scholar
• Kuhn, T. S., & Hawkins, D. (1963). The structure of scientific revolutions. American Journal of Physics, 31(7), 554–555. doi: 10.1119/1.1969660
   Google Scholar
• Levine, M. (2011). The jazz piano book. Petaluma, CA: Sher Music Co.
   Google Scholar
• Lippius, J. (1612). Synopsis musicae novae [Outline of new music]. Strasbourg: Kieffer.
   Google Scholar
• Loosen, F. (1993). Intonation of solo violin performance with reference to equally tempered, Pythagorean, and just intonations. The Journal of the Acoustical Society of America, 93(1), 525–539. doi: 10.1121/1.405632
   Web of Science ®Google Scholar
• Malmberg, C. F. (1918). The perception of consonance and dissonance. Psychological Monographs, 25, 93–133. doi: 10.1037/h0093119
   Google Scholar
• Martindale, C., Moore, K., & Borkum, J. (1990). Aesthetic preference: Anomalous findings for Berlyne’s psychobiological theory. The American Journal of Psychology, 103, 53–80. doi: 10.2307/1423259
   Web of Science ®Google Scholar
• Marui, A., & Martens, W. L. (2005, March). Timbre of nonlinear distortion effects: Perceptual attributes beyond sharpness. In C. Traube (Ed.), Proceedings of the conference on interdisciplinary musicology. Montreal: Faculté de Musique, Université de Montréal.
   Google Scholar
• Mashinter, K. (2006). Calculating sensory dissonance: Some discrepancies arising from the models of Kameoka & Kuriyagawa, and Hutchinson & Knopoff. Empirical Musicology Review, 1(2), 65–84. doi: 10.18061/1811/24077
   Google Scholar
• Mason, J. A. (1960). Comparison of solo and ensemble performances with reference to Pythagorean, just, and equi-tempered intonations. Journal of Research in Music Education, 8, 31–38. doi: 10.2307/3344235
   Web of Science ®Google Scholar
• McAdams, S., Miller, M., Wild, J., & Giordano, B. L. (2014–2016). Perception of Vicentino’s 31-tone tuning system. Journal of Interdisciplinary Music Studies, 8, 157–181.
   Google Scholar
• McDermott, J. H., Lehr, A. J., & Oxenham, A. J. (2010). Individual differences reveal the basis of consonance. Current Biology, 20(11), 1035–1041. doi: 10.1016/j.cub.2010.04.019
   PubMed Web of Science ®Google Scholar
• McGowan, J. (2011). Psychoacoustic foundations of contextual harmonic stability in jazz piano voicings. Journal of Jazz Studies, 7(2), 156–191. doi: 10.14713/jjs.v7i2.13
   Google Scholar
• Meyer, L. B. (1956). Emotion and meaning in music. Chicago, IL: University of Chicago Press.
   Google Scholar
• Morrison, S. J. (2000). Effect of melodic context, tuning behaviors, and experience on the intonation accuracy of wind players. Journal of Research in Music Education, 48(1), 39–51. doi: 10.2307/3345455
   Web of Science ®Google Scholar
• Nickerson, J. F. (1949). Intonation of solo and ensemble performance of the same melody. The Journal of the Acoustical Society of America, 21(6), 593–595. doi: 10.1121/1.1906555
   Web of Science ®Google Scholar
• O’Keefe, V. (1975). Psychological preference for harmonized musical passages in the just and equally-tempered systems. Perception and Motor Skills, 40, 192–194. doi: 10.2466/pms.1975.40.1.192
   PubMed Web of Science ®Google Scholar
• Parncutt, R. (1988). Revision of Terhardt's psychoacoustical model of the root(s) of a musical chord. Music Perception, 6, 65–94. doi: 10.2307/40285416
   Web of Science ®Google Scholar
• Parncutt, R. (1999). Systematic evaluation of the psychological effectiveness of non-conventional notations and keyboard tablatures. In I. Zannos (Ed.), Music and signs (pp. 146–174). Bratislava, Slovakia: ASCO Art & Science.
   Google Scholar
• Parncutt, R. (2011). The tonic as triad: Key profiles as pitch salience profiles of tonic triads. Music Perception: An Interdisciplinary Journal, 28, 333–366. doi: 10.1525/mp.2011.28.4.333
   Web of Science ®Google Scholar
• Parncutt, R., & Hair, G. (2018). A psychocultural theory of musical interval: Bye bye Pythagoras. Music Perception: An Interdisciplinary Journal, 35(4), 475–501. doi: 10.1525/mp.2018.35.4.475
   Web of Science ®Google Scholar
• Parncutt, R., & Stuckey, R. (1992). Towards a standard alternative music notation and terminology based on the chromatic scale. Musikometrika, 4, 117–143.
   Google Scholar
• Pearce, M. T., & Eerola, T. (2017). Music perception in historical audiences: Towards predictive models of music perception in historical audiences. Journal of Interdisciplinary Music Studies, 8, 91–120.
   Google Scholar
• Pereira, C. S., Teixeira, J., Figueiredo, P., Xavier, J., Castro, S. L., & Brattico, E. (2011). Music and emotions in the brain: Familiarity matters. PloS One, 6(11), e27241. doi: 10.1371/journal.pone.0027241
   PubMed Web of Science ®Google Scholar
• Plomp, R. (1964). The ear as a frequency analyzer. The Journal of the Acoustical Society of America, 36(9), 1628–1636. doi: 10.1121/1.1919256
   Web of Science ®Google Scholar
• Plomp, R., & Levelt, W. J. M. (1965). Tonal consonance and critical bandwidth. The Journal of the Acoustical Society of America, 38, 548–560. doi: 10.1121/1.1909741
   PubMed Web of Science ®Google Scholar
• Pressnitzer, D., McAdams, S., Winsberg, S., & Fineberg, J. (2000). Perception of musical tension for nontonal orchestral timbres and its relation to psychoacoustic roughness. Perception & Psychophysics, 62(1), 66–80. doi: 10.3758/BF03212061
   PubMedGoogle Scholar
• Rahn, J. (1980). Basic atonal theory. New York, NY: Schirmer.
   Google Scholar
• Rakowski, A. (1985). The perception of musical intervals by music students. Bulletin of the Council for Research in Music Education, 85, 175–186.
   Google Scholar
• Rameau, J.-P. (1722). Traité de l’harmonie réduite à ses principes naturels. Paris: Ballard.
   Google Scholar
• Rameau, J.-P. (1750). Démonstration du principe de l’harmonie. Paris: Durant.
   Google Scholar
• Randel, D. R. (ed.). (1986). The new Harvard dictionary of music. Cambridge, MA: Harvard College.
   Google Scholar
• Rasch, R. (2002). Tuning and temperament. In T. Christensen (Ed.), Cambridge history of Western music theory (pp. 193–222). Cambridge: Cambridge University Press.
   Google Scholar
• Riemann, H. (1893). Vereinfachte Harmonielehre oder die Lehre von den tonalen Funktionen der Akkorde. London: Augener.
   Google Scholar
• Roberts, L. A. (1986). Consonance judgements of musical chords by musicians and untrained listeners. Acustica, 62(2), 163–171.
   Google Scholar
• Salinas, F. de. (1577). De musica libri septem. Salamance: Mathias Gastius. Facsimile: M. S. Kastner (Ed., 1958). Documenta Musicologica, Reihe I, no. 13. Kassel: Bärenreiter.
   Google Scholar
• Schenker, H. (1906). Harmonielehre. Stuttgart: Cotta’sche Buchhandlung.
   Google Scholar
• Schneider, A. (1997). ‘Verschmelzung’, tonal fusion, and consonance: Carl Stumpf revisited. In M. Leman (Ed.), Music, Gestalt, and computing (pp. 115–143). Berlin: Springer-Verlag.
   Google Scholar
• Siegel, J. A., & Siegel, W. (1977). Categorical perception of tonal intervals: Musicians can’t tell sharp from flat. Perception & Psychophysics, 21(5), 399–407. doi: 10.3758/BF03199493
   Web of Science ®Google Scholar
• Sloboda, J. A. (1991). Music structure and emotional response: Some empirical findings. Psychology of Music, 19(2), 110–120. doi: 10.1177/0305735691192002
   Google Scholar
• Snyder, J. L. (1980). Harmonic dualism and the origin of the minor triad. Indiana Theory Review, 4(1), 45–78.
   Google Scholar
• Stumpf, C. (1883/1890). Tonpsychologie. Leipzig: Hirzel.
   Google Scholar
• Sundberg, J. (1982). In tune or not? A study of fundamental frequency in music practice. Department of Speech, Music and Hearing: Quarterly Progress and Status Report (STL-QPSR), 23(1), 49–78.
   Google Scholar
• Szpunar, K. K., Schellenberg, E. G., & Pliner, P. (2004). Liking and memory for musical stimuli as a function of exposure. Journal of Experimental Psychology: Learning, Memory, and Cognition, 30(2), 370–381.
   PubMed Web of Science ®Google Scholar
• Tenney, J. (1988). A history of ‘consonance’ and ‘dissonance’. New York, NY: Excelsior.
   Google Scholar
• Terhardt, E. (1974a). Pitch, consonance, and harmony. The Journal of the Acoustical Society of America, 55(5), 1061–1069. doi: 10.1121/1.1914648
   PubMed Web of Science ®Google Scholar
• Terhardt, E. (1974b). On the perception of periodic sound fluctuations (roughness). Acustica, 30(4), 201–213.
   Google Scholar
• Terhardt, E. (1977). The two-component theory of musical consonance. In E. F. Evans & J. P. Wilson (Eds.), Psychophysics and physiology of hearing (pp. 381–390). London: Academic.
   Google Scholar
• Terhardt, E., Stoll, G., & Seewann, M. (1982). Algorithm for extraction of pitch and pitch salience from complex tonal signals. The Journal of the Acoustical Society of America, 71(3), 679–688. doi: 10.1121/1.387544
   Web of Science ®Google Scholar
• Thomson, W. (1993). The harmonic root: A fragile marriage of concept and percept. Music Perception: An Interdisciplinary Journal, 10(4), 385–415. doi: 10.2307/40285580
   Web of Science ®Google Scholar
• Tymoczko, D. (2011). A geometry of music: Harmony and counterpoint in the extended common practice. Oxford, UK: Oxford University Press.
   Google Scholar
• van Waesberghe, J. S. (1951). The musical notation of Guido of Arezzo. Musica Disciplina, 5, 15–53.
   Google Scholar
• Vassilakis, P. (2001). Auditory roughness estimation of complex spectra – Roughness degrees and dissonance ratings of harmonic intervals revisited. The Journal of the Acoustical Society of America, 110(5), 2755–2755. doi: 10.1121/1.4777600
   Google Scholar
• Wason, R. (1983). Schenker’s notion of scale-step in historical perspective: Non-essential harmonies in Viennese fundamental bass theory. Journal of Music Theory, 27(1), 49–73. doi: 10.2307/843560
   Web of Science ®Google Scholar
• Wolff, K. (1990). Masters of the keyboard: Individual style elements in the piano music of Bach, Haydn, Mozart, Beethoven, Schubert, Chopin, and Brahms. Bloomington: Indiana University Press.
   Google Scholar
• Wright, J. K., & Bregman, A. S. (1987). Auditory stream segregation and the control of dissonance in polyphonic music. Contemporary Music Review, 2(1), 63–92. doi: 10.1080/07494468708567054
   Google Scholar
• Zarlino, G. (1573). Le institutioni harmoniche [The rules of harmony]. Venetia: Appresso Francesco de i Franceschi Senese.
   Google Scholar