Results for 'Tonality'

208 found
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  1. A Generative Theory of Tonal Music.Fred Lerdahl & Ray Jackendoff - 1987 - Journal of Aesthetics and Art Criticism 46 (1):94-98.
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  2.  42
    Tonality, Musical Form, and Aesthetic Value.Walter Horn - 2015 - Perspectives of New Music 53.
    It has been claimed by Diana Raffman, that atonal (and in particular serial) music can have no aesthetic value, because it is in an important sense meaningless. This worthlessness is claimed to result from cognitive/psychological facts about human listeners that have been confirmed by empirical investigations such as those conducted by Lerdahl and Jackendoff. Similar assertions about the necessary inferiority of 12-tone music have been made by, among others, Taruskin, Cavell, and Goldman, some of whom echo Raffman’s suggestion that both (...)
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  3.  4
    Tonal Hierarchies in the Music of North India.Mary A. Castellano, J. J. Bharucha & Carol L. Krumhansl - 1984 - Journal of Experimental Psychology: General 113 (3):394-412.
  4. Brentano and Stumpf on Tonal Fusion.Riccardo Martinelli - 2013 - In D. Fisette & G. Frechette (eds.), Themes from Brentano. Rodopi.
    This essay illustrates the main aspects of the discussion between Brentano and Stumpf about «tonal fusion». In his Tonpsychologie, Stumpf essentially moved from a Brentanian standpoint. Yet, he did not adopt Brentano’s subsequently developed new theory of «sensible qualities», so that a polemic eventually arouse between them. Far from representing a marginal issue, the episode is relevant to our understanding of their relationship. The discussion as to the mechanism of tonal fusion reveals a general divergence between Brentano and Stumpf concerning (...)
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  5.  17
    The Tonal Function of a Task-Irrelevant Chord Modulates Speed of Visual Processing.N. Escoffier & B. Tillmann - 2008 - Cognition 107 (3):1070-1083.
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  6.  60
    Tonality and Ethos.Matthew M. Heard - 2013 - Philosophy and Rhetoric 46 (1):44-64.
    In her essay examining how rhetoric attends to an “explicitly nonhermeneutic, ethical dimension” of the relationship between self and other, Diane Davis argues that the act of attunement is vital to the rhetorical challenge of “keep[ing] hermeneutic interpretation from absorbing the strictly rhetorical gesture of the [other’s] approach, which interrupts the movement of appropriation and busts any illusion of having understood” (2005, 208, original hers). This comment is part of a larger conversation about ethical action in the face of radical (...)
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  7.  11
    Tonal Cues Modulate Line Bisection Performance: Preliminary Evidence for a New Rehabilitation Prospect?Masami Ishihara, Patrice Revol, Sophie Jacquin-Courtois, Romaine Mayet, Gilles Rode, Dominique Boisson, Alessandro Farnè & Yves Rossetti - 2013 - Frontiers in Psychology 4.
  8.  18
    Hubris to Humility: Tonal Volume and the Fundamentality of Psychophysical Quantities.Alistair M. C. Isaac - 2017 - Studies in History and Philosophy of Science Part A 65:99-111.
    Psychophysics measures the attributes of perceptual experience. The question of whether some of these attributes should be interpreted as more fundamental, or “real,” than others has been answered differently throughout its history. The operationism of Stevens and Boring answers “no,” reacting to the perceived vacuity of earlier debates about fundamentality. The subsequent rise of multidimensional scaling (MDS) implicitly answers “yes” in its insistence that psychophysical data be represented in spaces of low dimensionality. I argue the return of fundamentality follows from (...)
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  9. Unconscious Structural Knowledge of Tonal Symmetry: Tang Poetry Redefines Limits of Implicit Learning.Shan Jiang, Lei Zhu, Xiuyan Guo, Wendy Ma, Zhiliang Yang & Zoltan Dienes - 2012 - Consciousness and Cognition 21 (1):476-486.
    The study aims to help characterize the sort of structures about which people can acquire unconscious knowledge. It is already well established that people can implicitly learn n-grams and also repetition patterns. We explore the acquisition of unconscious structural knowledge of symmetry. Chinese Tang poetry uses a specific sort of mirror symmetry, an inversion rule with respect to the tones of characters in successive lines of verse. We show, using artificial poetry to control both n-gram structure and repetition patterns, that (...)
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  10.  8
    Tonal Attributes and Frequency Theories of Hearing.R. Gundlach - 1929 - Journal of Experimental Psychology 12 (3):187.
  11.  9
    Implicit Learning of Tonality: A Self-Organizing Approach.Barbara Tillmann, Jamshed J. Bharucha & Emmanuel Bigand - 2000 - Psychological Review 107 (4):885-913.
  12.  4
    Tonal Density.S. S. Stevens - 1934 - Journal of Experimental Psychology 17 (4):585.
  13.  32
    Evolution of Tonal Organization in Music Mirrors Symbolic Representation of Perceptual Reality. Part-1: Prehistoric.Aleksey Nikolsky - 2015 - Frontiers in Psychology 6.
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  14.  10
    Statistical Learning of a Tonal Language: The Influence of Bilingualism and Previous Linguistic Experience.Tianlin Wang & Jenny R. Saffran - 2014 - Frontiers in Psychology 5.
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  15.  2
    Evolution of Tonal Organization in Music Optimizes Neural Mechanisms in Symbolic Encoding of Perceptual Reality. Part-2: Ancient to Seventeenth Century.Aleksey Nikolsky - 2016 - Frontiers in Psychology 7.
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  16.  8
    Tonal Volume and Pitch.Knight Dunlap - 1916 - Journal of Experimental Psychology 1 (2):183-183.
  17.  11
    Tonal Range and Volume Level Preferences of Broadcast Listeners.P. Eisenberg & H. A. Chinn - 1945 - Journal of Experimental Psychology 35 (5):374.
  18.  69
    What is Musical Intuition? Tonal Theory as Cognitive Science.Mark DeBellis - 1999 - Philosophical Psychology 12 (4):471 – 501.
    Lerdahl and Jackendoff's Generative Theory of Tonal Music (GTTM) is an important contribution to cognitive science. Jackendoff claims it is a computationalist theory and that the mental representations it postulates are unconscious. Thus GTTM looks to be a kind of cognitive science remote from the folk-psychological. I argue that this picture of GTTM is mistaken: GTTM is at least as much music analysis as cognitive science. Jackendoff's metatheory fails to explain how a listener can tell that a structural description corresponds (...)
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  19.  3
    Are Temporal and Tonal Musical Skills Related to Phonological Awareness and Literacy Skills? – Evidence From Two Cross-Sectional Studies With Children From Different Age Groups.Claudia Steinbrink, Jens Knigge, Gerd Mannhaupt, Stephan Sallat & Anne Werkle - 2019 - Frontiers in Psychology 10.
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  20.  61
    The Nature of the Memory Buffer in Implicit Learning: Learning Chinese Tonal Symmetries.Feifei Li, Shan Jiang, Xiuyan Guo, Zhiliang Yang & Zoltan Dienes - 2013 - Consciousness and Cognition 22 (3):920-930.
    Previous research has established that people can implicitly learn chunks, which do not require a memory buffer to process. The present study explores the implicit learning of nonlocal dependencies generated by higher than finite-state grammars, specifically, Chinese tonal retrogrades and inversions , which do require buffers . People were asked to listen to and memorize artificial poetry instantiating one of the two grammars; after this training phase, people were informed of the existence of rules and asked to classify new poems, (...)
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  21.  6
    Atonality and Tonality: Musical Analogies in Roland Barthes's Lectures at the Collège de France.Lucy O'meara - 2008 - Paragraph 31 (1):9-22.
    Though explicit references to music are infrequent in Barthes's Collège de France lectures, Barthes's use of music in other work from the 1970s makes it clear that music can act as a fruitful analogy in consideration of the text. This article uses the serialist or atonal analogy, as set up by Barthes in ‘From Work to Text’ and elsewhere, to examine the structuring of Comment vivre ensemble and The Neutral. In viewing these courses as serial or open works we can, (...)
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  22.  13
    Event Hierarchies, Tonal Hierarchies, and Assimilation: A Reply to Deutsch and Dowling.J. J. Bharucha - 1984 - Journal of Experimental Psychology: General 113 (3):421-425.
  23.  17
    Quantitative Tonal Stimuli Without Qualitative Change.Harold A. Richmond - 1917 - Journal of Experimental Psychology 2 (2):100-105.
  24.  11
    A Theory of Evolving Tonality.Joseph Yasser - 1943 - Journal of Aesthetics and Art Criticism 2 (8):104.
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  25.  8
    A Preliminary Study of Tonal Volume.G. J. Rich - 1916 - Journal of Experimental Psychology 1 (1):13.
  26.  11
    Lateralization of Tonal Signals in Noise.Thomas F. Elliott & W. A. Wilbanks - 1980 - Bulletin of the Psychonomic Society 15 (1):37-40.
  27.  7
    Tonal Interference in Relation to Cochlear Injury.E. G. Wever & M. Lawrence - 1941 - Journal of Experimental Psychology 29 (4):283.
  28.  7
    THEterm Tonal Music Can Be Applied to a Large Variety of Musical Styles in the West. This Includes That of the Four Periods (Baroque, Classical, Romantic, and Modern) Into Which Western Art-Music is Commonly Divided, as Well as Other Musical Styles From Popular.Emmanuel Bigand & Bénédicte Poulin-Charronnat - 2008 - In Susan Hallam, Ian Cross & Michael Thaut (eds.), Oxford Handbook of Music Psychology. Oxford University Press.
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  29.  20
    The Tonal and the Foundational: Ansermet on Stravinsky.Michael Krausz - 1984 - Journal of Aesthetics and Art Criticism 42 (4):383-386.
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  30.  8
    Tracing the Dynamic Changes in Perceived Tonal Organization in a Spatial Representation of Musical Keys.Carol L. Krumhansl & Edward J. Kessler - 1982 - Psychological Review 89 (4):334-368.
  31.  19
    Tonal Prosody in Three Poems by Wang Rong.Meow Hui Goh - 2004 - Journal of the American Oriental Society 124 (1):59-68.
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  32.  3
    Familiar Tonal Context Improves Accuracy of Pitch Interval Perception.Jackson E. Graves & Andrew J. Oxenham - 2017 - Frontiers in Psychology 8.
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  33. The Tonal Manifold.R. M. Ogden - 1920 - Psychological Review 27 (2):136-146.
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  34.  11
    A Combined Model of Sensory and Cognitive Representations Underlying Tonal Expectations in Music: From Audio Signals to Behavior.Tom Collins, Barbara Tillmann, Frederick S. Barrett, Charles Delbé & Petr Janata - 2014 - Psychological Review 121 (1):33-65.
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  35.  4
    Tonality, Autonomy, and Competence in Post-Classical Music.Rose Rosengard Subotnik - 1979 - Critical Inquiry 6 (1):153-163.
    I try to indicate this special quality of classical intelligibility by linking it with the notion of "dual structure," a notion which should not be flattened to mean any sort of intelligibility to those listeners deemed "competent," especially if the term "competence" is used without qualification. Dual structure in music, as I construe it, is an intrastructural system of reference between pairs of discrete semiotic constructs both members of which are in some sense wholly embodied in a given musical structure. (...)
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  36.  53
    Temporal Order Perception of Auditory Stimuli is Selectively Modified by Tonal and Non-Tonal Language Environments.Yan Bao, Aneta Szymaszek, Xiaoying Wang, Anna Oron, Ernst Pöppel & Elzbieta Szelag - 2013 - Cognition 129 (3):579-585.
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  37.  34
    Fluency Expresses Implicit Knowledge of Tonal Symmetry.Xiaoli Ling, Fengying Li, Fuqiang Qiao, Xiuyan Guo & Zoltan Dienes - 2016 - Frontiers in Psychology 7.
  38. Tonal Cognition.Emmanuel Bigand & Poulin-Charronat & Benedicte - 2008 - In Susan Hallam, Ian Cross & Michael Thaut (eds.), Oxford Handbook of Music Psychology. Oxford University Press.
     
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  39. Tonal Harmony as a Formal System.P. PulkkO - 1988 - Acta Philosophica Fennica 43:300-322.
     
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  40.  17
    Tonal Symmetry Induces Fluency and Sense of Well-Formedness.Fuqiang Qiao, Fenfen Sun, Fengying Li, Xiaoli Ling, Li Zheng, Lin Li, Xiuyan Guo & Zoltan Dienes - 2018 - Frontiers in Psychology 9.
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  41.  11
    A Computational Model of Immanent Accent Salience in Tonal Music.Erica Bisesi, Anders Friberg & Richard Parncutt - 2019 - Frontiers in Psychology 10.
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  42.  12
    The Internal Representation of Pitch Sequences in Tonal Music.Diana Deutsch & John Feroe - 1981 - Psychological Review 88 (6):503-522.
  43.  11
    The Effect of Speech Variability on Tonal Language Speakers’ Second Language Lexical Tone Learning.Kaile Zhang, Gang Peng, Yonghong Li, James W. Minett & William S.-Y. Wang - 2018 - Frontiers in Psychology 9.
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  44.  17
    The Emergence of a Tonal Sensation.J. Donald Harris & Cecil K. Myers - 1949 - Journal of Experimental Psychology 39 (2):228.
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  45.  52
    The Future of Tonality.A. E. Denham - 2009 - British Journal of Aesthetics 49 (4):427-450.
    Is the tonal ordering of music, and the order of European triadic tonality in particular, the developed manifestation of an essential musical structure—a structure naturally suited to our human capacity to organize sounds musically? Historically and geographically, triadic tonality is a highly local phenomenon, limited to music beginning in the mid-seventeenth century and, until the nineteenth century, almost wholly confined to the Western European musical tradition. Some theorists accordingly regard tonality as a dispensable aesthetic convention—and one which, (...)
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  46.  19
    The Speech-to-Song Illusion Is Reduced in Speakers of Tonal Languages.Kankamol Jaisin, Rapeepong Suphanchaimat, Mauricio A. Figueroa Candia & Jason D. Warren - 2016 - Frontiers in Psychology 7.
  47.  13
    Precategorical Selective Attention and Tonal Specificity in Auditory Recognition.Harold L. Hawkins, Gerald B. Thomas, Joelle C. Presson, Andrew Cozic & David Brookmire - 1974 - Journal of Experimental Psychology 103 (3):530.
  48.  17
    Bisection of Tonal Intervals Smaller Than an Octave.C. C. Pratt - 1923 - Journal of Experimental Psychology 6 (3):211.
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  49.  6
    Comparison of Tonal Distances.C. C. Pratt - 1928 - Journal of Experimental Psychology 11 (2):77.
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  50.  5
    A Study of Tonal Attributes": Reply to Dr. Watt's "Note.Gilbert J. Rich - 1920 - Journal of Experimental Psychology 3 (2):155-157.
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