Bigand E, Parncutt R
LEAD-CNRS, Université de Bourgogne, Dijon, France.
Psychol Res. 1999;62(4):237-54. doi: 10.1007/s004260050053.
We attempted to predict perceived musical tension in longer chord sequences by hierarchic and sequential models based on Lerdahl and Jackendoff's and Lerdahl's cognitive theories and on Parncutt's sensory-psychoacoustical theory. Musicians and nonmusicians were asked to rate the perceived tension of chords which were drawn either from a piece composed for the study (Exp. 1) or from a Chopin Prelude (Exps. 2-4). In Exps. 3 and 4, several experimental manipulations were made to emphasize either the global or the local structure of the piece and to verify how these manipultions would affect the respective contribution of the models in the ratings. In all experiments, musical tension was only weakly influenced by global harmonic structure. Instead, it mainly seemed to be determined locally, by harmonic cadences. The hierarchic model of Lerdahl and Jackendoff provided the best fit to tension ratings, not because it accounted for global hierarchic effects, but because it captured the local effect of cadences. By reacting to these local structures, tension ratings fit quite well with a hierarchic model, even though the participants were relatively insensitive to the global structure of the pieces. As a main outcome, it is argued that musical events were perceived through a short perceptual window sliding from cadence to cadence along a sequence.
我们试图通过基于勒达尔和杰肯多夫以及勒达尔的认知理论和帕尔努特的感官心理声学理论的层次模型和序列模型，来预测较长和弦序列中感知到的音乐紧张感。我们要求音乐家和非音乐家对从为该研究创作的乐曲（实验1）或肖邦前奏曲（实验2 - 4）中选取的和弦的感知紧张程度进行评分。在实验3和实验4中，我们进行了几种实验操作，以强调乐曲的整体或局部结构，并验证这些操作将如何影响模型在评分中的各自贡献。在所有实验中，音乐紧张感仅受到整体和声结构的微弱影响。相反，它似乎主要由和声终止式在局部决定。勒达尔和杰肯多夫的层次模型与紧张感评分的拟合度最佳，并非因为它考虑了整体层次效应，而是因为它捕捉到了终止式的局部效应。通过对这些局部结构做出反应，紧张感评分与层次模型拟合得相当好，尽管参与者对乐曲的整体结构相对不敏感。作为主要结果，有人认为音乐事件是通过一个短的感知窗口沿着序列从一个终止式滑向另一个终止式来被感知的。
