Lahdelma Imre, Eerola Tuomas
University of Jyväskylä, Finland; University of Washington, USA.
Durham University, UK.
Iperception. 2016 Jun 27;7(3):2041669516655812. doi: 10.1177/2041669516655812. eCollection 2016 May.
Previous research on harmony perception has mainly been concerned with horizontal aspects of harmony, turning less attention to how listeners perceive psychoacoustic qualities and emotions in single isolated chords. A recent study found mild dissonances to be more preferred than consonances in single chord perception, although the authors did not systematically vary register and consonance in their study; these omissions were explored here. An online empirical experiment was conducted where participants (N = 410) evaluated chords on the dimensions of Valence, Tension, Energy, Consonance, and Preference; 15 different chords were played with piano timbre across two octaves. The results suggest significant differences on all dimensions across chord types, and a strong correlation between perceived dissonance and tension. The register and inversions contributed to the evaluations significantly, nonmusicians distinguishing between triadic inversions similarly to musicians. The mildly dissonant minor ninth, major ninth, and minor seventh chords were rated highest for preference, regardless of musical sophistication. The role of theoretical explanations such as aggregate dyadic consonance, the inverted-U hypothesis, and psychoacoustic roughness, harmonicity, and sharpness will be discussed to account for the preference of mild dissonance over consonance in single chord perception.
以往关于和声感知的研究主要关注和声的横向方面，较少关注听众如何在单个孤立和弦中感知心理声学特性和情感。最近一项研究发现，在单和弦感知中，轻微不协和音比协和音更受青睐，尽管作者在研究中没有系统地改变音区和协和性；本文探讨了这些遗漏之处。进行了一项在线实证实验，参与者（N = 410）在效价、张力、能量、协和性和偏好维度上对和弦进行评价；在两个八度内用钢琴音色演奏了15种不同的和弦。结果表明，不同和弦类型在所有维度上存在显著差异，且感知到的不协和与张力之间存在很强的相关性。音区和转位对评价有显著影响，非音乐家与音乐家一样能够区分三和弦的转位。无论音乐素养如何，轻微不协和的小九度、大九度和小七和弦的偏好评分最高。将讨论诸如集合二元协和性、倒U形假设以及心理声学粗糙度、和声性和尖锐度等理论解释在单和弦感知中轻微不协和优于协和的偏好中的作用。
