Krumhansl C L, Shepard R N
J Exp Psychol Hum Percept Perform. 1979 Nov;5(4):579-94. doi: 10.1037//0096-1523.5.4.579.
Listeners rated test tones falling in the octave range from middle to high C according to how well each completed a diatonic C major scale played in an adjacent octave just before the final test tone. Ratings were well explained in terms of three factors. The factors were distance in pitch height from the context tones, octave equivalence, and the following hierarchy of tonal functions: tonic tone, other tones of the major triad chord, other tones of a diatonic scale, and the nondiatonic tones. In these ratings, pitch height was more prominent for less musical listeners or with less musical (sinusoidal) tones, whereas octave equivalence and the tonal hierarchy prevailed for musical listeners, especially with harmonically richer tones. Ratings for quarter tones interpolated halfway between the halftone steps of the standard chromatic scale were approximately the averages of ratings for adjacent chromatic tones, suggesting failure to discriminate tones at this fine level of division.
听众根据每个测试音调在紧接最终测试音调之前在相邻八度内演奏的自然音阶C大调音阶的完成程度，对落在从中音C到高音C的八度范围内的测试音调进行评分。评分可以用三个因素很好地解释。这些因素是与上下文音调的音高距离、八度等效性以及以下音调功能层次：主音、大三和弦的其他音、自然音阶的其他音以及非自然音阶的音。在这些评分中，音高对于音乐性较差的听众或使用音乐性较差（正弦）音调时更为突出，而八度等效性和音调层次对于音乐性较好的听众更为重要，尤其是使用和声更丰富的音调时。在标准半音音阶的半音步之间插值的四分音评分大约是相邻半音音调评分的平均值，这表明在这个精细的划分水平上无法区分音调。
