Ayres T, Aeschbach S, Walker E L
J Aud Res. 1980 Jan;20(1):31-42.
Theories of tonal consonance have primarily sought to explain consonance of chords smaller than the octave drawn from the conventional semitone musical scale. Critical evaluation of such theories requires a new body of data. The present study reports consonance ratings for two-tone chords drawn from a quartertone scale and for chords larger than an octave as well as for the chords normally studied. Subjects were drawn from undergraduate psychology courses without preselection for musical aptitude or background. The results were compared with predictions derived from several current theories: psychoacoustic models, in which consonance is attributed to a lack of dissonance or harshsounding pairs of components, and a psychological complexity model which relates consonance to the perceived simplicity of the stimulus. The latter theory, which makes allowance for the unfamiliarity of quartertone chords and for the equivalence of extra-octave and within-octave chords, provided the best qualitative account of the data. It was concluded that a valid theory of tonal consonance must acknowledge the effects of musical experience on musical judgment.
音调和谐理论主要致力于解释从传统半音音乐音阶中选取的小于八度的和弦的和谐性。对这些理论进行批判性评估需要一组新的数据。本研究报告了从四分之一音音阶中选取的双音和弦、大于八度的和弦以及通常研究的和弦的和谐性评级。研究对象来自本科心理学课程的学生，未对音乐能力或背景进行预先筛选。将结果与从当前几种理论得出的预测进行了比较：心理声学模型，其中和谐性归因于缺乏不和谐或刺耳的成分对；以及一种心理复杂性模型，该模型将和谐性与刺激的感知简单性联系起来。后一种理论考虑到了四分之一音和弦的不熟悉性以及超八度和弦和八度内和弦的等效性，对数据提供了最好的定性解释。得出的结论是，一个有效的音调和谐理论必须承认音乐经验对音乐判断的影响。
