Bigand E, Parncutt R, Lerdahl F
LEAD-CNRS, Université de Bourgogne, Dijon, France.
Percept Psychophys. 1996 Jan;58(1):124-41.
This study investigates the effect of four variables (tonal hierarchies, sensory chordal consonance, horizontal motion, and musical training) on perceived musical tension. Participants were asked to evaluate the tension created by a chord X in sequences of three chords [C major-->X-->C major] in a C major context key. The X chords could be major or minor triads major-minor seventh, or minor seventh chords built on the 12 notes of the chromatic scale. The data were compared with Krumhansl's (1990) harmonic hierarchy and with predictions of Lerdahl's (1988) cognitive theory, Hutchinson and Knopoff's (1978) and Parncutt's (1989) sensory-psychoacoustical theories, and the model of horizontal motion defined in the paper. As a main outcome, it appears that judgments of tension arose from a convergence of several cognitive and psychoacoustics influences, whose relative importance varies, depending on musical training.
本研究调查了四个变量（音调层次、感官和弦协和性、横向进行以及音乐训练）对感知到的音乐紧张感的影响。参与者被要求在C大调主调的背景下，评估和弦X在三个和弦序列[C大调→X→C大调]中所产生的紧张感。X和弦可以是大三和弦或小三和弦、大小七和弦，或者是基于半音音阶的12个音符构建的小七和弦。研究数据与克鲁姆汉斯尔（1990年）的和声层次以及勒达尔（1988年）的认知理论、哈钦森和克诺波夫（1978年）以及帕尔努特（1989年）的感官心理声学理论的预测结果，以及本文所定义的横向进行模型进行了比较。作为主要结果，紧张感的判断似乎源于多种认知和心理声学影响的汇聚，其相对重要性因音乐训练而异。
