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Музичний фонд

Українська музична періодика (1923-1931)

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Music Perception : an interdisciplinary journal.- Berkeley

6. We report five experiments in which listeners heard the beginnings of classical minuets (or similar dances). The phrase in either measures 1-2 or measures 3-4 was selected as a target, tested at the end of the excerpt. A "beep" indicated the test item, which was a continuation of the minuet as written. Test items were targets (repetitions of the selected phrase), similar lures (imitations of targets), or different lures, and occurred after delays of 4-5, 15, or 30 s. We estimated the proportion of correct discriminations of targets from similar lures and targets from different lures. In Experiment 1, discrimination of targets from similar lures (but not of targets from different lures) improved between 5 and 15 s. Experiment 2 extended this result to a delay of 30 s. Discrimination of targets from similar lures improved over time, especially for second-phrase targets. This improvement was due mainly to decreasing false alarms to similar lures. Experiments 3 and 4 replaced the continuous music with silence and with a repetitive "oom-pah-pah" pattern, and the improvement in discrimination of targets from similar lures disappeared. Experiment 5 removed listeners' expectations of being tested, and the improvement also disappeared. Results are considered in the framework of current theories of memory, and their implications for the listener's experience of hearing music are discussed.

Зміст видання

2002

Vol. 19

№ 2

Ragozzine, Frank.

The Tritone Paradox and Perception of Single Octave Related Complexes [Текст] / Frank Ragozzine // Music Perception : An interdisciplinary journal. - 2001. - Vol. 19, № 2. - P.155–168 .

Шифр журнала: Ж40222/2001/19/2

Анотація: In the tritone paradox, listeners perceive octave-related complexes separated by tritones such that tones from one half of the pitch class circle are heard as higher in pitch and tones from the opposite half are heard as lower. It is theorized that listeners compare these tones to a pitch class template, which has an orientation with respect to height that differs among listeners, in making these relative height judgments. In the present experiment, listeners heard octave-related complexes presented one at a time (rather than in pairs), in addition to tone complexes separated by tritones. On the basis of the pitch-class-template theory, it was hypothesized that pitch class would have a similar influence on perceived height for both sets of stimuli and that perception of the single tones would correspond to perception of the tritone paradox. The results supported these hypotheses.

Попередній перегляд:

Ук ІІІ-117.1

Орнштейн, Лео (1892, Кременчуг - 2002, США).

Poems of 1917 [Ноти] : A series of ten compositions for piano solo : Op. 41 / Л. Орнштейн; [муз.] by Leo Ornstein ; [вступ] Waldo Frank : Prelude to "Poems of 1917". - New York ; Boston ; Chicago : Carl Fischer, cop. 1918. - 54 с.
Дату копірайта в оригінале позначено римськими цифрами (с. 3).
Савченко, № 482.

Переклад назви: Поема 1917 рік

007359007359

Дод. точки доступу:
Франк, Вальдо (автор передм.); Frank, Waldo; Годовський, Л. (присв.); Ornstein, L.

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