Chord span and other chordal characteristics affecting connections between perceived closeness and set-class similarity

Journal of New Music Research

Volumn 34, Issue 3, 2005, Pages 259-271

  Kuusi, Tuire ^a,b  

^a Sibelius Akatemia   (Finland)

^b NONE   (Finland)

Author keywords

[No Author keywords available]

Indexed keywords

EID: 33745750744     PISSN: 09298215     EISSN: 17445027     Source Type: Journal    
DOI: 10.1080/09298210500236325     Document Type: Article

References (38)

1. Bruner, C. L. (1984). The perception of contemporary pitch structures. Music Perception, 2, 25-39.
2. Buchler, M. (1998). Relative saturation of subsets and interval cycles as a means for determining set-class similarity. Unpublished doctoral dissertation, University of Rochester.
3. Buchler, M. (2000). Broken and unbroken interval cycles and their use in determining pitch-class set resemblance. Perspectives of New Music, 38(2), 52-87.
4. Castrén, M. (1994). RECREL: A similarity measure for set-classes. Helsinki: Sibelius Academy.
5. Cook, N.D. (2000). Explaining Harmony: The Independence of Interval Dissonance and Chordal Tension. Paper presented at the XXVII International Congress of Psychology, Stockholm.
6. Danner, G. (1985). The use of acoustic measure of dissonance to characterize pitch-class sets. Music Perception, 3, 103-122.
7. Demske, T. (1995). Relating sets: On considering a computational model of similarity analysis. Music Theory Online 1.2.
8. Forte, A. (1973). The structure of atonal music. New Haven, CT/London: Yale University Press.
9. Gibson, D.B. (1986). The aural perception of nontraditional chords in selected theoretical relationships: A computer-generated experiment. Journal of Research in Music Education, 34, 5-23.
10. Gibson, D.B. (1988). The aural perception of similarity in nontraditional chords related by octave equivalence. Journal of Research in Music Education, 36, 5-17.
11. Gibson, D.B. (1993). The effects of pitch and pitch-class content on the aural perception of dissimilarity in complementary hexachords. Psychomusicology, 12, 58-72.
12. Goldstone, R.L. (1994). The role of similarity in categorization: Providing a groundwork. Cognition, 52, 127-157.
13. Hermann, R. (1994). A general measurement for similarity relations: A heuristic for constructing or evaluating aspects of possible musical grammars. Unpublished doctoral dissertation, University of Rochester.
14. Hutchinson, W. & Knopoff, L. (1978). The acoustic component of Western consonance. Interface, 7, 1-29.
15. Hutchinson, W. & Knopoff, L. (1979). The significance of the acoustic component of consonance in Western triads. Journal of Musicological Research, 3, 5-22.
16. Isaacson, E. (1990). Similarity of interval-class content between pitch-class sets: The IcVSIM relation. Journal of Music Theory, 34, 1-27.
17. Isaacson, E. (1992). Similarity of interval-class content between pitch-class sets: The IcVSIM relation and its application. Unpublished doctoral dissertation, Indiana University.
18. Isaacson, E. (1996). Issues in the study of similarity in atonal music. Music Theory Online 2.7.
19. Kuusi, T. (2001). Set-class and chord: Examining connection between theoretical resemblance and perceived closeness. Helsinki: Sibelius Academy.
20. Kuusi, T. (2003). The role of set-class identity in the estimation of chords. Music Theory Online 9.3.
21. Kuusi, T. (2005). The consonance and the context guiding the subjects' ratings of chords representing different set-classes. Musicae Scientiae, IX/2, 313-339.
22. Lewin, D. (1979/1980). A Response to a response: On PCSet relatedness. Perspectives of New Music, 18, 498-502.
23. Marvin, E.W. & Laprade, P.A. (1987). Relating musical contours: Extensions of a theory of contour. Journal of Music Theory, 31, 225-267.
24. Morris, R. (1979/1980). A similarity index for pitch-class sets. Perspectives of New Music 18, 445-460.
25. Morris, R. (1987). Composition with pitch-classes. New Haven, CT/London: Yale University Press.
26. Motte-Haber, H. de la (1971). Konsonanz und Dissonanz als Kriterien der Beschreibung von Akkorden. Jahrbuch der Staatlichen Instituts für Musikforschung Preußisher Kulturbesitz für 1970, 101-127.
27. Plomp, R. & Levelt, W.J.M. (1965). Tonal consonance and critical bandwidth. Journal of the Acoustical Society of America, 38, 548-560.
28. Rahn, J. (1979/1980). Relating sets. Perspectives of New Music, 18, 483-497.
29. Rahn, J. (1980). Basic Atonal Theory. New York: Schirmer.
30. Rogers, D.W. (1999). A geometric approach to Pcset similarity. Perspectives of New Music, 37, 78-90.
31. Samplaski, A.G. (2000). A comparison of perceived chord similarity and predictions of selected twentieth-century chord-classification schemes using multidimensional scaling and cluster analysis. Unpublished doctoral dissertation, Indiana University.
32. Scott, D. & Isaacson, E. (1998). The interval angle: A similarity measure for pitch-class sets. Perspectives of New Music, 36, 107-142.
33. Shepard, R.N. (1962). The analysis of proximities: Multidimensional scaling with an unknown distance function, I. Psychometrika, 27, 125-140.
34. Straus, J. (1990). Introduction to post-tonal theory. Garden City, NJ: Prentice Hall.
35. Williamson, V. & Mavromatis, P. (1997). Similarity of Pitch Class Sets: A Perceptual Study. Paper presented at the Society for Music Theory Conference, Phoenix, AZ.
36. Williamson, V. & Mavromatis, P. (1999). Categorizing Atonal Sonorities: Multidimensional Scaling, Tree-fitting and Clustering Compared. Paper presented at the Society for Music Perception and Cognition Conference, Evanston, IL.
37. Wolpert, R.S. (1990). Recognition of melody, harmonic accompaniment and instrumentation: Musicians and nonmusicians. Music Perception, 8, 95-105.
38. Wolpert, R.S. (2000). Attention to key in a nondirected music listening task: Musicians versus nonmusicians. Music Perception, 18, 225-230.