Abstract
In tonal music, musical tension is strongly associated with musical expression, particularly with expectations and emotions. Most listeners are able to perceive musical tension subjectively, yet musical tension is difficult to be measured objectively, as it is connected with musical parameters such as rhythm, dynamics, melody, harmony, and timbre. Musical tension specifically associated with melodic and harmonic motion is called tonal tension. In this article, we are interested in perceived changes of tonal tension over time for chord progressions, dubbed tonal tension profiles. We propose an objective measure capable of capturing tension profile according to different tonal music parameters, namely, tonal distance, dissonance, voice leading, and hierarchical tension. We performed two experiments to validate the proposed model of tonal tension profile and compared against Lerdahl’s model and MorpheuS across 12 chord progressions. Our results show that the considered four tonal parameters contribute differently to the perception of tonal tension. In our model, their relative importance adopts the following weights, summing to unity: dissonance (0.402), hierarchical tension (0.246), tonal distance (0.202), and voice leading (0.193). The assumption that listeners perceive global changes in tonal tension as prototypical profiles is strongly suggested in our results, which outperform the state-of-the-art models.
Highlights
Musical tension is widely associated with musical expression, with expectations and musical emotions [1,2]
This section details two experiments designed to assess how well the proposed computational model of tonal tension captures the tonal tension profiles experienced by listeners exposed to Western tonal music
In Experiment 2, we conducted an online listening test that asks the participants to listen to the same chord progressions from Experiment 1 and choose a curve that best represents conceptually the global tonal tension profile associated with it
Summary
María Navarro-Cáceres 1, *, Marcelo Caetano 2,3 , Gilberto Bernardes 4 , Mercedes. Aix Marseille Univ, CNRS, PRISM (Perception, Representations, Image, Sound, Music), Marseille, France. Received: 30 September 2020; Accepted: 10 November 2020; Published: 13 November 2020
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