Abstract
Twenty 7-note standard sequences cross-classifield on 5 levels of harmony and 2 levels of contour were presented in a, two-alternative forced choice paradigm to two groups of musicians differing in level of musical training. Comparison sequences were transposed: on one-half the trials to the dominant (+7 of −5 semits), on the remaining trials to the tritone (± 6 semits). Each incorrect comparison contained one wrong note “out” by 1 semit. Ability to recognize the correctly transposed comparison increased with the simplicity of both harmony and contour of the sequence. In addition, there was a significant interaction of harmonic structure and key of transposition: diatonic sequences were easiest to recognize when transposed to the dominant; but, surprisingly, nondiatonic sequences were recognized best under tritone transposition. As expected, performance increased with past musical training of the listener. The results are interpreted in terms of a theory which considers separately a frequency and sequential code of the auditory stimulus. [Work supported by the National Research Council of Canada.]
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