Musical Rules and Pitch Judgement
AbstractObserved psychoacoustic events are often incompatible with musical knowledge. The point has been made particularly in the realm of pitch theory. This paper will contend that it is not the case that musical knowledge does not apply to psychophysical tasks or that musical knowledge fails to correspond with musical practice. Rather, the judgment of pitch is the result of a complex decision involving both the identification of pitch pattern and the operation of a rule-based structural system assigning the functional values of pitches. Different tasks or task demands may assign different relative weights to the system's operators. Whatever the aesthetic merits of Western-European tonality, the experimental study of it uncovers a powerful system of pitch organization and reveals the delicate interplay between perception and cognition. Examples will be drawn from our work on interval and melody recognition.
How to Cite
Copyright on articles is held by the author(s). The corresponding author has the right to grant on behalf of all authors and does grant on behalf of all authors, a worldwide exclusive licence (or non-exclusive license for government employees) to the Publishers and its licensees in perpetuity, in all forms, formats and media (whether known now or created in the future)
i) to publish, reproduce, distribute, display and store the Contribution;
ii) to translate the Contribution into other languages, create adaptations, reprints, include within collections and create summaries, extracts and/or, abstracts of the Contribution;
iii) to exploit all subsidiary rights in the Contribution,
iv) to provide the inclusion of electronic links from the Contribution to third party material where-ever it may be located;
v) to licence any third party to do any or all of the above.