PERCEPTUAL JUDGMENTS OF TRIADS AND DYADS - ASSESSMENT OF A PSYCHOACOUSTIC MODEL

In two experiments, goodness-of-fit ratings of pairs of musical elemen ts (triads, dyads, and octave-complex tones) were examined in view of a psychoacoustic model. The model, referred to as the pitch commonalit y model, evaluates the sharing of fundamental frequencies, overtones, and subharmonic tone sensations between sequential elements and also c onsiders the effects of auditory masking within each element. Two othe r models were also assessed: a reduced model that considers the sharin g of fundamental frequencies alone and the cycle-of-fifths model of ke y and chord relatedness. In Experiment 1, listeners rated the goodness of fit of 12 octave-complex tones following a major triad, major-thir d dyad, and perfect-fifth dyad. Multiple regression revealed that pitc h commonality provided predictive power beyond that of the reduced mod el. A regression model based on pitch commonality and the cycle of fif ths had a multiple R of .92. In Experiment 2, listeners rated how well a triad or dyad followed another triad or dyad. All pairings of the m ajor triad, major-third dyad, and perfect-fifth dyad (pair types) were presented at various transpositions with respect to one another. Mult iple regression revealed that pitch commonality again provided predict ive pow er beyond that of the reduced model. A regression model based on pitch commonality, the cycle of fifths, and a preference for trials ending with a triad had a multiple R of .84. We discuss the role of p sychoacoustic factors and knowledge of chord and key relationships in shaping the perception of harmonic material.