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C L Krumhansl

Publications and source records attributed to C L Krumhansl.

7 recordsLinked to original sources
PubMed1992

Perceptual interactions between musical pitch and timbre.

These experiments examined perceptual interactions between musical pitch and timbre. Experiment 1, through the use of the Garner classification tasks, found that pitch and timbre of isolated tones interact. Classification times showed interference from uncorrelated variation in the irrelevant attribute and facilitation from correlated variation; the effects were symmetrical. Experiments 2 and 3 examined how musical pitch and timbre function in longer sequences. In recognition memory tasks, a target tone always appeared in a fixed position in the sequences, and listeners were instructed to attend to either its pitch or its timbre. For successive tones, no interactions between timbre and pitch were found. That is, changing the pitches of context tones did not affect timbre recognition, and vice versa. The tendency to perceive pitch in relation to other context pitches was strong and unaffected by whether timbre was constant or varying. In contrast, the relative perception of timbre was weak and was found only when pitch was constant. These results suggest that timbre is perceived more in absolute than in relative terms. Perceptual implications for creating patterns in music with timbre variations are discussed.

Adult↗
PubMed1991

Memory for musical surface.

This study of memory for music presented listeners with the first half of a short piano piece, O. Messiaen's Mode de valeurs et d'intensités. The piece is written according to a unique compositional principle that rigidly couples values of pitch (chroma and octave), duration, and dynamics. Listeners heard test excerpts, which were judged in terms of whether or not they might have come from the piece (either from the part they had heard or from the remainder of the piece). Even in the first block of trials, listeners were able to recognize segments from the part of the piece they had heard, suggesting surprisingly accurate memory for surface characteristics. Listeners were also able to generalize to the rest of the piece, accurately judging segments from the part of the piece they had not heard. However, performance on four kinds of transformed segments showed that the abstraction of a piece's surface characteristics adopts rather loose criteria. Even highly trained professional musicians informed of the compositional constraints before the experiment were not sensitive to the specific couplings between musical parameters. Rather, listeners appeared to be sensitive to contour (the pattern of increasing and decreasing pitch) and global correlations between pitch height and duration, dynamics, and interval size. Performance did not change with repeated hearings of the music.

Adult↗
PubMed1990

Mental representations for musical meter.

Investigations of the psychological representation for musical meter provided evidence for an internalized hierarchy from 3 sources: frequency distributions in musical compositions, goodness-of-fit judgments of temporal patterns in metrical contexts, and memory confusions in discrimination judgments. The frequency with which musical events occurred in different temporal locations differentiates one meter from another and coincides with music-theoretic predictions of accent placement. Goodness-of-fit judgments for events presented in metrical contexts indicated a multileveled hierarchy of relative accent strength, with finer differentiation among hierarchical levels by musically experienced than inexperienced listeners. Memory confusions of temporal patterns in a discrimination task were characterized by the same hierarchy of inferred accent strength. These findings suggest mental representations for structural regularities underlying musical meter that influence perceiving, remembering, and composing music.

Attention↗
PubMed1987

Independent temporal and pitch structures in determination of musical phrases.

In two experiments we addressed the roles of temporal and pitch structures in judgments of melodic phrases. Musical excerpts were rated on how good or complete a phrase they made. In Experiment 1, trials in the temporal condition retained the original temporal pattern but were equitonal; trials in the pitch condition retained the original pitch pattern but were equitemporal; and trials in the melody condition contained both temporal and pitch patterns. In Experiment 2, one pattern (pitch or temporal) was shifted in phase and recombined with the other pattern to create the pitch and temporal conditions. In the melody condition, both patterns were shifted together. In both experiments, ratings in the temporal and pitch conditions were uncorrelated, and the melody condition ratings were accurately predicted by a linear combination of the pitch and temporal condition ratings. These results were consistent across musicians with varying levels of experience.

Adolescent↗
PubMed1979

Quantification of the hierarchy of tonal functions within a diatonic context.

Listeners rated test tones falling in the octave range from middle to high C according to how well each completed a diatonic C major scale played in an adjacent octave just before the final test tone. Ratings were well explained in terms of three factors. The factors were distance in pitch height from the context tones, octave equivalence, and the following hierarchy of tonal functions: tonic tone, other tones of the major triad chord, other tones of a diatonic scale, and the nondiatonic tones. In these ratings, pitch height was more prominent for less musical listeners or with less musical (sinusoidal) tones, whereas octave equivalence and the tonal hierarchy prevailed for musical listeners, especially with harmonically richer tones. Ratings for quarter tones interpolated halfway between the halftone steps of the standard chromatic scale were approximately the averages of ratings for adjacent chromatic tones, suggesting failure to discriminate tones at this fine level of division.

Humans↗