Re: errors in harmonic chord identification

[Bruno Repp <repp@xxxxxxxxxxxxxxxx>]

Dear Riana:

I am relying on my (notoriously weak) memory, but I believe that Robert Crowder
conducted some studies in which he constructed a continuum from a major to
a minor chord by varying the pitch of the critical note in small 
steps. He used the
triad in both inversions and found an effect on the major-minor 
category boundary.
You may find these data in one of his papers entitled "Perception of 
the major/minor
distinction". There are five papers in this series, and the data I 
have in mind may be
in No. 2, which appeared in Psychomusicology in 1984 or 1985.

Best,

Bruno

> Dear list
>
> I am looking for information on the errors listeners make when identifying
> isolated harmonic chords (major / minor / augmented / diminished / dominant
> 7th).
>
> For example if a major chord is presented in a particular inversion, or with
> particular spacing between the notes in the chord (not all confined to a
> single octave) could this be mistaken for a minor or other chord type? How
> important is instrumentation (although I assume pitch relationship is more
> important)?
>
> Does anyone know of any studies that have investigated this?
>
> many thanks
>
> Riana


--
Bruno H. Repp
Haskins Laboratories
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New Haven, CT 06511-6624
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Fax (203) 865-8963

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