[Date Prev][Date Next][Thread Prev][Thread Next][Date Index][Thread Index]

Re: errors in harmonic chord identification

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.



Dear list

I am looking for information on the errors listeners make when identifying
isolated harmonic chords (major / minor / augmented / diminished / dominant

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

Does anyone know of any studies that have investigated this?

many thanks


Bruno H. Repp
Haskins Laboratories
300 George Street
New Haven, CT 06511-6624
Tel. (203) 865-6163, ext. 236
Fax (203) 865-8963

NOTE: I am at Rutgers University, Newark, two days per week,
usually Wednesday and Friday, and don't read my Haskins
e-mail on those days. To reach me at Rutgers, send e-mail to