Subject: Re: errors in harmonic chord identification From: Emilio Renard <renard_es(at)YAHOO.COM> Date: Wed, 7 Sep 2005 03:38:25 -0500Dear Riana: I don´t know any study specifically about it. However, Linda Roberts and Maryilyn Shaw, in "Perceived Structure of Triads" (Music Perception, 2, pp. 95-124), explored the similarity of pairs of major, minor, disminished, and augmented triads. I don´t know if this study can help you. The harmonic identity of a chord depends of the ---concret vertical conformation (i .e, position, spacing) and other factors, so, I think that, according to them, the chords can be more or less similars, and therefore be more o less confused. Too, although the timbre (spectral content) is perhaps the factor that normally less influences the harmonic identity, some chords can become absolutely differents according to its timbre. In fact, the "Klangfarbenharmonie" (harmony of timbres) is based on this type of phenomena. I am very interested with this type of questions, so anything about it (comment, examples, and so) is well received. Best regards, Emilio. --- "Riana.Walsh" <Riana.Walsh(at)UL.IE> escribió: > 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 > __________________________________________________ Correo Yahoo! Espacio para todos tus mensajes, antivirus y antispam ¡gratis! Regístrate ya - http://correo.espanol.yahoo.com/