音楽知覚心理学の動向--旋律・ピッチ知覚を中心として

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概要

• 論文の詳細を見る

• In this article some of the recent researches on music perception are reviewed, with a special emphasis upon those that concern melody organization and musical pitch. Lerdahl and Jackendoff (1983) pointed out that there is a grammatical parallel between music and language, and presented some grammatical rules for the tonal music. Serafine (1983) cautioned us not to confuse the “style principles” with the “musical cognitive process”. The recent experiments on musical pitch and melody has reinforced the psychological validity of musical segmentation, tonality, pitch chroma, scale, and key. Theoretical approaches to the relations in the scale systems gave the possibility of a “new scale system” for use in psychological experiments, while the recent pitch models has made it possible for us to control tonality and to generate tones never used before in playing music. The need for a greater cross-stylistic generality of psychological concepts in music and the farther clarification of the “musical cognitive process” through experiments utilizing the “new scale system” and the “new tones” are indicated.

• 公益社団法人 日本心理学会の論文

著者

• 津崎 実

  Atr視聴覚機構研究所

• 津崎 実

  東京大学

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• 音楽知覚心理学の動向--旋律・ピッチ知覚を中心として
• 同一眼と異眼マスキング条件下における同色性の効果(認知1(視覚情報処理),研究発表A-I,VII.第5回大会プログラム及び発表要旨)
• 音楽知覚心理学の動向--旋律・ピッチ知覚を中心として

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