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- W2004402678 abstract "Pitch intervals of melodies in long-term memory are produced and recognized quite accurately by both musicians and nonmusicians. This could be either because memory represents intervals directly, or because pitches are represented as chromas in a tonal scale schema (a do-re-mi-like representation). Changing chromes (but not intervals) of test melodies should disrupt recognition in the latter case, but not the former. Here I controlled chrome by introducing each melody with a chord sequence that ended with either a tonic (do-mi-sol) or dominant (sol-ti-re) chord. The melody was constructed around the root of that chord (do or sol). Recognition was tested with transpositions that either preserved or changed chord context. Listeners tried to distinguish between exact (interval-preserving) transpositions and near transpositions having one pitch altered. Inexperienced listeners succeeded whether chroma changed or not. Moderately experienced listeners succeeded only when chroma was preserved. The latter store melodies in terms of chromas and have difficulty recognizing them when chromas are changed. This result converges with others relating schema use and musical experience." @default.
- W2004402678 created "2016-06-24" @default.
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- W2004402678 date "1982-11-01" @default.
- W2004402678 modified "2023-10-18" @default.
- W2004402678 title "Chrome and interval in melody recognition: Effects of acquiring a tonal schema" @default.
- W2004402678 doi "https://doi.org/10.1121/1.2019731" @default.
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