Abstract:

The effects of timbre on melody perception were explored in three-voice homophonic (H) and polyphonic (P) pieces. Musically trained subjects learned a 12-note melody in isolation, then listened to H and P pieces that contained the melody in either the high, middle, or low spectral positions. Three timbre conditions were created: (1) homogeneous, where all three voices were in the same timbre; (2) enhanced, where the melody was presented in a timbre distinct from the other two voices; and (3) inconsistent, where each of the three timbres formed distinct patterns which were independent of the melody (H pieces only). In a discrimination task, subjects responded to errors only in the melody, although errors could occur in the other two voices. Several patterns of results occurred which were dependent on the type of timbre manipulation and the musical context employed. Thus the results demonstrate important aspects of how principles from music cognition (melody memory, timbre manipulations) and music theory (H and P pieces) can interact. [Work supported by AFOSR.]