Subject: Re: errors in harmonic chord identification From: Bruno Repp <repp(at)HASKINS.YALE.EDU> Date: Thu, 8 Sep 2005 10:53:04 -0400Dear 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. Best, Bruno >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 -- 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 <repp(at)psychology.rutgers.edu>