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The study of music provides many examples of the superposition of waves and the constructive and destructive interference that occurs. Very few examples of music being performed consist of a single source playing a single frequency for an extended period of time. A single frequency of sound for an extended period might be monotonous to the point of irritation, similar to the unwanted drone of an aircraft engine or a loud fan. Music is pleasant and exciting due to mixing the changing frequencies...
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The parallel RLC circuit is an arrangement where the resistor (R), inductor (L), and capacitor (C) are all connected to the same nodes and, as a result, share the same voltage across them. The parallel RLC circuit is analyzed in terms of admittance (Y), which reflects the ease with which current can flow. The admittance is given by:
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Simultaneous consonance in music perception and composition.

Peter M C Harrison1, Marcus T Pearce1

  • 1School of Electronic Engineering and Computer Science, Queen Mary University of London.

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|December 24, 2019
PubMed
Summary
This summary is machine-generated.

Simultaneous consonance, the pleasantness of musical chords, is driven by more than just harmonicity. This study reveals it arises from interference, harmonicity, and cultural familiarity, offering a new computational model for its prediction.

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Area of Science:

  • Music Perception
  • Psychoacoustics
  • Computational Musicology

Background:

  • Simultaneous consonance, the perceived pleasantness of musical tones played together, has historically been explained by various theories.
  • A recent consensus attributes consonance primarily to harmonicity perception.

Purpose of the Study:

  • To challenge the prevailing view that harmonicity alone drives simultaneous consonance.
  • To propose a more comprehensive model of consonance perception.
  • To provide a computational tool for further research.

Main Methods:

  • Critical review of historical consonance research across disciplines.
  • Reanalysis of data from four prior behavioral studies (>500 participants).
  • Modeling of three large Western musical corpora (>100,000 compositions).

Main Results:

  • Simultaneous consonance is a composite phenomenon, not solely driven by harmonicity.
  • Key contributing factors identified: interference, periodicity/harmonicity, and cultural familiarity.
  • A novel computational model (incon R package) is developed to predict consonance based on these features.

Conclusions:

  • The perception of simultaneous consonance is multifaceted, integrating acoustic and cultural factors.
  • The developed computational model offers a robust framework for understanding and predicting musical consonance.
  • The open-source incon package facilitates interdisciplinary research in psychology and musicology.