Summary
The psychological relevance of the musicians' concept of tonality was tested in the context of the music of J. S. Bach. Musically trained listeners were instructed to sing the musical scale that first came to mind immediately after hearing short excerpts from Preludes of J. S. Bach'sThe Well-Tempered Clavier. For each Prelude, the tonic (first note) and the mode (major or minor) of the scale produced were compared to the tonic and mode designated by Bach. Results indicated that listeners (1) often established the designated tonic and mode within the first four notes of the piece; (2) within the first four bars, often established tonalities different from that of the designated key, a tendency that increased by the eighth bar; and (3) reestablished the tonic in the last four bars. These observations validate, in general, music-theoretic assumptions about the listener's hearing of tonality, and raise issues regarding the salient relations that engage the cognitive structures underlying tonality perception.
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Cohen, A.J. Tonality and perception: Musical scales primed by excerpts fromThe Well-Tempered Clavier of J. S. Bach. Psychol. Res 53, 305–314 (1991). https://doi.org/10.1007/BF00920484
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DOI: https://doi.org/10.1007/BF00920484