The Influences of Progression Type and Distortion on the Perception of Terminal Power Chords

Autor/inn/en	Juchniewicz, Jay; Silverman, Michael J.
Titel	The Influences of Progression Type and Distortion on the Perception of Terminal Power Chords
Quelle	In: Psychology of Music, 41 (2013) 1, S.119-130 (12 Seiten) PDF als Volltext Verfügbarkeit
Sprache	englisch
Dokumenttyp	gedruckt; online; Zeitschriftenaufsatz
ISSN	0305-7356
DOI	10.1177/0305735611422506
Schlagwörter	Music Education; Musical Instruments; Undergraduate Students; Majors (Students); Statistical Analysis; Musical Composition; Intervals; Musicians; Rock Music; Higher Education; Undergraduate Study + Suchen Sie Ihr Suchwort? Musikerziehung; Musikinstrument; Statistische Analyse; Komponieren; Musiker; Rockmusik; Hochschulbildung; Hochschulsystem; Hochschulwesen; Grundstudium
Abstract	The purpose of this study was to investigate the tonal perception and restoration of thirds within power chords with the instruments and sounds idiosyncratic to the Western rock/pop genre. Four separate chord sequences were performed on electric guitar in four versions; as full chord and power chord versions as well as under both clean-tone and distortion effect versions. Undergraduate music majors (N = 50) listened to all 16 chord progressions and rated their perception of the tonality ("majorness" or "minorness") in the terminal chord for each sequence, utilizing a 7-point semantic differential scale ranging from minor (1) to major (7) with a neutral indicator located in the middle (4). Participants had completed a mean 3.82 (SD = 0.66) semesters of ear training and 28 indicated they played the guitar. A three-way repeated measures ANOVA revealed significant differences between responses for chord sequences (1-4), as well as a significant interaction between chord sequences, distortion (clean versus distortion), and type of chords in the progression (whole chords versus power chords). Further analysis of data indicated that participants tended to perceive terminal power chords as major, especially when progressions were comprised of power chords and contained distortion. (Contains 1 table and 1 figure.) (As Provided).
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Erfasst von	ERIC (Education Resources Information Center), Washington, DC
Update	2017/4/10