engleski

The Aural Perception of Scalar Dissonance: Experimental Insights on an Analytical Model for Polytonality

Throughout the twentieth century, the reception of the term polytonality gave rise to a contested debate, resulting in inconsistent uses of the term, incompatible analytical approaches, and the lack of an appropriate definition. Nevertheless, the notion of polytonality implies the combination or superimposition of tonally resonant layers, whose interpretation depends on the conceptual framework used to explain their relation. Recently, Martins (2017) proposed the analytical apparatus of scalar dissonance aimed at modeling contrapuntal relations between distinct layers as interactions between scales. This paper will focus on two substantial properties of this model: mismatch (abb. MISM: “friction” or “roughness” between layers) and porosity (abb: PORO: “channeling” or “pivot” notes between the layers), neither of which has been previously investigated in experimental studies of polytonal perception. The model will be tested in a series of listening experiments using controlled (composed) samples, as well as the excerpts of selected pieces by Milhaud, Bartók and Casella. The aim of the survey is to examine the correlation between the perceived degree of mismatch and porosity with analytical data provided using the scalar dissonance model. The findings will be compared to general external criteria. Each category of results will be statistically analyzed by multiple linear regression using adequate ANOVA tests. The sample will consist of cca 100 examinees, students of music at BA/MA level. The overall results of the comparative analysis will be interpreted in the light of the basic principles of aural perception as elaborated by Bregman (1990) and Huron (2016).

polytonality, scalar dissonance, empirical studies, aural perception auditory scene analysis

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