Different voice part perceptions in polyphonic and homophonic musical textures

Ishida, Kai; Nittono, Hiroshi

doi:https://doi.org/10.1177/03057356241271027

Different voice part perceptions in polyphonic and homophonic musical textures

Ishida, Kai; Nittono, Hiroshi

Psychology of Music, 2024

アクセス数:381件（2025-07-10 17:26 集計）

固定URL: https://hdl.handle.net/11094/98220

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タイトル	Different voice part perceptions in polyphonic and homophonic musical textures
著者	ORCID 0000-0001-6485-0950 0000-0001-6485-0950 researchmap permalink music-brain-psycho23 music-brain-psycho23 Scopus Author ID 57226548915 57226548915 著者名 Ishida, Kai
著者	NRID 1000020304371 1000020304371 ORCID 0000-0001-5671-609X 0000-0001-5671-609X researchmap permalink hiroshinittono hiroshinittono Scopus Author ID 8131491700 8131491700 著者名 Nittono, Hiroshi
キーワード等	harmony
	high-voice superiority effect (HVSE)
	polyphony
	race model inequality (RMI)
	redundant signals effect (RSE)
内容	Ishida K., Nittono H.. Different voice part perceptions in polyphonic and homophonic musical textures. Psychology of Music, © 2024 The Author(s). DOI : https://doi.org/10.1177/03057356241271027.
抄録	Separate voice part perception has been shown in polyphonic music. However, it remains unclear whether this segregation of voice parts is specific to polyphony or also occurs in homophonic music. This study compared voice part perceptions in polyphony and homophony using a redundant signals effect (RSE) paradigm. The RSE means that reaction times are shorter for two simultaneously presented signals than for one of these signals. At the final position of the four-voice homophonic and polyphonic sequences, notes in two voice parts were altered to out-of-key notes independently or simultaneously. Participants (N = 208) responded to any deviant tones while withholding responses to non-deviant tones. All combinations of deviant voice parts (i.e., soprano–bass, tenor–bass, and alto–tenor) elicited RSEs in polyphonic and homophonic sequences, suggesting separate voice part perception, irrespective of musical texture. However, evidence of the coactivation of separate perceptual modules was obtained only for polyphonic sequences. Deviants in higher voice parts were detected faster and more accurately than those in lower voice parts in both musical textures. These results indicate that voice parts are perceived separately, with a bias toward higher voice parts in both musical textures, but voice parts are more segregated in polyphony.
出版者	SAGE Publications Ltd
収録物名	Psychology of Music
刊行年月	2024-09-13
言語	英語
ハンドルURL	https://hdl.handle.net/11094/98220
PISSN	03057356
eISSN	17413087
関連情報 (isVersionOf)	DOI (出版社版) https://doi.org/10.1177/03057356241271027
アクセス権	open access
出版タイプ	Accepted Manuscript
カテゴリ	学術雑誌論文 Journal Article

資源タイプ	学術雑誌論文
ローカル資源タイプ	学術雑誌論文
DCTERMS.bibliographicCitation	Psychology of Music. 2024
DC.title	Different voice part perceptions in polyphonic and homophonic musical textures
DC.creator	Ishida, Kai
DC.creator	Nittono, Hiroshi
DC.publisher	SAGE Publications Ltd
DC.language' scheme='DCTERMS.RFC1766	英語
DCTERMS.issued' scheme='DCTERMS.W3CDTF	2024-09-13
DC.identifier	https://doi.org/10.1177/03057356241271027
DC.subject	harmony
	high-voice superiority effect (HVSE)
	polyphony
	race model inequality (RMI)
	redundant signals effect (RSE)
DC.description	Ishida K., Nittono H.. Different voice part perceptions in polyphonic and homophonic musical textures. Psychology of Music, © 2024 The Author(s). DOI : https://doi.org/10.1177/03057356241271027.
DCTERMS.abstract	Separate voice part perception has been shown in polyphonic music. However, it remains unclear whether this segregation of voice parts is specific to polyphony or also occurs in homophonic music. This study compared voice part perceptions in polyphony and homophony using a redundant signals effect (RSE) paradigm. The RSE means that reaction times are shorter for two simultaneously presented signals than for one of these signals. At the final position of the four-voice homophonic and polyphonic sequences, notes in two voice parts were altered to out-of-key notes independently or simultaneously. Participants (N = 208) responded to any deviant tones while withholding responses to non-deviant tones. All combinations of deviant voice parts (i.e., soprano–bass, tenor–bass, and alto–tenor) elicited RSEs in polyphonic and homophonic sequences, suggesting separate voice part perception, irrespective of musical texture. However, evidence of the coactivation of separate perceptual modules was obtained only for polyphonic sequences. Deviants in higher voice parts were detected faster and more accurately than those in lower voice parts in both musical textures. These results indicate that voice parts are perceived separately, with a bias toward higher voice parts in both musical textures, but voice parts are more segregated in polyphony.
DC.format	98220
citation_title	Different voice part perceptions in polyphonic and homophonic musical textures
citation_author	Ishida, Kai
citation_author	Nittono, Hiroshi
citation_publisher	SAGE Publications Ltd
citation_language	英語
citation_date	2024-09-13
citation_journal_title	Psychology of Music
citation_doi	https://doi.org/10.1177/03057356241271027
citation_public_url	https://hdl.handle.net/11094/98220

Different voice part perceptions in polyphonic and homophonic musical textures

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