Different voice part perceptions in polyphonic and homophonic musical textures

Ishida, Kai; Nittono, Hiroshi

Psychology of Music, 2024

Number of Access:410（2025-07-16 17:53 Counts）

Identifier to cite or link to this item: https://hdl.handle.net/11094/98220

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Title
Different voice part perceptions in polyphonic and homophonic musical textures
Creator
ORCID
0000-0001-6485-0950 0000-0001-6485-0950
researchmap permalink
music-brain-psycho23 music-brain-psycho23
Scopus Author ID
57226548915 57226548915
CreatorName
Ishida, Kai
NRID
1000020304371 1000020304371
ORCID
0000-0001-5671-609X 0000-0001-5671-609X
researchmap permalink
hiroshinittono hiroshinittono
Scopus Author ID
8131491700 8131491700
CreatorName
Nittono, Hiroshi
Subject
harmony
high-voice superiority effect (HVSE)
polyphony
race model inequality (RMI)
redundant signals effect (RSE)
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.
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.
Publisher
SAGE Publications Ltd
Source Title
Psychology of Music
Date of Issued
2024-09-13
Language
English
Handle URL
https://hdl.handle.net/11094/98220
PISSN
03057356
eISSN
17413087
Relation.isVersionOf
DOI (Publisher Version)
https://doi.org/10.1177/03057356241271027
Access Rights
open access
oaire:version
Accepted Manuscript
Category
学術雑誌論文 Journal Article