It is possible, also in harmony, to gauge the listener’s expectation with precision. An excellent example is the experiment that Emmanuel Bigand and Barbara Tillmann carried out with trained musicians and non-musicians—lay people. For this, they had a number of melodies composed that differed very much, one from the other, with respect to melodic contour and rhythm, but, as a collection, had the same underlying pattern of chords. The melodies from a certain collection could, as it were, be accompanied by the same chords, without them sounding strange. What differed was that the chords were not actually audible; they were, as it were, implied by the melody, in the same way as a meter can be implied or induced by a rhythm.
Canon 1
Canon 2
Which of the Canon's below has the same underlying harmonic structure, or, in other words, which belongs to the same family as the two Canons above?
Canon A
Canon B
Bigand, E., D’Adamo, D.A. & Poulin-Charronnat, B. (2003). ‘The implicit learning of a contemporary musical grammar’. Proceedings of the European Society for Cognitive Psychology. Granada: Granada University.
Canon 1
Canon 2
Which of the Canon's below has the same underlying harmonic structure, or, in other words, which belongs to the same family as the two Canons above?
Canon A
Canon B
Bigand, E., D’Adamo, D.A. & Poulin-Charronnat, B. (2003). ‘The implicit learning of a contemporary musical grammar’. Proceedings of the European Society for Cognitive Psychology. Granada: Granada University.
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