We explored how participants assessed emotional connotations of various Western and non-Western harmonisation styles, and whether cultural familiarity with a harmonic idiom such as major and minor mode would consistently relate to emotion communication. Here, we report a cross-cultural study with participants originating from two tribes in northwest Pakistan (Khow and Kalash) and the United Kingdom, with both groups being naïve to the music of the other respective culture. Previous research conducted on the cross-cultural perception of music and its emotional content has established that emotions can be communicated across cultures at least on a rudimentary level. We discuss these results considering their relevance to future research and to ongoing debates about the basis of octave equivalence perception. Results also suggest that effects of octave equivalence are strongest between neighbouring octaves, and that tonal language and musical training have a positive effect on learning of discriminations but not on perception of octave equivalence during testing.
Octave equivalence has an effect only when pitch height alone is not sufficient. In a two-range task, pitch height appears to be dominant over octave equivalence. Results found here suggest that the three-range discrimination task is indeed vital to demonstrating octave equivalence. We conducted a large-sample study using variations of the original paradigm to answer these questions. In this study we replicate and expand on this previous work trying to answer three questions that help us understand the origins and potential cross-cultural significance of octave equivalence: (1) whether training with three ranges is strictly necessary or whether an easier-to-learn two-range task would be sufficient, (2) whether the task could demonstrate octave equivalence beyond neighbouring octaves, and (3) whether language skills and musical education impact the use of octave equivalence in this task. In past work, members of our group developed a three-range generalization paradigm that reliably demonstrated octave equivalence. While the octave is used cross-culturally as a basis of pitch perception, experimental demonstration of the phenomenon has proved to be difficult.
Any student participating in the vocal music competition CANNOT participate in other competitions (skit, quiz bee, etc.Octave equivalence describes the perception that notes separated by a doubling in frequency sound similar. Entries will be judged on musical talent, entertainment, preparation, and usage of French.ħ. Any school exceeding these limits WILL BE DISQUALIFIED.Ħ. There is a time limit of four minutes for each entry. Three copies of the lyrics must be provided to the judges.ĥ. Prizes will be given in two categories: a.) Vocal Performance, emphasizing vocal ability and accuracy in French pronunciation with either recorded music or acapella b.) Overall Musicality, emphasizing vocal ability and accuracy in French in conjunction with live musical accompanimentĪccompaniment is allowed live or on cassette (All instruments and/or musical equipment must be supplied by the student(s).Ĥ. Each school may enter one vocal music number with no more than 3 people.Ģ. **Please read carefully as there have been changes**ġ.
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