和音認知に関する心理物理モデル

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(1)2006−MUS−66（16） 2006／8／8. 社団法人情報処理学会研究報告 IPSJ SIG Technical Report. ᴾ. ๺㖸⹺⍮ߦ㑐ߔࠆᔃℂ‛ℂࡕ࠺࡞ ⮮Ỉ㓉ผ 㧘Norman D. Cook㧘㐳↰ౖሶ 㧘 ነ᥍ᒄ . 㑐⷏ቇ㒮ᄢቇℂᎿቇ⎇ⓥ⑼㧛ࡅࡘ࡯ࡑࡦࡔ࠺ࠖࠕ⎇ⓥ࠮ࡦ࠲࡯ . 㑐⷏ᄢቇ✚วᖱႎቇㇱ ᭎ⷐ. ๺㖸㧛๺ჿ㧔chord/harmony㧕ߪ㧘ࡔࡠ࠺ࠖ㧔melody㧕㧘࡝࠭ࡓ㧔rhythm㧕ߣߣ߽ߦ㖸ᭉࠍᒻ૞ ࠆ㊀ⷐߥⷐ⚛ߢ޽ࠆ㧚㖸ᭉߩ‛ℂ⊛ߥ㖸㗀⊛․ᓽߣߘߩᔃℂ⊛ߥශ⽎߿ᗵᕈߣߩ㑐ㅪᕈߦߟ޿ߡ ቯ㊂⊛ߦ⹏ଔߔࠆߚ߼ߦ㧘ᧄ⎇ⓥߢߪ๺㖸ᕈߦߟ޿ߡߩ⹏ଔࡕ࠺࡞ࠍ᭴▽ߒߚ㧚๺㖸ᕈߪ㧘(1) ද๺ᕈ㧔Ẵࠎߛ㧙Ộߞߚ㧕㧘(2)✕ᒛᗵ㧔✕ᒛߒߚ㧙⪭ߜߟ޿ߚ㧕㧘ߐࠄߦ㐳⺞߆⍴⺞߆ߣ޿ߞߚᕈ ⾰ࠍ᳿ቯߔࠆ(3)ࡕ࠳࡝࠹ࠖ㧔᣿ࠆ޿㧙ᥧ޿㧘߁ࠇߒ޿㧙ᖤߒ޿㧕߆ࠄ᭴ᚑߐࠇࠆ㧚ᧄ⎇ⓥߦ߅޿ ߡឭ᩺ߐࠇߚࡕ࠺࡞ߣ㧘ߎࠇ߹ߢ⚻㛎⊛ߦ⍮ࠄࠇߡ޿ࠆ᭽‫ߥޘ‬๺㖸࠲ࠗࡊ߿㧘ᓧࠄࠇߚታ㛎࠺࡯ ࠲ߣߩᢛวᕈࠍ⏕⹺ߒ㧘ࡕ࠺࡞ߩᅷᒰᕈߦߟ޿ߡᬌ⸽ߒߚ㧚. A Psychophysical Model of Chord Perception Takashi X. Fujisawa1, Norman D. Cook2, Noriko Nagata1 and Haruhiro Katayose1 1. Research Center for Human Media, Kwansei Gakuin University 2. Department of Informatics, Kansai University. Abstract A psychophysical model designed to explain the phenomena of resolved/unresolved harmonies and the major/minor modalities in traditional Western diatonic music is presented. The model uses solely the acoustical features of the pitch combinations for calculation of the total “dissonance”, “tension” and “modality” of chords. Dissonance is defined as a 2-tone effect, similar to the model of Plomp & Levelt. Tension is defined as a 3-tone effect due to the relative size of intervals, following the idea of “intervallic equivalence” by Leonard Meyer. The total sonority of any number of tonal combinations can be computed on the basis of these two concepts. 㧝㧚ߪߓ߼ߦ. ⺞ߣ⍴⺞ߩ๺㖸߆ࠄ㧘ߘࠇߙࠇ̌᣿ࠆߐ̍߿̌ᥧ. 㖸ᭉᖱႎಣℂߦ߅޿ߡ㧘ᭉ㖸߆ࠄฃߌߣࠆᗵ. ߐ̍ߣ޿ߞߚⷞⷡ⊛ශ⽎㧘 ̌༑߮̍߿̌ᖤߒߺ̍. ᕈᖱႎࠍቯ㊂⊛ߦ⹏ଔߔࠆߎߣߪ㊀ⷐߥࡊࡠ. ߥߤ᳇ಽ࡮ᗵᖱߦ㑐ㅪߒߚශ⽎[1]ࠍฃߌࠆࠃ. ࠮ࠬߢ޽ࠆ㧚ࡔࡠ࠺ࠖ߿࡝࠭ࡓߣߣ߽ߦ㧘๺㖸. ߁ߦ㧘๺㖸㧛๺ჿ߇⼾߆ߥᗵᕈᖱႎࠍ฽ࠎߢ޿. 㧛๺ჿ㧔chord / harmony㧕ߪ㖸ᭉߩ᭴ᚑࠍᜂ. ࠆߎߣࠍᜰ៰ߔࠆ⎇ⓥߪᢙᄙ޿㧚߹ߚቇ┬ᦼએ. ߁㊀ⷐߥⷐ⚛ߢ޽ࠆߣߐࠇߡ߅ࠅ㧘଀߃߫㧘㐳. ೨ߩሶߤ߽ߢ޽ߞߡ߽㧘๺㖸߿ࡔࡠ࠺ࠖߦ߅޿. −99−.

(2) ߡ⺞ߩ㐳⍴ࠍ᦭ᗧߦ⼂೎ߔࠆߣ޿ߞߚ⍮⷗. ߘߩਇද๺ᐲ(d)ߪએਅߩᑼߦࠃߞߡቯ⟵ߐࠇ. [2][3]߽⠨ᘦߔࠇ߫㧘๺㖸㧛๺ჿߣ޿߁㖸ᭉ⊛. ࠆ㧚. ⷐ⚛ߪੱ㑆↢ᵴߦ߅޿ߡᷓߊᩮߑߒߡ޿ࠆ߽. d. ߩߢ޽ࠆߣ⸒߁ߎߣ߇ߢ߈ࠆ㧚ߥߗ㐳⺞ߩ๺㖸. > . v12D 3 exp D1 x12. E.

(3) exp D x

(4) @ (1) E. 2 12. ߿ࡔࡠ࠺ࠖ߇ᭉߒߊ⡬ߎ߃㧘෻ኻߦ⍴⺞ߪ኎ߒ. ߎߎߢ㧘v12 ߪ 2 㖸ߩ㖸㊂ v1㧘v2 ߆ࠄቯ⟵ߐࠇ. ߊ⡬ߎ߃ࠆߩ߆㧘ߐࠄߦ޽ࠆ๺㖸ߪߘߩઁߩ๺. ࠆ୯ߢ޽ࠅ㧘 ᧄ⎇ⓥߢߪవⴕ⎇ⓥ[67]ߦᓥ޿ v1,. 㖸ߦᲧߴߡߤߩ⒟ᐲᭉߒߐߩශ⽎ࠍ઻ߞߡ⡬. v2 ߩⓍߣߒߚ㧚. ߎ߃ࠆߩ߆ߣ޿߁ߎߣߦߟ޿ߡචಽߥ⸃᣿߇ ߥߐࠇߡ޿ࠆߣߪ⸒޿߇ߚ޿㧚ߘߎߢᧄ⎇ⓥߪ ߘࠇࠄߩ⻉໧㗴ࠍ⸃᳿ߔࠆߚ߼ߦ㧘 ̌๺㖸ᕈ̍ ߦߟ޿ߡߩቯ㊂⊛⹏ଔࡕ࠺࡞ࠍ᭴▽ߔࠆߎߣ ࠍ⹜ߺߚ㧚 ᴾ 㧞㧚ߎࠇ߹ߢߩ๺㖸⍮ⷡࡕ࠺࡞㧔ද๺ᕈ㧕 ୚㖸ߣද๺ᕈ ๺㖸㧛๺ჿߦ㑐ࠊࠆߎࠇ߹ߢߩవⴕ⎇ⓥߦ ߅޿ߡ㧘ߘߩᔃℂ‛ℂߩኻᔕ㑐ଥ߇߶߷᣿ࠄ߆ ߦߐࠇߡ޿ࠆߩߪ㧘㖸ߩ̌ද๺ᕈ̍ߦߟ޿ߡߢ ޽ࠆ㧚ද๺ᕈߪਥߦ 2 㖸ߩࡇ࠶࠴〒㔌㧔㖸⒟㧕. Fig.1 ਇද๺ᐲ(D)ߩℂ⺰ᦛ✢. ߆ࠄ᳿ቯߐࠇࠆᕈ⾰ߢ޽ࠆ㧚޽ࠆ 2 ߟߩ⚐㖸ߦ ߅޿ߡ㧘ߘߩࡇ࠶࠴㑆ߩ〒㔌߇ዊߐ޿㧔1-2 ඨ. ߐࠄߦ᭴ᚑ㖸߇ⶄว㖸ߢ޽ࠆ႐ว㧘㖸 1 ߩ i. 㖸⒟ᐲ㧕႐ว㧘ߘࠇࠄߩ㖸ߪ⍮ⷡ⊛ߦ᣿⏕ߦ 2. ୚㖸ߩ๟ᵄᢙࠍ f1i ߣ㖸 2 ߩ j ୚㖸ߩ๟ᵄᢙࠍ f2j. 㖸ߣߒߡಽ㔌߇ߢ߈ߥ޿ߩߢỘߞߡ⡬ߎ߃ࠆ. ߆ࠄ᭴ᚑߐࠇࠆ㖸⒟ࠍ x12 ߣߒ㧘߹ߚߘࠇߙࠇ. ߇㧘ㅒߦ〒㔌߇ᄢ߈޿႐ว㧘ߘߩỘࠅߪᶖᄬߔ. ߩ㖸㊂ࠍ v1i, v2j ߣߒߚ႐ว㧘ߘߩਇද๺ᐲ㧔D㧕. ࠆߣ޿߁઒ቯߦၮߠ޿ߡࡕ࠺࡞߇᭴ᚑߐࠇߡ. ߪએਅߩࠃ߁ߦቯᑼൻߢ߈ࠆ㧚. ޿ࠆ[4]㧔Fig.1 ߩ F0㧕㧚 ๺㖸ߩ᭴ᚑ㖸߇ⶄว㖸ߢ޽ࠆ႐ว㧘ߘߩද๺. n 1 n 1. D. ᕈ㧔ਇද๺ᐲ㧕ߪߘࠇߙࠇ୚㖸ߩᓇ㗀ࠍฃߌࠆ㧚 ଀߃߫ C ߣ. F#ߩ႐ว㧘ߘߩ. ¦¦ d (x. ij. , v ij ) (2). i 0 j 0. F0 㑆ߩ㖸⒟ߪ 6 ඨ. 㖸ߢ޽ࠆ߆ࠄਇද๺ᐲߩ୯ߪૐ޿߽ߩߣߥࠆ ߇㧘C ߩ F2㧔G㧕ߣ F#ߩ F1㧔F#㧕ߩ㖸⒟߇ 1. ᧄ⎇ⓥߢߪ㧘3 ▵એ㒠ߪ․ߦ 3 ๺㖸ߦߟ޿ߡ. ඨ㖸ߢ޽ࠆߎߣ߆ࠄ㧘✚วߔࠆߣਇද๺ᐲߩ୯. ⼏⺰ߔࠆ߇㧘3 ๺㖸ߩ႐ว㧘฽߹ࠇࠆ㖸⒟ߩᢙ. ߪ㜞ߊߥࠆ㧔Fig.1 ߩ F0-F2㧕㧚. ߽ 3 ߟߣߥࠆ㧚3 ߟߩ㖸⒟߆ࠄߘࠇߙࠇߩਇද. ਇද๺ᐲᦛ✢. ๺ᐲ㧔D㧕߇⸘▚ߐࠇࠆߩߢ㧘ᐔဋࠍ߽ߞߡߘ. ޽ࠆ᭴ᚑ㖸ߩਇද๺ᐲࠍ᳿ቯߔࠆᑼߪ㧘ߎࠇ. ߩ 3 ๺㖸ߦߟ޿ߡߩਇද๺ᐲߢ޽ࠆߣቯ⟵ߒ. ߹ߢߩవⴕ⎇ⓥߢ↪޿ࠄࠇߚ߽ߩߣ߶߷ห᭽. ߚ㧚. ߩ߽ߩߢ޽ࠅ㧘ࡕ࠺࡞߆ࠄᓧࠄࠇࠆਇද๺ᐲߩ. 㧟㧚๺㖸ᕈࡕ࠺࡞㧔✕ᒛᐲ࡮ࡕ࠳࡝࠹ࠖ㧕. ୯ߩࡄ࠲࡯ࡦߪ߶߷৻⥌ߒߡ޿ࠆ[5][6]㧚޽ࠆ. ද๺ᕈߣ๺㖸ᕈ. 㧞ߟߩ⚐㖸ߩ๟ᵄᢙ f1, f2 ߆ࠄ᭴ᚑߐࠇࠆ㖸⒟ ࠍ x12 ߣߒ㧘ߘࠇߙࠇߩ㖸㊂ࠍ v1, v2 ߣߒߚ႐ว㧘. 㐳⺞߿⍴⺞ߥߤฦ⒳ߩ๺㖸߇߽ߟශ⽎߿ᗵ ᕈߪ㧘ද๺ᕈℂ⺰ߦၮߠ޿ߚ㖸ߩ㖸㗀ቇ⊛․ᕈ. −100−.

(5) ߆ࠄ⺑᣿น⢻ߛߣߔࠆ┙႐ߪሽ࿷ߔࠆ߇[7][8]㧘. ߪߎࠇࠍ̌ࡕ࠳࡝࠹ࠖ̍ߣቯ⟵ߔࠆ㧚 ̌✕ᒛᕈ̍. ߘߩ੍᷹ߣ⚻㛎߽ߒߊߪታ㛎࠺࡯࠲[9]ߣߩᢛ. ߣߩ㑐ㅪ߆ࠄ⺞ߩ㐳⍴ߦߟ޿ߡߩ᭎ᔨࠍᝒ߃. วᕈ߇޽ࠆߣߪ⸒޿߇ߚ޿㧔Table.1 ࠍෳᾖ㧕㧚. ߥ߅ߔߎߣߢ㧘ᓥ᧪ߩ㖸ᭉℂ⺰ߦၮߠ߆ߥ޿㧘. ̌๺㖸ᕈ̍ߣ޿߁⺆ࠍ̌ࠊࠇࠊࠇ߇๺㖸߆ࠄฃ. ቯ㊂⊛ߥ๺㖸ᕈ⹏ଔࡕ࠺࡞ࠍ᭴▽ߔࠆߎߣ߇. ߌߣࠆᗵᕈ⊛ᕈ⾰ߩ✚૕̍ߣቯ⟵ߔࠆߥࠄ߫㧘. น⢻ߣߥߞߚ㧚. ߎߩਇᢛวߪ㧘๺㖸ᕈߩోߡࠍද๺ᕈߩߺ߆ࠄ ⺑᣿ߔࠆߎߣߪߢ߈ߥ޿ߎߣ߆ࠄ↢ߓࠆ߽ߩ. ✕ᒛᐲߩቯ⟵ ޽ࠆ 3 ߟߩ⚐㖸ߦߟ޿ߡ㧘ߘࠇߙࠇߩ๟ᵄᢙ. ߢ޽ࠆ[11][12]㧚 ߘߎߢᧄ⎇ⓥߢߪ㧘Mayer ߩฎౖ⊛⍮⷗[10]. ࠍ f1㧘f2㧘f3㧔f1 < f2 < f3㧕ߣߒߚ႐ว㧘 f1 ߣ f2. ߦၮߠߊߎߣߢ㧘๺㖸ߦ㑐ߔࠆ⍮ⷡ⊛ᕈ⾰㧔=. ߆ࠄቯ⟵ߐࠇࠆ㖸⒟ࠍ x12㧘f2 ߣ f3 ߆ࠄቯ⟵ߐ. ๺㖸ᕈ㧕ࠍᣂߚߦ 2 ߟ઒ቯߒߚ㧚ߘࠇࠄߪ“㖸. ࠇࠆ㖸⒟ࠍ x23 ߣߒ㧘߹ߚߘࠇߙࠇߩ㖸㊂ࠍ v1㧘. ⒟ߩ╬ߒߐ㧔intervallic equivalence㧕”ߦၮߠ. v2㧘v3 ߣߒߚ႐ว㧘✕ᒛᐲ(t)એਅߩࠃ߁ߦቯᑼ. ߊ߽ߩߢ㧘଀߃߫㧘޽ࠆ 3 ߟߩ⚐㖸߇ߘࠇߙࠇ. ൻߐࠇࠆ㧚. ╬ߒ޿㖸⒟ߢ㔌ࠇߡ޿ࠆ႐ว㧘ߘߩ 3 ๺㖸ߪ. t. ̌✕ᒛ⊛̍ߢ̌ᧂ⸃᳿⊛̍ߥ㗀߈ࠍ߽ߟߣ઒ቯ ߔࠆ㧚෻ኻߦߘࠇߙࠇߩ㖸⒟߇╬ߒߊߥ޿႐ว. ª §x x 12 v123 exp « ¨¨ 23 J «¬ ©. · ¸¸ ¹. 2. º » »¼. (3). ߦߪ㧘̌⪭ߜ⌕޿ߚ߽̍ߒߊߪ̌⸃᳿⊛̍ߥ㗀. ߎߎߢ㧘v123 ߪ 2 㖸ߩ㖸㊂ v1㧘v2㧘v3 ߩⓍߢ޽. ߈ࠍ߽ߟ㧔Fig. 2㧕㧚ߎߩ๺㖸ᕈࠍ̌✕ᒛᕈ̍. ࠅ㧘Ȗ ߪቯᢙߢ 0.60 ߢ޽ࠆ㧚ᑼ (3)ߦࠃߞߡቯ. ߣቯ⟵ߔࠆ㧚. ⟵ߐࠇࠆ✕ᒛᐲ㧔t㧕ߩၮᧄᦛ✢ࠍ Fig.4 ߦ␜ߔ 㧔ߚߛߒ㧘v1 = v2 = v3㧕㧚. Fig.2 ╙ 1 㖸⒟㧔x12㧕ߣ╙ 2 㖸⒟㧔x23㧕. F-minor. G#-major. A-minor. C-major. C#-minor. E-major. Fig.4 ✕ᒛᐲ(t)ߩၮᧄℂ⺰ᦛ✢. 3 ๺㖸ߩ᭴ᚑ㖸߇୚㖸ᚑಽࠍ฽߻ⶄว㖸ߢ޽ ࠆ႐วߩ✕ᒛᐲ㧔T㧕ߪ㧘㖸 1 ߩ i ᰴ๟ᵄᢙࠍ. Fig.3 ⸃᳿⊛๺㖸ߣ㐳⺞㧛⍴⺞ߩ㑐ㅪᕈ[11]. f1i㧘㖸 2 ߩ j ᰴ๟ᵄᢙࠍ f2j㧘㖸 3 ߩ k ᰴ๟ᵄᢙ ߐࠄߦ̌⸃᳿⊛̍ߥ㗀߈ߦߪ㧘㐳⺞⊛ߦ᣿ࠆ ߐ߿ᭉߒߐߩශ⽎ࠍ઻߁႐วߣ㧘⍴⺞⊛ߦᥧߐ. ࠍ f3k ߣߒ㧘߹ߚߘࠇߙࠇߩ㖸㊂ࠍ v1i㧘v2j㧘v3k ߣߒߚ႐ว㧘એਅߩࠃ߁ߦቯᑼൻߢ߈ࠆ㧚. ߿኎ߒߐߩශ⽎ࠍ઻߁႐วߦ 2 ㅢࠅ߇޽ࠅ㧘ߘ ࠇߙࠇ߽ห᭽ߦ 3 㖸߆ࠄ᭴ᚑߐࠇࠆ⋧ኻ⊛ߥ 㖸⒟᭴ㅧ߆ࠄቯ⟵ߐࠇࠆߣ઒ቯߒߚ㧚ᧄ⎇ⓥߢ. −101−. n 1 n 1 n 1. T. ¦¦¦ t ( x i 0 j 0k 0. ij. , y jk , vijk ). (4).

(6) ᑼ(4)ߦࠃߞߡቯ⟵ߐࠇߚ✕ᒛᐲ㧔T㧕ߩℂ⺰ᦛ ✢ࠍ㧘╙ 1 㖸⒟߇ 3 ඨ㖸㧔x12=3.0㧕ߢ޽ࠆ႐ว ࠍ଀ߣߒߡ Fig.5 ߦ␜ߔ㧚. Fig.6 ࡕ࠳࡝࠹ࠖ(m)ߩၮᧄℂ⺰ᦛ✢. Fig.5 ✕ᒛᐲ(T)ߩℂ⺰ᦛ✢. ࡕ࠳࡝࠹ࠖߩቯ⟵ ࡕ࠳࡝࠹ࠖߪ޽ࠆ 3 ๺㖸߇㐳⺞⊛߆⍴⺞⊛ ߆ࠍ␜ߔᜰᮡ୯ߢ޽ࠅ㧘୯߇ᱜߢ޽ࠆ႐วߪ㐳⺞⊛㧘⽶ߢ޽ࠆ႐วߪ⍴⺞⊛ߣߥࠆ㧚✕ᒛᐲ(t) ߣห᭽ߦ㧘޽ࠆ 3 ߟߩ⚐㖸ߩ๟ᵄᢙ f1㧘f2㧘f3. Fig.7 ࡕ࠳࡝࠹ࠖ(M)ߩℂ⺰ᦛ✢. 㧔f1 < f2 < f3㧕߆ࠄ᭴ᚑߐࠇࠆߘࠇߙࠇߩ㖸⒟ࠍ x12, x23 ߣߒߚ႐ว㧘ࡕ࠳࡝࠹ࠖ(m)ߪએਅߩࠃ. ਇ቟ቯᕈߩቯ⟵. ߁ߦቯᑼൻߐࠇࠆ㧚. ਇ቟ቯᕈߪ޽ࠆ 3 ๺㖸߇ߤࠇ߶ߤ̌ਇ቟ቯ̍ ߥශ⽎ߢ⍮ⷡߐࠇࠆ߆ߦߟ޿ߡߩᜰᮡߢ޽ࠆ㧚. m. ° ª x 23 x12

(7) 4 º ½° ª 2 x x12

(8) º v123 « 23 exp » ¾ (5) ® « » H 4 °¯ ¬« ¬ ¼ ¼» °¿. ਇ቟ቯᐲ㧔I㧕ߪਇද๺ᐲ(D)ߣ✕ᒛᐲ(T)߆ࠄ ▚಴ߐࠇ㧘એਅߩᑼߦࠃߞߡቯᑼൻߐࠇࠆ㧚. I e ߪቯᢙߢ e = 1.214 ߢ޽ࠆ㧚ᑼ (5)ߦࠃߞߡቯ. 1 3 ¦ Di GT (7) 3i1. ⟵ߐࠇࠆࡕ࠳࡝࠹ࠖ(m)ߩၮᧄᦛ✢ࠍ Fig.6 ߦ. ߎߎߢ㧘Ǭ=0.207 ߢ޽ࠅ㧘ਇ቟ቯᐲ I ߦኻߔ. ␜ߔ㧔ߚߛߒ㧘v1 = v2 = v3㧕㧚᭴ᚑ㖸߇୚㖸ᚑಽ. ࠆ✕ᒛᐲ T ߩ⋧ኻ⊛ᓇ㗀ᐲࠍ᳿ቯߔࠆ߽ߩߢ. ࠍ฽߻ⶄว㖸ߢ޽ࠆ႐วߩࡕ࠳࡝࠹ࠖ㧔M㧕ߪ㧘. ޽ࠆ㧚. ✕ᒛᐲ(T)ߩቯ⟵ᤨߣหߓⷐ㗔ߢએਅߩࠃ߁ߦ. ᴾ. ቯᑼൻߐࠇࠆ㧚. 㧠㧚⚿ᨐߣ⠨ኤ ๺㖸ߩਇ቟ቯᕈߦߟ޿ߡߩᬌ⸛. n 1 n 1 n 1. M. ¦¦¦ m( x. ij. , y jk , v123 ) (6). i 0 j 0k 0. ߹ߕ๺㖸ߩਇ቟ቯᕈߦߟ޿ߡ㧘వⴕ⎇ⓥߣᧄ ⎇ⓥߩࡕ࠺࡞ߦߟ޿ߡᲧセࠍⴕߥ߁㧚Table.1. ߹ߚᑼ(6)ߦࠃߞߡቯ⟵ߐࠇߚࡕ࠳࡝࠹ࠖ㧔M㧕. ߦ␜ߐࠇߚࠃ߁ߦ㧘ਥߥ 3 ๺㖸ࠍ⡬ขߒߚታ㛎. ߩ୯ࠍ Fig.7 ߦ␜ߔ㧔x12=3.0 ߩ႐ว㧕㧚. ࠺࡯࠲ߢߪ[11]㧘musician ߆ non-musician ߆. −102−.

(9) ߦࠃߞߡ್ᢿߦᄙዋߩ㆑޿߇޽ࠆ߇㧘৻⥸⊛ߦ. ⍴⺞ߩ߽ߩߪ-3 ೨ᓟߩ୯ߣߥࠅ㧘ߘࠇߙࠇᱜ. 㐳⺞(Maj.) > ⍴⺞(Min.) > ᷫ๺㖸(Dim) > Ⴧ. ߒߊ⹏ଔߐࠇߡ޿ࠆߎߣ߇ಽ߆ࠆ㧚ߐࠄߦჇ๺. ๺㖸(Aug.)ߩࠞ࠹ࠧ࡝࡯㗅ߢ̌቟ቯ⊛̍ߛߣ⹏. 㖸㧘ᷫ๺㖸ߩࡕ࠳࡝࠹ࠖߩ୯ߪ 0 ೨ᓟߩ୯ߢ޽. ଔߐࠇࠆ㧚వⴕ⎇ⓥߦ߅ߌࠆද๺ᕈߦၮߠ޿ߚ. ࠅ㧘㐳⺞࡮⍴⺞ߩ๺㖸߶ߤᭉߒߐ߿኎ߒߐ㧘᣿. 3 ๺㖸ߩ቟ቯᕈߦߟ޿ߡߩ੍᷹୯ߪߘߩ⹏ଔ. ࠆߐ߿ᥧߐߣ޿ߞߚශ⽎ࠍ઻ࠊߥ޿ߣ޿߁⹏. ߣ⍦⋫ߒߡ޿ࠆ㧔ਅ✢ㇱ㧕ߩߦኻߒ㧘ᧄ⎇ⓥߢ. ଔߩ୯ߣߥߞߚ㧚. ឭ᩺ߐࠇߚࡕ࠺࡞ߩ୯ߪࠃࠅᢛว⊛ߢ޽ࠆ㧚 ๺㖸ߩផ⒖ߣℂ⺰୯ ๺㖸ߩផ⒖ߦࠃߞߡ㧘๺㖸ᕈ㧔✕ᒛᗵ࡮ࡕ࠳. Table.1 ਇ቟ቯᕈߩవⴕ⎇ⓥߣߩᲧセ㪚㪿㫆㫉㪻㪠㫅㫋㪼㫉㫍㪸㫃㪜㫏㫇㪅㪚㫃㪸㫊㫊㪪㫋㫉㫌㪺㫋㪅㪩㫆㪹㪼㫉㫋㫊㪋㪄㪊㪤㪸㫁㫆㫉㸇㪊㪄㪌㪌㪄㪋㪊㪄㪋㪤㫀㫅㫆㫉㸈㪋㪄㪌㪌㪄㪊㪊㪄㪊㪛㫀㫄㪅㸉㪊㪄㪍㪍㪄㪊㪘㫌㪾㪅㪋㪄㪋㸊㪌㪄㪉㪪㫌㫊㪅㩷㪋㫋㪿㪉㪄㪌㪌㪄㪌. 㪧㩽㪣㪋㪈㪈㪉㪋㪉㪈㪈㪈㪊㪏㪏㪈㪇㪍㪍㪈. ࡝࠹ࠖ㧕ߩ୯߇ߤߩࠃ߁ߦᄌൻߔࠆߩ߆ࠍᬌ⸛. 㪫㪿㪼㫆㫉㫐㪢㩽㪢㪧㪸㫉㫅㪺㫌㫋㫋㪪㪼㫋㪿㪸㫉㪼㫊㪚㩽㪝㪈㪈㪋㪈㪈㪈㪍㪏㪌㪍㪊㪉㪋㪈㪋㪋㪉㪍㪍㪉㪊㪈㪈㪈㪇㪏㪍㪍㪐㪈㪉㪈㪉㪐㪌㪈㪇㪎㪐㪏㪈㪇㪈㪇㪉㪈㪉㪈㪊㪈㪊㪈㪍㪏㪈㪍㪈㪈㪈㪈㪐. ߔࠆߚ߼ߦ㧘2 ߟߩ଀ࠍ Fig.8 ߦ␜ߒߚ㧚Fig. 8(a)ߢߪ㧔Csus4ψC㧕㧘✕ᒛᗵߩᷫዋߣࡕ࠳࡝ ࠹ࠖߩჇട߇⷗ࠄࠇࠆߎߣ߆ࠄ㧘᣿ࠆߐߩ઻߁ ⚳ ᱛ ᗵ߇ ᓧࠄ ࠇ ࠆߎ ߣ㧘 ߹ ߚ Fig.8(b) ߢ ߪ 㧔CaugψAm㧕㧘✕ᒛᗵߩᷫዋߣࡕ࠳࡝࠹ࠖߩ ᷫዋ߇⷗ࠄࠇࠆߎߣ߆ࠄ㧘ᥧߐߩ઻߁⚳ᱛᗵ߇ ᓧࠄࠇࠆߎߣࠍ␜ໂߒߡ޿ࠆ㧚. (a). (b). ਥߥ ๺㖸ߦߟ޿ߡߩᬌ⸛ ਥߥ 3 ๺㖸ߦ߅ߌࠆ㧘ߘࠇߙࠇߩᜰᮡ୯ߦߟ ޿ߡ Table.2 ߦ␜ߔ㧚 Table.2 ਥߥ 3 ๺㖸ߩℂ⺰୯. 㪤㪸㫁. 㪤㫀㫅. 㪛㫀㫄㪘㫌㪾㪪㫌㫊㪋. 㪋㪄㪊㪊㪄㪌㪌㪄㪋㪊㪄㪋㪋㪄㪌㪌㪄㪊㪊㪄㪊㪊㪄㪍㪍㪄㪊㪋㪄㪋㪌㪄㪉㪉㪄㪌㪌㪄㪌. 㪩㫆㫆㫋㪈㫊㫋㩷㪠㫅㫍㪅㪉㫅㪻㩷㪠㫅㫍㪅㪩㫆㫆㫋㪈㫊㫋㩷㪠㫅㫍㪅㪉㫅㪻㩷㪠㫅㫍㪅㪩㫆㫆㫋㪈㫊㫋㩷㪠㫅㫍㪅㪉㫅㪻㩷㪠㫅㫍㪅㪩㫆㫆㫋㪩㫆㫆㫋㪈㫊㫋㩷㪠㫅㫍㪅㪉㫅㪻㩷㪠㫅㫍㪅. 㪛㪇㪅㪌㪇㪋㪇㪅㪍㪋㪈㪇㪅㪋㪐㪏㪇㪅㪌㪇㪋㪇㪅㪋㪐㪏㪇㪅㪍㪋㪈㪇㪅㪎㪍㪋㪇㪅㪍㪐㪌㪇㪅㪍㪐㪌㪇㪅㪍㪈㪈㪇㪅㪎㪈㪌㪇㪅㪎㪈㪌㪇㪅㪌㪍㪐. 㪫㪇㪅㪌㪏㪊㪇㪅㪏㪊㪍㪈㪅㪊㪍㪍㪈㪅㪈㪌㪏㪈㪅㪉㪋㪍㪇㪅㪐㪌㪇㪊㪅㪉㪉㪊㪉㪅㪇㪉㪍㪉㪅㪋㪉㪇㪍㪅㪎㪇㪈㪉㪅㪉㪉㪍㪉㪅㪋㪊㪏㪊㪅㪇㪇㪌. 㪠㪇㪅㪍㪉㪋㪇㪅㪏㪈㪋㪇㪅㪎㪏㪇㪇㪅㪎㪋㪋㪇㪅㪎㪌㪍㪇㪅㪏㪊㪏㪈㪅㪋㪊㪈㪈㪅㪈㪈㪋㪈㪅㪈㪐㪍㪈㪅㪐㪐㪏㪈㪅㪈㪎㪌㪈㪅㪉㪈㪐㪈㪅㪈㪐㪈. 㪤㪊㪅㪎㪏㪇㪉㪅㪍㪈㪈㪊㪅㪏㪉㪌㪄㪋㪅㪉㪇㪐㪄㪊㪅㪇㪎㪌㪄㪉㪅㪎㪍㪊㪇㪅㪊㪍㪈㪇㪅㪈㪎㪍㪄㪇㪅㪏㪐㪌㪇㪅㪊㪏㪋㪄㪇㪅㪇㪇㪈㪄㪇㪅㪇㪍㪈㪄㪇㪅㪊㪇㪋. 㪩㪸㫅㫂㪈㪌㪋㪉㪊㪍㪈㪉㪎㪈㪇㪈㪊㪏㪈㪈㪐. Csus4. C. Caug. Am. Tension. 0.371. 0.097. 1.117. 0.208. Modality. 0.000. +0.630. +0.064. -0.513. Fig. 8 ๺㖸ផ⒖ߣ✕ᒛᐲ࡮ࡕ࠳࡝࠹ࠖߩᄌൻ㧚. ታ㛎⚿ᨐߣߩᲧセ ࡕ࠳࡝࠹ࠖߦ߅ߌࠆࡕ࠺࡞ߩ੍᷹୯ߣታ㛎 ߆ࠄᓧࠄࠇߚ࠺࡯࠲ߣߣ߽ߦ Fig.9 ߦ␜ߔ㧚. . ߹ߕ೨▵ߢᬌ⸛ߒߚࠃ߁ߦ㧘๺㖸ߩਇ቟ቯᕈ ߢߪჇ๺㖸߇ᦨ߽ਇ቟ቯߢ޽ࠅ㧘㐳⺞ߩ๺㖸߇ ᦨ߽቟ቯ⊛ߢ޽ࠆߣ⚿ᨐߣߥߞߚ㧚ᰴߦ㧘㐳⺞ ⊛߆⍴⺞⊛߆ߣ޿߁ᕈ⾰ࠍ␜ߔࡕ࠳࡝࠹ࠖ(M) ߩ୯ߦߟ޿ߡᬌ⸛ߒߡߺࠆߣ㧘߹ߕ㐳⺞ߩࠞ࠹ ࠧ࡝࡯ߦᒰߡߪ߹ࠆ๺㖸ߪ+3 ೨ᓟߩ୯㧘ㅒߦ. Fig.9 ℂ⺰୯ߣታ㛎⚿ᨐߩᲧセ. −103−.

(10) ታ㛎ෳട⠪ߪߘࠇߙࠇ㗅ߦ 18, 20, 66 ੱߩ. ෳ⠨ᢥ₂. ᄢቇ↢ߢ޽ࠅ㧘ోຬ߇ 8 ᐕએਅߩ㖸ᭉ⚻㛎ߒ߆. [1] Juslin, P.N. & Sloboda J.A. (edt.) (2001).. ߽ߚߥ޿㧚ࡕ࠳࡝࠹ࠖߦ㑐ߒߡ๺㖸ࠍ⹏ଔߔࠆ. Music and Emotion: Theory and research. Oxford:. ᒻኈ⹖ኻߪߘࠇߙࠇ㧘߁ࠇߒ޿㧙ᖤߒ޿㧘᣿ࠆ. Oxford University Press.. ޿㧙ᥧ޿㧘ᒝ޿㧙ᒙ޿߇↪޿ࠄࠇߚ㧚ォ࿁ဳࠍ. [2] Trehub, S.E., Morrongiello, B.A., & Thorpe,. ฽߻ 6 ⒳㘃ߩ㐳⍴⺞ߩ๺㖸ࠍ᭽‫࠴࠶ࡇߥޘ‬᳓. L.A. (1984). Children’s perception of familiar. Ḱߢ⡬ขߐߖ㧘5 Ბ㓏ዤᐲߢ⹏ቯߒߡ߽ࠄߞߚ㧚. melodies: the role of intervals, contour, and key.. ᧄ⎇ⓥߩ੍᷹୯㧔ᄥ✢㧕ߪታ㛎୯ߣࠃߊㆡว. Psychomusicology, 5, 39-48.. ߔࠆ߽ߩߢ޽ߞߚ㧚߹ߕ㐳⺞ߣ⍴⺞ࠍ඙೎ߔࠆ. [3] Kastner, M.P., & Crowder, R.G. (1990).. ߘߩ⋧ኻ⊛⹏ଔߪℂ⺰୯ߣታ㛎୯㑆ߢ㕖Ᏹߦ. Perception. ౒ㅢߒߡ޿ߚ㧚ߐࠄߦ⥝๧ᷓ޿⚿ᨐߣߒߡ㧘ࡕ. connotations in young children. Music Perception,. ࠺࡞߆ࠄ㐳⺞ߩ╙ 1 ォ࿁ဳߪઁߩ㐳⺞ߩ๺㖸. 8, 189-202.. ߦᲧセߒߡࡕ࠳࡝࠹ࠖߩ୯߇ૐ޿ߣ੍᷹ߐࠇ. [4] Plomp, R. & Levelt, W.J.M. (1965). Journal of. ࠆ߇㧘3 ߟߩታ㛎ߘࠇߙࠇߦ߅޿ߡߘߩ௑ะ߇. the Acoustical Society of America, 38, 548-560.. ⏕⹺ߐࠇߚ㧚. [5] Kameoka, A., & Kuriyagawa, M. (1969).. of. major/minor:. IV.. Emotional. Consonance theory: Parts I and II. Journal of the 㧡㧚߅ࠊࠅߦ. Acoustical Society of America, 45, 1451-1469.. ᧄ⎇ⓥߢߪ㧘๺㖸ࠍቯ㊂⊛ߦ⹏ଔߔࠆߚ߼ߩ. [6] Sethares, W.A. (1999). Tuning, Timbre,. ࡕ࠺࡞ߣߒߡ㧘㖸⒟᭴ㅧߦၮߠ޿ߚ̌✕ᒛᕈ̍. Spectrum, Scale, Springer, New York.. ߅ࠃ߮̌ࡕ࠳࡝࠹ࠖ̍ߣ޿߁ᣂߚߥ᭴ㅧᜰᮡࠍ. [7] Terhardt, E. (1974). Pitch, consonance and. ឭ᩺ߒ㧘వⴕ⎇ⓥߣߩኻᔕࠍ฽߼ߘߩᅷᒰᕈߦ. harmony. Journal of the Acoustical Society of. ߟ޿ߡᬌ⸛ߒߚ㧚ᧄ⎇ⓥߩࡕ࠺࡞ߪ๺㖸ߣ޿߁. America, 55, 1061-1069.. ஥㕙߆ࠄ㧘㖸ᭉߣ޿߁ⶄ㔀ߥᔃℂ‛ℂ⃻⽎ࠍ᣿. [8]. ࠄ߆ߦߔࠆߚ߼ߩၮ⋚ߣߥࠅ߁ࠆ߽ߩߢ޽ࠆ㧚. psychoacoustical approach, Springer, Berlin.. ᓥ᧪ߩ㖸ᭉℂ⺰ߢߪ㧘๺㖸߿๺ჿߦߟ޿ߡߪቯ. [9] Roberts, L. (1986). Consonant judgments of. ᕈ⊛ߦߒ߆ᛠីߐࠇߡߎߥ߆ߞߚ߇㧘ቯ㊂ൻࠍ. musical chords by musicians and untrained. ⴕ߁ߎߣߢ㖸ᭉᖱႎಣℂߩߚ߼ߩᣂߚߥ․ᓽ. listeners. Acustica, 62, 163-171.. ㊂ߣߒߡ↪޿ࠆߎߣ߇น⢻ߢ޽ࠆ㧚଀߃߫㧘✕. [10] Meyer, L. (1956). Emotion and Meaning in. ᒛᕈߩᜰᮡࠍ↪޿ࠆߎߣߢᭉ㖸ߩ✕ᒛ㧙ᒆ✭. Music, Chicago University Press, Chicago.. ᭴ㅧߣ๺ჿㅴⴕࠍኻᔕߠߌࠆߎߣ߽⠨߃ࠄࠇ. [11] Cook, N.D. (2002). Tone of Voice and Mind,. ࠆ㧚߹ߚ㧘ઁߩᔃℂ‛ℂ࠺࡯࠲߿⣖⑼ቇߣߩኻ. John Benjamins, Amsterdam.. ᔕࠍ᣿ࠄ߆ߦߔࠆߎߣ߽ߢ߈ࠃ߁㧚ߐࠄߦᧄࡕ. [12] Cook, N.D. & Fujisawa, T.X. (2006). The. ࠺࡞ߪ㧘㖸㗀⊛․ᓽ߆ࠄࠊࠇࠊࠇ߇⋥ធ⊛ߦฃ. Psychophysics of Hermony Perception: Harmony. ߌࠆශ⽎߿ᗵᕈࠍࡕ࠺࡞ൻߒߚ߽ߩ޽ࠆߎߣ. is. ߆ࠄ㧘ઁߩ㖸㗀⃻⽎㧘଀߃߫㧘㖸ჿߩ㖸ᭉᕈߦ. Musicology Review, 1(2), 106-126.. ߟ޿ߡ⹏ଔߔࠆ[15]ߣ޿ߞߚᔕ↪น⢻ᕈߦߟ. [13] Cook, N.D. Fujisawa, T.X. & Takami, K.. ޿ߡ߽⠨߃ࠄࠇࠆ㧚. (2006). Evaluation of the Affective Valence of. Parncutt,. a. R.. Three-Tone. (1989).. Harmony:. Phenomenon.. A. Empirical. Normal Speech Using Pitch Substracture. IEEE Transactions on Audio, Speech, and Language Processing, 14(1), 142-151.. −104−.

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