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Please use this identifier to cite or link to this item: https://doi.org/10.18061/FDMC.2021.0050

dc.creatorKahrs, Noah
dc.creatorChiu, Matt
dc.date.accessioned2021-12-16T16:37:47Z
dc.date.available2021-12-16T16:37:47Z
dc.date.issued2021-12-16
dc.identifier.citationFuture Directions of Music Cognition (2021), pp. 250-255en_US
dc.identifier.urihttps://doi.org/10.18061/FDMC.2021.0050
dc.identifier.urihttp://hdl.handle.net/1811/93172
dc.description.abstractAlthough chords are often represented by pitch-class (chroma) content in computational research, chord spacing is often a more salient feature. This paper addresses this disparity between models and cognition by extending the discrete Fourier transform (DFT) theory of chord quality from pitch-classes to pitches. In doing so, we note a structural similarity between music theory's chord quality and audio engineering's timbral cepstrum: both are DFTs, performed in the pitch or frequency domains, respectively. We thus treat chord spacing as a hybrid of pitch-class and timbre. To investigate the potential benefits of the DFT on pitch space (P-DFT), we perform two computational experiments. The first explores the P-DFT model theoretically by correlating chord distances calculated with a pitch-class model against those calculated with spacing. The second compares P-DFT estimations of chord distances against listener responses (Kuusi, 2005). Our results show that spacing is a salient feature of chords, and that it can be productively described by timbre-influenced methods.en_US
dc.language.isoen_USen_US
dc.publisherOhio State University. Librariesen_US
dc.rightsCopyright © 2021 Noah Kahrs, Matt Chiuen_US
dc.subjectchord spacingen_US
dc.subjectchord qualityen_US
dc.subjecttimbreen_US
dc.subjectDiscrete Fourier Transformen_US
dc.subjectcepstrumen_US
dc.titleChord spacing and quality: Lessons from timbre researchen_US
dc.typeArticleen_US
dc.rights.ccAttribution 4.0 International
dc.rights.ccurihttp://creativecommons.org/licenses/by/4.0


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