| Abstract: | Most pieces of music induce in the listener a sense that some pitches sound consonant, stable, or final, while others sound more dissonant, unstable, or transient. A psychological account of the intuition that the dissonance of an unstable tone is sometimes “resolved” by following it by a stable tone that is close in pitch is provided. The perceived hierarchy differentiating tones on the basis of stability may be construed as a cognitive schema, which facilitates the encoding of some tones relative to others. A cognitive principle, melodic anchoring, which specifies the ordered relationships (between tones) that govern (i) the activation of one tonal schema over another and (ii) the assimilation or anchoring of unstable tones to the tonal schema once it has been activated is presented. In a forcedchoice paradigm, the principle is invoked to predict which chord is perceived to “underlie” a sequence that is tonally ambiguous in all respects except the ordered relationships between its tones. In a same-different task, subjects were presented with a pair of tonal sequences. When a stable tone was replaced by an unstable tone, more confusions occurred when the latter was anchored than when it was not. The accuracy advantage when the unstable tone was in the comparison as opposed to the standard sequence was lower when the unstable tone was anchored than when it was not. Finally, subjects rated how well a sequence and a chord sounded together. Melodies that contained an unstable tone were given higher ratings when the unstable tone was anchored than when it was not. Each paradigm was used to demonstrate first immediate and then delayed anchoring. |
