Jenine Brown - Academia.edu (original) (raw)
Papers by Jenine Brown
Empirical Musicology Review
Tonal functions—tonic, pre-dominant, and dominant—are a standard feature of North American music ... more Tonal functions—tonic, pre-dominant, and dominant—are a standard feature of North American music theory. The pre-dominant (PD) encompasses the largest number of chords, varying in quality and scale degrees; unlike the tonic and dominant functions, it is primarily defined by its syntactical role, preceding the arrival of the dominant. While Western harmony textbooks consistently organize PD chords according to a regulative syntax (e.g., IV goes to ii), they differ on its rationale and are rarely explicit about the repertoire(s) on which it is based. Furthermore, while the PD is thought to be an essential element of cadential closure, the role of PDs at various formal locations is underexplored, be it in textbooks or corpus studies. To facilitate exploration of these claims for future research, we analyzed all 22 sonata-allegro movements from the Mozart piano sonatas and generated a new dataset containing every occurrence of V (including the Cad6/4), the three chords preceding each V,...
Engaging Students: Essays in Music Pedagogy, 2018
Music Perception, 2021
Among the three primary tonal functions described in modern theory textbooks, the pre-dominant ha... more Among the three primary tonal functions described in modern theory textbooks, the pre-dominant has the highest number of representative chords. We posit that one unifying feature of the pre-dominant function is its attraction to V, and the experiment reported here investigates factors that may contribute to this perception. Participants were junior/senior music majors, freshman music majors, and people from the general population recruited on Prolific.co. In each trial, four Shepard-tone sounds in the key of C were presented: 1) the tonic note, 2) one of 31 different chords, 3) the dominant triad, and 4) the tonic note. Participants rated the strength of attraction between the second and third chords. Across all individuals, diatonic and chromatic pre-dominant chords were rated significantly higher than non-pre-dominant chords and bridge chords. Further, music theory training moderated this relationship, with individuals with more theory training rating pre-dominant chords as being ...
Music Perception: An Interdisciplinary Journal, 2016
Previous studies of twelve-tone music suggest that participants can learn a twelve-tone row and i... more Previous studies of twelve-tone music suggest that participants can learn a twelve-tone row and identify it in a forced-choice test (Bigand, D’Adamo, & Poulin, 2003; Krumhansl, Sandell, & Sergeant, 1987). However, these findings invite speculation about the extent to which participants were attuning to intervals to complete the task. The present study builds upon these previous experiments by specifically investigating whether participants implicitly attune to repetitive interval patterns embedded in twelve-tone melodies. After passive exposure to a monophonic twelve-tone melody dominated by intervals 1 and 3 (in semitones), musician listeners with no formal training in nontonal music theory demonstrated learning of the frequent intervals (and directed interval pairs) in both forced-choice and ratings tasks. Experiment 2 tested a new group of participants with similar backgrounds, although this time the twelve-tone melody heard in familiarization was predominated with intervals 2 and 5. Participants showed learning of directed interval pairs, but not intervals (possibly due to the more tonal nature of interval successions within familiarization). These findings have pedagogical and analytical implications.
Research Studies in Music Education
Journal of New Music Research
Frontiers in psychology, 2017
Psilocybin is a classic (serotonergic) hallucinogen ("psychedelic" drug) that may occas... more Psilocybin is a classic (serotonergic) hallucinogen ("psychedelic" drug) that may occasion mystical experiences (characterized by a profound feeling of oneness or unity) during acute effects. Such experiences may have therapeutic value. Research and clinical applications of psychedelics usually include music listening during acute drug effects, based on the expectation that music will provide psychological support during the acute effects of psychedelic drugs, and may even facilitate the occurrence of mystical experiences. However, the features of music chosen to support the different phases of drug effects are not well-specified. As a result, there is currently neither real guidance for the selection of music nor standardization of the music used to support clinical trials with psychedelic drugs across various research groups or therapists. A description of the features of music found to be supportive of mystical experience will allow for the standardization and optimizat...
PREVIOUS STUDIES OF TWELVE-TONE MUSIC suggest that participants can learn a twelve-tone row and i... more PREVIOUS STUDIES OF TWELVE-TONE MUSIC
suggest that participants can learn a twelve-tone row and
identify it in a forced-choice test (Bigand, D’Adamo, &
Poulin, 2003; Krumhansl, Sandell, & Sergeant, 1987).
However, these findings invite speculation about the
extent to which participants were attuning to intervals
to complete the task. The present study builds upon
these previous experiments by specifically investigating
whether participants implicitly attune to repetitive
interval patterns embedded in twelve-tone melodies.
After passive exposure to a monophonic twelve-tone
melody dominated by intervals 1 and 3 (in semitones),
musician listeners with no formal training in nontonal
music theory demonstrated learning of the frequent
intervals (and directed interval pairs) in both forcedchoice
and ratings tasks. Experiment 2 tested a new
group of participants with similar backgrounds,
although this time the twelve-tone melody heard in
familiarization was predominated with intervals 2 and
5. Participants showed learning of directed interval
pairs, but not intervals (possibly due to the more tonal
nature of interval successions within familiarization).
These findings have pedagogical and analytical
implications.
Empirical Musicology Review
Tonal functions—tonic, pre-dominant, and dominant—are a standard feature of North American music ... more Tonal functions—tonic, pre-dominant, and dominant—are a standard feature of North American music theory. The pre-dominant (PD) encompasses the largest number of chords, varying in quality and scale degrees; unlike the tonic and dominant functions, it is primarily defined by its syntactical role, preceding the arrival of the dominant. While Western harmony textbooks consistently organize PD chords according to a regulative syntax (e.g., IV goes to ii), they differ on its rationale and are rarely explicit about the repertoire(s) on which it is based. Furthermore, while the PD is thought to be an essential element of cadential closure, the role of PDs at various formal locations is underexplored, be it in textbooks or corpus studies. To facilitate exploration of these claims for future research, we analyzed all 22 sonata-allegro movements from the Mozart piano sonatas and generated a new dataset containing every occurrence of V (including the Cad6/4), the three chords preceding each V,...
Engaging Students: Essays in Music Pedagogy, 2018
Music Perception, 2021
Among the three primary tonal functions described in modern theory textbooks, the pre-dominant ha... more Among the three primary tonal functions described in modern theory textbooks, the pre-dominant has the highest number of representative chords. We posit that one unifying feature of the pre-dominant function is its attraction to V, and the experiment reported here investigates factors that may contribute to this perception. Participants were junior/senior music majors, freshman music majors, and people from the general population recruited on Prolific.co. In each trial, four Shepard-tone sounds in the key of C were presented: 1) the tonic note, 2) one of 31 different chords, 3) the dominant triad, and 4) the tonic note. Participants rated the strength of attraction between the second and third chords. Across all individuals, diatonic and chromatic pre-dominant chords were rated significantly higher than non-pre-dominant chords and bridge chords. Further, music theory training moderated this relationship, with individuals with more theory training rating pre-dominant chords as being ...
Music Perception: An Interdisciplinary Journal, 2016
Previous studies of twelve-tone music suggest that participants can learn a twelve-tone row and i... more Previous studies of twelve-tone music suggest that participants can learn a twelve-tone row and identify it in a forced-choice test (Bigand, D’Adamo, & Poulin, 2003; Krumhansl, Sandell, & Sergeant, 1987). However, these findings invite speculation about the extent to which participants were attuning to intervals to complete the task. The present study builds upon these previous experiments by specifically investigating whether participants implicitly attune to repetitive interval patterns embedded in twelve-tone melodies. After passive exposure to a monophonic twelve-tone melody dominated by intervals 1 and 3 (in semitones), musician listeners with no formal training in nontonal music theory demonstrated learning of the frequent intervals (and directed interval pairs) in both forced-choice and ratings tasks. Experiment 2 tested a new group of participants with similar backgrounds, although this time the twelve-tone melody heard in familiarization was predominated with intervals 2 and 5. Participants showed learning of directed interval pairs, but not intervals (possibly due to the more tonal nature of interval successions within familiarization). These findings have pedagogical and analytical implications.
Research Studies in Music Education
Journal of New Music Research
Frontiers in psychology, 2017
Psilocybin is a classic (serotonergic) hallucinogen ("psychedelic" drug) that may occas... more Psilocybin is a classic (serotonergic) hallucinogen ("psychedelic" drug) that may occasion mystical experiences (characterized by a profound feeling of oneness or unity) during acute effects. Such experiences may have therapeutic value. Research and clinical applications of psychedelics usually include music listening during acute drug effects, based on the expectation that music will provide psychological support during the acute effects of psychedelic drugs, and may even facilitate the occurrence of mystical experiences. However, the features of music chosen to support the different phases of drug effects are not well-specified. As a result, there is currently neither real guidance for the selection of music nor standardization of the music used to support clinical trials with psychedelic drugs across various research groups or therapists. A description of the features of music found to be supportive of mystical experience will allow for the standardization and optimizat...
PREVIOUS STUDIES OF TWELVE-TONE MUSIC suggest that participants can learn a twelve-tone row and i... more PREVIOUS STUDIES OF TWELVE-TONE MUSIC
suggest that participants can learn a twelve-tone row and
identify it in a forced-choice test (Bigand, D’Adamo, &
Poulin, 2003; Krumhansl, Sandell, & Sergeant, 1987).
However, these findings invite speculation about the
extent to which participants were attuning to intervals
to complete the task. The present study builds upon
these previous experiments by specifically investigating
whether participants implicitly attune to repetitive
interval patterns embedded in twelve-tone melodies.
After passive exposure to a monophonic twelve-tone
melody dominated by intervals 1 and 3 (in semitones),
musician listeners with no formal training in nontonal
music theory demonstrated learning of the frequent
intervals (and directed interval pairs) in both forcedchoice
and ratings tasks. Experiment 2 tested a new
group of participants with similar backgrounds,
although this time the twelve-tone melody heard in
familiarization was predominated with intervals 2 and
5. Participants showed learning of directed interval
pairs, but not intervals (possibly due to the more tonal
nature of interval successions within familiarization).
These findings have pedagogical and analytical
implications.