Volume 8, Issue 6 p. 551-566

Children's implicit knowledge of harmony in Western music

E. Glenn Schellenberg,

Corresponding Author

E. Glenn Schellenberg

Department of Psychology, University of Toronto at Mississauga, Canada

MARCS Auditory Laboratories, University of Western Sydney, Australia

Address for correspondence: Glenn Schellenberg, Department of Psychology, University of Toronto at Mississauga, Mississauga, ON, L5L 1C6, Canada; e-mail: g.schellenberg@utoronto.caSearch for more papers by this author
Emmanuel Bigand,

Emmanuel Bigand

LEAD CNRS, Université de Bourgogne, Dijon, France

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Benedicte Poulin-Charronnat,

Benedicte Poulin-Charronnat

LEAD CNRS, Université de Bourgogne, Dijon, France

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Cécilia Garnier,

Cécilia Garnier

LEAD CNRS, Université de Bourgogne, Dijon, France

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Catherine Stevens,

Catherine Stevens

MARCS Auditory Laboratories, University of Western Sydney, Australia

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First published: 25 October 2005
Citations: 47

Abstract

Three experiments examined children's knowledge of harmony in Western music. The children heard a series of chords followed by a final, target chord. In Experiment 1, French 6- and 11-year-olds judged whether the target was sung with the vowel /i/ or /u/. In Experiment 2, Australian 8- and 11-year-olds judged whether the target was played on a piano or a trumpet. In Experiment 3, Canadian 8- and 11-year-olds judged whether the target sounded good (i.e. consonant) or bad (dissonant). The target was either the most stable chord in the established musical key (i.e. the tonic, based on do, the first note of the scale) or a less stable chord. Performance was faster (Experiments 1, 2 and 3) and more accurate (Experiment 3) when the target was the tonic chord. The findings confirm that children have implicit knowledge of syntactic functions that typify Western harmony.

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