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LISTENERS LENGTHEN BOUNDARIES IN SELF-PACED MUSIC
Supplementary Material
Experiment 1
The musical sequences used in Experiment 1. T refers to Tonal, A to Atonal. The chord
sequences contained in the boxes were used in the memory test at the end. The Foil sequences
used in the memory test are also shown.
Sequence T1
Based on BWV 1.6 harmonized by J. S. Bach
“Wie schön leuchtet der Morgenstern”
Sequence A1
Sequence T2
Based on BMV 12.7 harmonize by J. S. Bach
“Was Gott tut, das ist wohlgetan”
Sequence A2
LISTENERS LENGTHEN BOUNDARIES IN SELF-PACED MUSIC
Sequence T3
Based on BMV 13.6 harmonized by J. S. Bach
“O Welt, ich muβ dich lassen”
Sequence A3
Sequence T4
Based on BMV 20.7 harmonized by J. S. Bach
“O Ewigkeit, du Donnerwort”
Sequence A4
LISTENERS LENGTHEN BOUNDARIES IN SELF-PACED MUSIC
Foil 1
Lifted from BMV 37.6 harmonized by J. S. Bach
“Ich dank dir, lieber Herre”
Foil 2
Lifted from BMW 13.6 harmonized by J. S. Bach
“O Welt, ich muβ dich lassen”
Foil 3
Lifted from BMV 66.6 harmonized by J. S. Bach
“Christ ist erstanden”
Foil 4
Lifted from BMV 72.6 harmonized by J. S. Bach
“Was mein Gott will, das g’scheh allzeit”
LISTENERS LENGTHEN BOUNDARIES IN SELF-PACED MUSIC
Experiment 2
The tonal and atonal sequences used in Experiment 2. The length of the phrase changed
randomly between 5 and 11 chords, as indicated by the time signature.
Tonal Sequence
LISTENERS LENGTHEN BOUNDARIES IN SELF-PACED MUSIC
Atonal Sequence
LISTENERS LENGTHEN BOUNDARIES IN SELF-PACED MUSIC
Foil 1
Foil 2
Foil 3
Foil 4
LISTENERS LENGTHEN BOUNDARIES IN SELF-PACED MUSIC
Notes on Key and Harmony
Most Western music is composed from a seven-note subset of the chromatic notes that
divide the octave into 12 equally spaced intervals (on a log frequency scale), with the pitch
distance between adjacent tones of the chromatic scale separated by 1/12th octave (semitone).
Though different scales use somewhat different subsets of notes from the chromatic scale, for the
purposes of this paper, we focus on the Major scale, for which the pitch distances between
successive scale degrees (notes) follow the pattern: tone (i.e., two semitones), tone, semitone,
tone, tone, tone, semitone. The key signature (e.g., C Major) refers to the first note of that subset,
which is the tonal “center” (and scale degree 1) of the key. For example, the white notes of the
piano, beginning on C, form a Major scale (C, D, E, F, G, A, B, C). The scale degrees form a
hierarchy of stability (the tonal hierarchy), enabling notes to be used for different structural
purposes throughout a musical piece (e.g., highly stable notes are more likely to occur at
boundaries than unstable notes; Aarden, 2003; Krumhansl, 1990). Notes function according to
their relationship to the tonal center rather than their absolute pitch.
In music, it is often the case that more than one note is sounded simultaneously. Each
scale degree is associated with a triad, a three-note chord with that scale degree as its root and in
which one note is skipped between each of the triad notes. For example the Major triad that has
C as its root contains the notes C E G. Chords, like notes, function in relation to the tonal center.
Individuals with formal musical training have explicit knowledge about these relationships, but
even untrained listeners provide stability ratings consistent with knowledge of the formal tonal
hierarchy (Cuddy & Badertscher, 1987; Krumhansl & Kessler, 1982; Steinke et al., 1997), are
better at detecting changes in melodies that violate these relationships than changes that do not
(Trainor & Trehub, 1992, 1994), and show an early anterior negativity ERP component to
LISTENERS LENGTHEN BOUNDARIES IN SELF-PACED MUSIC
irregular, unexpected notes or chord but not expected notes (Koelsch et al., 2007; Koelsch &
Jentschke, 2008, 2010).