Musical consonance as musical preference: a cross-cultural study

Consonance and dissonance perception. A critical review of the historical sources, multidisciplinary findings, and main hypotheses

Revealed more than two millennia ago by Pythagoras, consonance and dissonance (C/D) are foundational concepts in music theory, perception, and aesthetics. The search for the biological, acoustical, and cultural factors that affect C/D perception has resulted in descriptive accounts inspired by arithmetic, musicological, psychoacoustical or neurobiological frameworks without reaching a consensus. Here, we review the key historical sources and modern multidisciplinary findings on C/D and integrate them into three main hypotheses: the vocal similarity hypothesis (VSH), the psychocultural hypothesis (PH), and the sensorimotor hypothesis (SH). By illustrating the hypotheses-related findings, we highlight their major conceptual, methodological, and terminological shortcomings. Trying to provide a unitary framework for C/D understanding, we put together multidisciplinary research on human and animal vocalizations, which converges to suggest that auditory roughness is associated with distress/danger and, therefore, elicits defensive behavioral reactions and neural responses that indicate aversion. We therefore stress the primacy of vocality and roughness as key factors in the explanation of C/D phenomenon, and we explore the (neuro)biological underpinnings of the attraction-aversion mechanisms that are triggered by C/D stimuli. Based on the reviewed evidence, while the aversive nature of dissonance appears as solidly rooted in the multidisciplinary findings, the attractive nature of consonance remains a somewhat speculative claim that needs further investigation. Finally, we outline future directions for empirical research in C/D, especially regarding cross-modal and cross-cultural approaches.

Emotional responses in Papua New Guinea show negligible evidence for a universal effect of major versus minor music

Music is a vital part of most cultures and has a strong impact on emotions [1–5]. In Western cultures, emotive valence is strongly influenced by major and minor melodies and harmony (chords and their progressions) [6–13]. Yet, how pitch and harmony affect our emotions, and to what extent these effects are culturally mediated or universal, is hotly debated [2, 5, 14–20]. Here, we report an experiment conducted in a remote cloud forest region of Papua New Guinea, across several communities with similar traditional music but differing levels of exposure to Western-influenced tonal music. One hundred and seventy participants were presented with pairs of major and minor cadences (chord progressions) and melodies, and chose which of them made them happier. The experiment was repeated by 60 non-musicians and 19 musicians in Sydney, Australia. Bayesian analyses show that, for cadences, there is strong evidence that greater happiness was reported for major than minor in every community except one: the community with minimal exposure to Western-like music. For melodies, there is strong evidence that greater happiness was reported for those with higher mean pitch (major melodies) than those with lower mean pitch (minor melodies) in only one of the three PNG communities and in both Sydney groups. The results show that the emotive valence of major and minor is strongly associated with exposure to Western-influenced music and culture, although we cannot exclude the possibility of universality.

Sweetness is in the ear of the beholder: chord preference across United Kingdom and Pakistani listeners

The majority of research in the field of music perception has been conducted with Western participants, and it has remained unclear which aspects of music perception are culture dependent, and which are universal. The current study compared how participants unfamiliar with Western music (people from the Khowar and Kalash tribes native to Northwest Pakistan with minimal exposure to Western music) perceive affect (positive versus negative) in musical chords compared with United Kingdom (UK) listeners, as well as the overall preference for these chords. The stimuli consisted of four distinct chord types (major, minor, augmented, and chromatic) and were played as both vertical blocks (pitches presented concurrently) and arpeggios (pitches presented successively). The results suggest that the Western listener major-positive minor-negative affective distinction is opposite for Northwest Pakistani listeners, arguably because of the reversed prevalence of these chords in the two music cultures. The aversion to the harsh dissonance of the chromatic cluster is present cross-culturally, but the preference for the consonance of the major triad varies between UK and Northwest Pakistani listeners, depending on cultural familiarity. Our findings imply not only notable cultural variation but also commonalities in chord perception across Western and non-Western listeners.

Harmonic organisation conveys both universal and culture-specific cues for emotional expression in music

Previous research conducted on the cross-cultural perception of music and its emotional content has established that emotions can be communicated across cultures at least on a rudimentary level. Here, we report a cross-cultural study with participants originating from two tribes in northwest Pakistan (Khow and Kalash) and the United Kingdom, with both groups being naïve to the music of the other respective culture. We explored how participants assessed emotional connotations of various Western and non-Western harmonisation styles, and whether cultural familiarity with a harmonic idiom such as major and minor mode would consistently relate to emotion communication. The results indicate that Western concepts of harmony are not relevant for participants unexposed to Western music when other emotional cues (tempo, pitch height, articulation, timbre) are kept relatively constant. At the same time, harmonic style alone has the ability to colour the emotional expression in music if it taps the appropriate cultural connotations. The preference for one harmonisation style over another, including the major-happy/minor-sad distinction, is influenced by culture. Finally, our findings suggest that although differences emerge across different harmonisation styles, acoustic roughness influences the expression of emotion in similar ways across cultures; preference for consonance however seems to be dependent on cultural familiarity.

Universality vs experience: a cross-cultural pilot study on the consonance effect in music at different altitudes

Background

Previous studies have shown that music preferences are influenced by cultural “rules”, and some others have suggested a universal preference for some features over others.

Methods

We investigated cultural differences on the “consonance effect”, consisting in higher pleasantness judgments for consonant compared to dissonant chords—according to the Western definition of music: Italian and Himalayan participants were asked to express pleasantness judgments for consonant and dissonant chords. An Italian and a Nepalese sample were tested both at 1,450 m and at 4,750 m of altitude, with the further aim to evaluate the effect of hypoxia on this task. A third sample consisted of two subgroups of Sherpas: lowlanders (1,450 m of altitude), often exposed to Western music, and highlanders (3,427 m of altitude), less exposed to Western music. All Sherpas were tested where they lived.

Results

Independently from the altitude, results confirmed the consonance effect in the Italian sample, and the absence of such effect in the Nepalese sample. Lowlander Sherpas revealed the consonance effect, but highlander Sherpas did not show this effect.

Conclusions

Results of this pilot study show that neither hypoxia (altitude), nor demographic features (age, schooling, or playing music), nor ethnicity per se influence the consonance effect. We conclude that music preferences are attributable to music exposure.

Musical Anhedonia

Abstract. Some people, although they are perfectly healthy and happy, cannot enjoy music. These individuals have musical anhedonia, a condition which can be congenital or may occur after focal brain damage. To date, only a few cases of acquired musical anhedonia have been reported in the literature with lesions of the temporo-parietal cortex being particularly important. Even less literature exists on congenital musical anhedonia, in which impaired connectivity of temporal brain regions with the Nucleus accumbens is implicated. Nonetheless, there is no precise information on the prevalence, causes or exact localization of both congenital and acquired musical anhedonia. However, the frequent involvement of temporo-parietal brain regions in neurological disorders such as stroke suggest the possibility of a high prevalence of this disorder, which leads to a considerable reduction in the quality of life.

Cultural familiarity and musical expertise impact the pleasantness of consonance/dissonance but not its perceived tension

The contrast between consonance and dissonance is vital in making music emotionally meaningful. Consonance typically denotes perceived agreeableness and stability, while dissonance disagreeableness and a need of resolution. This study addresses the perception of consonance/dissonance in single intervals and chords with two empirical experiments conducted online. Experiment 1 explored the perception of a representative sample of intervals and chords to investigate the overlap between the seven most used concepts (Consonance, Smoothness, Purity, Harmoniousness, Tension, Pleasantness, Preference) denoting consonance/dissonance in all the available (60) empirical studies published since 1883. The results show that the concepts exhibit high correlations, albeit these are somewhat lower for non-musicians compared to musicians. In Experiment 2 the stimuli’s cultural familiarity was divided into three levels, and the correlations between the key concepts of Consonance, Tension, Harmoniousness, Pleasantness, and Preference were further examined. Cultural familiarity affected the correlations drastically across both musicians and non-musicians, but in different ways. Tension maintained relatively high correlations with Consonance across musical expertise and cultural familiarity levels, making it a useful concept for studies addressing both musicians and non-musicians. On the basis of the results a control for cultural familiarity and musical expertise is recommended for all studies investigating consonance/dissonance perception.

Transient and sustained processing of musical consonance in auditory cortex and the effect of musicality

In recent years, electroencephalography and magnetoencephalography (MEG) have both been used to investigate the response in human auditory cortex to musical sounds that are perceived as consonant or dissonant. These studies have typically focused on the transient components of the physiological activity at sound onset, specifically, the N1 wave of the auditory evoked potential and the auditory evoked field, respectively. Unfortunately, the morphology of the N1 wave is confounded by the prominent neural response to energy onset at stimulus onset. It is also the case that the perception of pitch is not limited to sound onset; the perception lasts as long as the note producing it. This suggests that consonance studies should also consider the sustained activity that appears after the transient components die away. The current MEG study shows how energy-balanced sounds can focus the response waves on the consonance-dissonance distinction rather than energy changes and how source modeling techniques can be used to measure the sustained field associated with extended consonant and dissonant sounds. The study shows that musical dyads evoke distinct transient and sustained neuromagnetic responses in auditory cortex. The form of the response depends on both whether the dyads are consonant or dissonant and whether the listeners are musical or nonmusical. The results also show that auditory cortex requires more time for the early transient processing of dissonant dyads than it does for consonant dyads and that the continuous representation of temporal regularity in auditory cortex might be modulated by processes beyond auditory cortex.

NEW & NOTEWORTHY We report a magnetoencephalography (MEG) study on transient and sustained cortical consonance processing. Stimuli were long-duration, energy-balanced, musical dyads that were either consonant or dissonant. Spatiotemporal source analysis revealed specific transient and sustained neuromagnetic activity in response to the dyads; in particular, the morphology of the responses was shaped by the dyad’s consonance and the listener’s musicality. Our results also suggest that the sustained representation of stimulus regularity might be modulated by processes beyond auditory cortex.

Simultaneous consonance in music perception and composition

Simultaneous consonance is a salient perceptual phenomenon corresponding to the perceived pleasantness of simultaneously sounding musical tones. Various competing theories of consonance have been proposed over the centuries, but recently a consensus has developed that simultaneous consonance is primarily driven by harmonicity perception. Here we question this view, substantiating our argument by critically reviewing historic consonance research from a broad variety of disciplines, reanalyzing consonance perception data from 4 previous behavioral studies representing more than 500 participants, and modeling three Western musical corpora representing more than 100,000 compositions. We conclude that simultaneous consonance is a composite phenomenon that derives in large part from three phenomena: interference, periodicity/harmonicity, and cultural familiarity. We formalize this conclusion with a computational model that predicts a musical chord's simultaneous consonance from these three features, and release this model in an open-source R package, incon, alongside 15 other computational models also evaluated in this paper. We hope that this package will facilitate further psychological and musicological research into simultaneous consonance. (PsycINFO Database Record (c) 2020 APA, all rights reserved).

Sensory cortical response to uncertainty and low salience during recognition of affective cues in musical intervals

Previous neuroimaging studies have shown an increased sensory cortical response (i.e., heightened weight on sensory evidence) under higher levels of predictive uncertainty. The signal enhancement theory proposes that attention improves the quality of the stimulus representation, and therefore reduces uncertainty by increasing the gain of the sensory signal. The present study employed functional magnetic resonance imaging (fMRI) to investigate the neural correlates for ambiguous valence inferences signaled by auditory information within an emotion recognition paradigm. Participants categorized sound stimuli of three distinct levels of consonance/dissonance controlled by interval content. Separate behavioural and neuroscientific experiments were conducted. Behavioural results revealed that, compared with the consonance condition (perfect fourths, fifths and octaves) and the strong dissonance condition (minor/major seconds and tritones), the intermediate dissonance condition (minor thirds) was the most ambiguous, least salient and more cognitively demanding category (slowest reaction times). The neuroscientific findings were consistent with a heightened weight on sensory evidence whilst participants were evaluating intermediate dissonances, which was reflected in an increased neural response of the right Heschl’s gyrus. The results support previous studies that have observed enhanced precision of sensory evidence whilst participants attempted to represent and respond to higher degrees of uncertainty, and converge with evidence showing preferential processing of complex spectral information in the right primary auditory cortex. These findings are discussed with respect to music-theoretical concepts and recent Bayesian models of perception, which have proposed that attention may heighten the weight of information coming from sensory channels to stimulate learning about unknown predictive relationships.

"Need for Resolution" Ratings for Harmonic Musical Intervals

Musical intervals, tonal dyads differing slightly in frequency ratio, have widely disparate psychological effects. Theorists attempting to account for this phenomenon of musical consonance, starting with Pythagoras, have tended to emphasize perceptual or physiological characteristics of the human listener as possible substrates. The present investigation examined the influence of culture on the perception of musical consonance. Maher and Jairazbhoy (1975) noted that the judiciously used musical intervals classed as extreme dissonances in the West appear to be used more freely in the classical music of India. Significant differences between Indians and Canadians in verbal responses to these stimuli supported the hypothesis that these cultural groups differ in their reactions to these elementary musical materials. The importance of attention to culture related variables in theoretical accounts of the origin of musical consonance was stressed.

Gaze Duration Biases for Colours in Combination with Dissonant and Consonant Sounds: A Comparative Eye-Tracking Study with Orangutans

Research on colour preferences in humans and non-human primates suggests similar patterns of biases for and avoidance of specific colours, indicating that these colours are connected to a psychological reaction. Similarly, in the acoustic domain, approach reactions to consonant sounds (considered as positive) and avoidance reactions to dissonant sounds (considered as negative) have been found in human adults and children, and it has been demonstrated that non-human primates are able to discriminate between consonant and dissonant sounds. Yet it remains unclear whether the visual and acoustic approach–avoidance patterns remain consistent when both types of stimuli are combined, how they relate to and influence each other, and whether these are similar for humans and other primates. Therefore, to investigate whether gaze duration biases for colours are similar across primates and whether reactions to consonant and dissonant sounds cumulate with reactions to specific colours, we conducted an eye-tracking study in which we compared humans with one species of great apes, the orangutans. We presented four different colours either in isolation or in combination with consonant and dissonant sounds. We hypothesised that the viewing time for specific colours should be influenced by dissonant sounds and that previously existing avoidance behaviours with regard to colours should be intensified, reflecting their association with negative acoustic information. The results showed that the humans had constant gaze durations which were independent of the auditory stimulus, with a clear avoidance of yellow. In contrast, the orangutans did not show any clear gaze duration bias or avoidance of colours, and they were also not influenced by the auditory stimuli. In conclusion, our findings only partially support the previously identified pattern of biases for and avoidance of specific colours in humans and do not confirm such a pattern for orangutans.

A biological rationale for musical consonance

The basis of musical consonance has been debated for centuries without resolution. Three interpretations have been considered: (i) that consonance derives from the mathematical simplicity of small integer ratios; (ii) that consonance derives from the physical absence of interference between harmonic spectra; and (iii) that consonance derives from the advantages of recognizing biological vocalization and human vocalization in particular. Whereas the mathematical and physical explanations are at odds with the evidence that has now accumulated, biology provides a plausible explanation for this central issue in music and audition.

Intracranial markers of emotional valence processing and judgments in music

The involvement of the amygdala and orbitofrontal cortex in the processing of valenced stimuli is well established. However, less is known about the extent to which activity in these regions reflects a stimulus' physical properties, the individual subjective experience it evokes, or both. We recorded cortical electrical activity from five epileptic patients implanted with depth electrodes for presurgical evaluation while they rated "consonant" and "dissonant" musical chords using a "pleasantness" scale. We compared the pattern of responses in the amygdala and orbitofrontal cortex when trials were sorted by pleasantness judgments relative to when they were sorted by the acoustic properties known to influence emotional reactions to musical chords. This revealed earlier differential activity in the amygdala in the physical properties-based, relative to in the judgment-based, analyses. Thus, our results demonstrate that the amygdala has, first and foremost, a high initial sensitivity to the physical properties of valenced stimuli. The finding that differentiations in the amygdala based on pleasantness ratings had a longer latency suggests that in this structure, mediation of emotional judgment follows accumulation of sensory information. This is in contrast to the orbitofrontal cortex where sensitivity to sensory information did not precede differentiation based on affective judgments.

Newborn infants' auditory system is sensitive to Western music chord categories

Neural encoding of abstract rules in the audition of newborn infants has been recently demonstrated in several studies using event-related potentials (ERPs). In the present study the neural encoding of Western music chords was investigated in newborn infants. Using ERPs, we examined whether the categorizations of major vs. minor and consonance vs. dissonance are present at the level of the change-related mismatch response (MMR). Using an oddball paradigm, root minor, dissonant and inverted major chords were presented in a context of consonant root major chords. The chords were transposed to several different frequency levels, so that the deviant chords did not include a physically deviant frequency that could result in an MMR without categorization. The results show that the newborn infants were sensitive to both dissonant and minor chords but not to inverted major chords in the context of consonant root major chords. While the dissonant chords elicited a large positive MMR, the minor chords elicited a negative MMR. This indicates that the two categories were processed differently. The results suggest newborn infants are sensitive to Western music categorizations, which is consistent with the authors' previous studies in adults and school-aged children.

The basis of musical consonance as revealed by congenital amusia

Some combinations of musical notes sound pleasing and are termed "consonant," but others sound unpleasant and are termed "dissonant." The distinction between consonance and dissonance plays a central role in Western music, and its origins have posed one of the oldest and most debated problems in perception. In modern times, dissonance has been widely believed to be the product of "beating": interference between frequency components in the cochlea that has been believed to be more pronounced in dissonant than consonant sounds. However, harmonic frequency relations, a higher-order sound attribute closely related to pitch perception, has also been proposed to account for consonance. To tease apart theories of musical consonance, we tested sound preferences in individuals with congenital amusia, a neurogenetic disorder characterized by abnormal pitch perception. We assessed amusics' preferences for musical chords as well as for the isolated acoustic properties of beating and harmonicity. In contrast to control subjects, amusic listeners showed no preference for consonance, rating the pleasantness of consonant chords no higher than that of dissonant chords. Amusics also failed to exhibit the normally observed preference for harmonic over inharmonic tones, nor could they discriminate such tones from each other. Despite these abnormalities, amusics exhibited normal preferences and discrimination for stimuli with and without beating. This dissociation indicates that, contrary to classic theories, beating is unlikely to underlie consonance. Our results instead suggest the need to integrate harmonicity as a foundation of music preferences, and illustrate how amusia may be used to investigate normal auditory function.

Individual differences reveal the basis of consonance

Some combinations of musical notes are consonant (pleasant), whereas others are dissonant (unpleasant), a distinction central to music. Explanations of consonance in terms of acoustics, auditory neuroscience, and enculturation have been debated for centuries. We utilized individual differences to distinguish the candidate theories. We measured preferences for musical chords as well as nonmusical sounds that isolated particular acoustic factors--specifically, the beating and the harmonic relationships between frequency components, two factors that have long been thought to potentially underlie consonance. Listeners preferred stimuli without beats and with harmonic spectra, but across more than 250 subjects, only the preference for harmonic spectra was consistently correlated with preferences for consonant over dissonant chords. Harmonicity preferences were also correlated with the number of years subjects had spent playing a musical instrument, suggesting that exposure to music amplifies preferences for harmonic frequencies because of their musical importance. Harmonic spectra are prominent features of natural sounds, and our results indicate that they also underlie the perception of consonance.

Universal recognition of three basic emotions in music

It has long been debated which aspects of music perception are universal and which are developed only after exposure to a specific musical culture. Here, we report a crosscultural study with participants from a native African population (Mafa) and Western participants, with both groups being naive to the music of the other respective culture. Experiment 1 investigated the ability to recognize three basic emotions (happy, sad, scared/fearful) expressed in Western music. Results show that the Mafas recognized happy, sad, and scared/fearful Western music excerpts above chance, indicating that the expression of these basic emotions in Western music can be recognized universally. Experiment 2 examined how a spectral manipulation of original, naturalistic music affects the perceived pleasantness of music in Western as well as in Mafa listeners. The spectral manipulation modified, among other factors, the sensory dissonance of the music. The data show that both groups preferred original Western music and also original Mafa music over their spectrally manipulated versions. It is likely that the sensory dissonance produced by the spectral manipulation was at least partly responsible for this effect, suggesting that consonance and permanent sensory dissonance universally influence the perceived pleasantness of music.

Music perception, pitch, and the auditory system

The perception of music depends on many culture-specific factors, but is also constrained by properties of the auditory system. This has been best characterized for those aspects of music that involve pitch. Pitch sequences are heard in terms of relative as well as absolute pitch. Pitch combinations give rise to emergent properties not present in the component notes. In this review we discuss the basic auditory mechanisms contributing to these and other perceptual effects in music.

Probing the evolutionary origins of music perception

Empirical data have recently begun to inform debates on the evolutionary origins of music. In this paper we discuss some of our recent findings and related theoretical issues. We claim that theories of the origins of music will be usefully constrained if we can determine which aspects of music perception are innate, and, of those, which are uniquely human and specific to music. Comparative research in nonhuman animals, particularly nonhuman primates, is thus critical to the debate. In this paper we focus on the preferences that characterize most humans' experience of music, testing whether similar preferences exist in nonhuman primates. Our research suggests that many rudimentary acoustic preferences, such as those for consonant over dissonant intervals, may be unique to humans. If these preferences prove to be innate in humans, they may be candidates for music-specific adaptations. To establish whether such preferences are innate in humans, one important avenue for future research will be the collection of data from different cultures. This may be facilitated by studies conducted over the internet.

The statistical structure of human speech sounds predicts musical universals

The similarity of musical scales and consonance judgments across human populations has no generally accepted explanation. Here we present evidence that these aspects of auditory perception arise from the statistical structure of naturally occurring periodic sound stimuli. An analysis of speech sounds, the principal source of periodic sound stimuli in the human acoustical environment, shows that the probability distribution of amplitude-frequency combinations in human utterances predicts both the structure of the chromatic scale and consonance ordering. These observations suggest that what we hear is determined by the statistical relationship between acoustical stimuli and their naturally occurring sources, rather than by the physical parameters of the stimulus per se.

Neurobiological foundations for the theory of harmony in western tonal music

Basic principles of the theory of harmony reflect physiological and anatomical properties of the auditory nervous system and related cognitive systems. This hypothesis is motivated by observations from several different disciplines, including ethnomusicology, developmental psychology, and animal behavior. Over the past several years, we and our colleagues have been investigating the vertical dimension of harmony from the perspective of neurobiology using physiological, psychoacoustic, and neurological methods. Properties of the auditory system that govern harmony perception include (1) the capacity of peripheral auditory neurons to encode temporal regularities in acoustic fine structure and (2) the differential tuning of many neurons throughout the auditory system to a narrow range of frequencies in the audible spectrum. Biologically determined limits on these properties constrain the range of notes used in music throughout the world and the way notes are combined to form intervals and chords in popular Western music. When a harmonic interval is played, neurons throughout the auditory system that are sensitive to one or more frequencies (partials) contained in the interval respond by firing action potentials. For consonant intervals, the fine timing of auditory nerve fiber responses contains strong representations of harmonically related pitches implied by the interval (e.g., Rameau's fundamental bass) in addition to the pitches of notes actually present in the interval. Moreover, all or most of the partials can be resolved by finely tuned neurons throughout the auditory system. By contrast, dissonant intervals evoke auditory nerve fiber activity that does not contain strong representations of constituent notes or related bass notes. Furthermore, many partials are too close together to be resolved. Consequently, they interfere with one another, cause coarse fluctuations in the firing of peripheral and central auditory neurons, and give rise to perception of roughness and dissonance. The effects of auditory cortex lesions on the perception of consonance, pitch, and roughness, combined with a critical reappraisal of published psychoacoustic data on the relationship between consonance and roughness, lead us to conclude that consonance is first and foremost a function of the pitch relationships among notes. Harmony in the vertical dimension is a positive phenomenon, not just a negative phenomenon that depends on the absence of roughness--a view currently held by many psychologists, musicologists, and physiologists.