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A sequence of sounds may be heard as coming from a single source (called fusion or coherence) or from two or more sources (called fission or stream segregation). Each perceived source is called a ‘stream’. When the differences between successive sounds are very large, fission nearly always occurs, whereas when the differences are very small, fusion nearly always occurs. When the differences are intermediate in size, the percept often ‘flips’ between one stream and multiple streams, a property called ‘bistability’. The flips do not generally occur regularly in time. The tendency to hear two streams builds up over time, but can be partially or completely reset by a sudden change in the properties of the sequence or by switches in attention. Stream formation depends partly on the extent to which successive sounds excite different ‘channels’ in the peripheral auditory system. However, other factors can play a strong role; multiple streams may be heard when successive sounds are presented to the same ear and have essentially identical excitation patterns in the cochlea. Differences between successive sounds in temporal envelope, fundamental frequency, phase spectrum and lateralization can all induce a percept of multiple streams. Regularities in the temporal pattern of elements within a stream can help in stabilizing that stream.

In the essay, Kofi Agawu addresses the relationship between tonality – understood as a “hierarchically organized system of pitch relations” – and African music. Based on different examples and in dialogue with contributions from the decolonial studies and the ethnomusicology, Agawu develops a critical interpretation that seeks to understand how aspects of African musical imagination came to deal with the colonial violence of an imposed foreign harmonic language. After three moments, in which the author seeks to expose (1) aspects of tonalism in African music today, (2) aspects of pre-colonial African tonal thought, and (3) compositional elaborations by African composers, Agawu concludes the essay by making considerations about aspects of tonality as a colonizing force, advocating a review of priorities in the academic study of the continent's music and honoring Africanoriginated resistance processes.

In this study, we report a corpus analysis of rock harmony. As a corpus, we used Rolling Stone magazine's list of the ‘500 Greatest Songs of All Time’; we took the 20 top-ranked songs from each decade (the 1950s through the 1990s), creating a set of 100 songs. Both authors analysed all 100 songs by hand, using conventional Roman numeral symbols. Agreement between the two sets of analyses was over 90 per cent. The analyses were encoded using a recursive notation, similar to a context-free grammar, allowing repeating sections to be encoded succinctly. The aggregate data was then subjected to a variety of statistical analyses. We examined the frequency of different chords and chord transitions. The results showed that IV is the most common chord after I and is especially common preceding the tonic. Other results concern the frequency of different root motions, patterns of co-occurrence between chords, and changes in harmonic practice across time.

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 harmonicrty as a foundation of music preferences, and illustrate how amusia may be used to investigate normal auditory function.

The familiar buzz of flying mosquitoes is an important mating signal, with the fundamental frequency of the female's flight tone signaling her presence. In the yellow fever and dengue vector Aedes aegypti, both sexes interact acoustically by shifting their flight tones to match, resulting in a courtship duet. Matching is made not at the fundamental frequency of 400 hertz (female) or 600 hertz (male) but at a shared harmonic of 1200 hertz, which exceeds the previously known upper limit of hearing in mosquitoes. Physiological recordings from Johnston's organ (the mosquito's \"ear\") reveal sensitivity up to 2000 hertz, consistent with our observed courtship behavior. These findings revise widely accepted limits of acoustic behavior in mosquitoes.

Humans' ability to recognize musical melodies is generally limited to pure-tone frequencies below 4 or 5 kHz. This limit coincides with the highest notes on modern musical instruments and is widely believed to reflect the upper limit of precise stimulus-driven spike timing in the auditory nerve. We tested the upper limits of pitch and melody perception in humans using pure and harmonic complex tones, such as those produced by the human voice and musical instruments, in melody recognition and pitch-matching tasks. We found that robust pitch perception can be elicited by harmonic complex tones with fundamental frequencies below 2 kHz, even when all of the individual harmonics are above 6 kHz--well above the currently accepted existence region of pitch and above the currently accepted limits of neural phase locking. The results suggest that the perception of musical pitch at high frequencies is not constrained by temporal phase locking in the auditory nerve but may instead stem from higher-level constraints shaped by prior exposure to harmonic sounds.

We examined Confucian moral philosophy, primarily the Analects, to determine how Confucian ethics could help managers regulate their own behavior (self-regulation) to maintain an ethical standard of practice. We found that some Confucian virtues relevant to self-regulation are common to Western concepts of management ethics such as benevolence, righteousness, wisdom, and trustworthiness. Some are relatively unique, such as ritual propriety and filial piety. We identify seven Confucian principles and discuss how they apply to achieving ethical self-regulation in management. In addition, we examined some of the unique Confucian practices to achieve self-regulation including ritual and music. We balanced the framework by exploring the potential problems in applying Confucian principles to develop ethical self-regulation including whistle blowing. Confucian moral philosophy offers an indigenous Chinese theoretical framework for developing ethical selfregulation in managers. This is relevant for managers and those who relate to managers in Confucian-oriented societies, such as China, Korea, Japan, and Singapore. We recommend further research to examine if the application of the Confucian practices outlined here actually work in regulating the ethical behavior of managers in modern organizations.

This article examines Ernst Kurth’s critical engagement with the ideas of Hugo Riemann and his eventual reformulation of harmonic dualism in dynamic terms. The principle of “dynamic dualism” appears most cogently in Musikpsychologie ([1931] 1947). After discussing the broader psychological movement within which this book emerged, I outline the aims and audience of Musikpsychologie and provide a detailed discussion of the dynamic dualism Kurth articulates therein. I then return to the origin of Kurth’s fascination with dualism, namely to Riemann, tracing points of intersection between the two figures across several decades. I suggest that Kurth’s displeasure with Riemann’s theories is symptomatic of a broader philosophical disagreement over the explanatory power of music theory and its relation to psychology at the time.

THIS STUDY PRESENTS AND TESTS a theory of tonal tension (Lerdahl, 2001). The model has four components: prolongational structure, a pitch-space model, a surfacetension model, and an attraction model. These components combine to predict the rise and fall in tension in the course of listening to a tonal passage or piece. We first apply the theory to predict tension patterns in Classical diatonic music and then extend the theory to chromatic tonal music. In the experimental tasks, listeners record their experience of tension for the excerpts. Comparisons between predictions and data point to alternative analyses within the constraints of the theory. We conclude with a discussion of the underlying perceptual and cognitive principles engaged by the theory's components.

Western tonal music relies on a formal geometric structure that determines distance relationships within a harmonic or tonal space. In functional magnetic resonance imaging experiments, we identified an area in the rostromedial prefrontal cortex that tracks activation in tonal space. Different voxels in this area exhibited selectivity for different keys. Within the same set of consistently activated voxels, the topography of tonality selectivity rearranged itself across scanning sessions. The tonality structure was thus maintained as a dynamic topography in cortical areas known to be at a nexus of cognitive, affective, and mnemonic processing.