DOI: 10.7910/dvn/ge5ppl
title: Data related to "Mild dissonance preferred over consonance in single chord perception"

description: &lt;H2&gt;Data related to Mild dissonance preferred over consonance in single chord perception&lt;/h2&gt;
&lt;p&gt;&lt;em&gt;Lahdelma and Eerola 2016&lt;/em&gt;&lt;/p&gt;

&lt;h3&gt;Contents&lt;/h3&gt;

&lt;p&gt;The stimulus materials and mean ratings for chord and emotion study using 15 chords across two octaves, fully reported in the study published in i-Perception (&lt;a href="http://"&gt;2016&lt;/a&gt;) by Lahdelma and Eerola (&lt;a href="http://ipe.sagepub.com/content/7/3/2041669516655812"&gt;http://ipe.sagepub.com/content/7/3/2041669516655812&lt;/a&gt;).&lt;/p&gt;

&lt;h4&gt;To cite:&lt;/h4&gt;
Lahdelma, I., &amp; Eerola, T. (2016). Mild dissonance preferred over consonance in single chord perception. &lt;I&gt;i-Perception&lt;/I&gt;, 7(3), DOI: 10.1177/2041669516655812.&lt;a href="http://ipe.sagepub.com/content/7/3/2041669516655812"&gt;http://ipe.sagepub.com/content/7/3/2041669516655812&lt;/a&gt;

&lt;h3&gt;Stimuli&lt;/h3&gt;
&lt;p&gt;The stimuli consisted of 15 chords performed with piano timbre across two octaves, making the total sum of chords 30. &lt;/p&gt;
&lt;p&gt;The chord material consisted of major and minor triads (played in their root positions and in their 1st and 2nd inversions respectively), tetrachords (major sixth and minor seventh), pentachords (dominant ninth, minor ninth, major ninth, pentatonic, and Neapolitan pentachord), and hexachords (dominant seventh sharp eleventh and diatonic hexachord). Only the triad chords were played with inversions in order to further investigate the results of Lahdelma and Eerola (2016), all other chords were played exclusively in their root positions. All chords were exactly 4.8 seconds in length and played in equal temperament. The chords were generated with &lt;em&gt;Ableton Live 9&lt;/em&gt; (a commercial music sequencer software), using the &lt;em&gt;Synthogy&lt;/em&gt; &lt;em&gt;Ivory Grand Pianos II&lt;/em&gt; plug-in. The applied sound font was &lt;em&gt;Steinway D Concert Grand&lt;/em&gt; with a touch of ambience reverb added to the chord samples to make them sound more natural. &lt;/p&gt;
&lt;p&gt;There are 330 audio files in total (30 chords which were played with random transposition of -5 &hellip; 0 &hellip;+5 semitones based on root). The chords are labelled as &lt;/p&gt;
&lt;p&gt;&lt;code&gt;{number}_{register}_{type}_{no_of_tones}_{name}.wav&lt;/code&gt;&lt;/p&gt;
&lt;p&gt;where&lt;/p&gt;
&lt;ul&gt;
&lt;li&gt;&lt;code&gt;number&lt;/code&gt; range from 1-330&lt;/li&gt;
&lt;li&gt;&lt;code&gt;register&lt;/code&gt; is either low and high&lt;/li&gt;
&lt;li&gt;&lt;code&gt;type&lt;/code&gt; is the chord type (&ldquo;Dom7#11&rdquo;,&rdquo;Dom9&rdquo;,&rdquo;Hex.&rdquo;,&rdquo;m7&rdquo;,&rdquo;m9&rdquo;,&rdquo;M9&rdquo;,&rdquo;Major&rdquo;,&rdquo;Minor&rdquo;,&rdquo;Neap.&rdquo;,&rdquo;Pent.&rdquo;,&rdquo;Add6&rdquo;)&lt;/li&gt;
&lt;li&gt;&lt;code&gt;no_of_tones&lt;/code&gt; is the amount of tones in the chord&lt;/li&gt;
&lt;li&gt;&lt;code&gt;pitch&lt;/code&gt; the pitches used&lt;/li&gt;
&lt;/ul&gt;
&lt;p&gt;For instance, &lt;code&gt;1_high_major_3_G-B-D.wav&lt;/code&gt; is the first chord in the dataset, major triad consisting of G-B-D performed in the high register. &lt;/p&gt;
&lt;p&gt;The sound files are provided in a zipped archive (155.5 Mb, titled &lt;code&gt;chord_stimuli.zip&lt;/code&gt;) that contains uncompressed wave files according to the labelling scheme explained above.&lt;/p&gt;

&lt;h3 id="emotion-ratings-and-factors"&gt;&lt;a name="user-content-emotion-ratings-and-factors" href="#emotion-ratings-and-factors" class="headeranchor-link" aria-hidden="true"&gt;&lt;span class="headeranchor"&gt;&lt;/span&gt;&lt;/a&gt;Emotion ratings and factors&lt;/h3&gt;
&lt;p&gt;Ratings, background variables and chord factors are available in &lt;code&gt;chord_data.csv&lt;/code&gt;, which is a comma-separated ascii file. 

&lt;h3&gt;Acoustic measures of the stimuli&lt;/h3&gt;

&lt;p&gt;Measures of Roughness, Sharpness, and Harmonicity are available in &lt;code&gt;chord_acoustic_measures.csv&lt;/code&gt;, which is comma-separated ascii file. Roughness and Harmonicity were extracted with MIR Toolbox (Lartillot, Toiviainen and Eerola, 2008). One row for each chord in the same scheme as audio files. The columns refer to variables (&lt;code&gt;Numbers&lt;/code&gt;, &lt;code&gt;Names&lt;/code&gt;, &lt;code&gt;Types&lt;/code&gt;, &lt;code&gt;No_Tones&lt;/code&gt;, &lt;code&gt;Register&lt;/code&gt;, &lt;code&gt;Harmonicity&lt;/code&gt;, &lt;code&gt;Roughness&lt;/code&gt;, &lt;code&gt;Sharpness&lt;/code&gt;). &lt;/p&gt;

&lt;h3&gt;References&lt;/h3&gt;
&lt;p&gt;Lahdelma, I. &amp; Eerola, T. (2016). Single chords convey distinct emotional qualities to both naïve and expert listeners. &lt;em&gt;Psychology of Music, 44(1)&lt;/em&gt;, 37-54. &lt;a href="http://pom.sagepub.com/content/44/1/37"&gt;Link&lt;/a&gt;&lt;/p&gt;
&lt;p&gt;Lahdelma, I. &amp; Eerola, T. (under review). Mild dissonance preferred over consonance in single chord perception. &lt;em&gt;i-Perception&lt;/em&gt;. &lt;a href="http://www"&gt;Link&lt;/a&gt;&lt;/p&gt;
&lt;p&gt;Lartillot, O., Toiviainen, P., &amp; Eerola, T. (2008). &lt;em&gt;A matlab toolbox for music information retrieval&lt;/em&gt;. In C. Preisach, H. Burkhardt, L. Schmidt-Thieme, &amp; R. Decker (Eds.), Data analysis, machine learning and applications (pp. 261–268). Berlin, Germany: Springer.&lt;/p&gt;