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.

中文翻译：

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音乐感知和作曲同时进行。

同时谐音是一种显着的感知现象，与同时发出音乐音调时所感觉到的愉悦感相对应。几个世纪以来，已经提出了各种竞争性的和声理论，但是最近达成了一个共识，即同时的和声主要由和声感知驱动。在这里，我们对这种观点提出了质疑，通过批判性地回顾了来自各个学科的历史声调研究，重新分析了代表500多个参与者的4项先前行为研究的声调感知数据，以及对代表超过100,000种作品的三个西方音乐语料库进行了建模，来证实我们的观点。我们得出结论，同时谐音是一种复合现象，主要源于以下三种现象：干扰，周期性/和声，和文化上的熟悉度。我们用一个可以从这三个特征预测和弦同时发声的计算模型来对这一结论进行形式化，并在开源R软件包incon中发布该模型，并在本文中还评估了其他15种计算模型。我们希望该软件包将有助于进一步的心理和音乐研究，以实现同时的和声。