This study examines the perception of tetrachords. Musicians were divided into four groups. One group heard a Bartók composition predominated by [0167]; other groups heard it recomposed with any instance of [0167] replaced with [0148], [0268], or [0257]. Analysis of ratings before and after familiarisation suggests that participants recognized the tetrachord from familiarisation, no matter which set-class was prominent in familiarisation and despite confounds of hearing real music. Tetrachords with similar intervals to the motive were also rated higher after familiarisation. Notably, participants demonstrated ability to generalise from a melodic presentation in familiarisation to a harmonic presentation in ratings phases.

中文翻译：

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在无调性环境中听四和弦

本研究考察了四和弦的感知。音乐家被分成四组。一组听到了以[0167]为主的巴托克作品；其他组听说它重组了 [0167] 的任何实例，替换为 [0148]、[0268] 或 [0257]。对熟悉前后的评分分析表明，参与者从熟悉中识别出四和弦，无论哪个系列在熟悉方面都很突出，尽管听真正的音乐会感到困惑。熟悉后，与动机具有相似间隔的四和弦也被评为更高。值得注意的是，参与者展示了从熟悉中的旋律呈现到评级阶段中的和声呈现的能力。