梳理音高和谐性理论，指出粗糙感研究的三大缺陷
Musical consonance: a review of theory and evidence on perception and preference of auditory roughness in humans and other animals
- 提出粗糙感是音乐和谐性的关键理论基础
- 发现现有模型存在定义自指、数据重复和过拟合问题
- 强调未来研究需简化模型并扩大预测刺激范围
音乐和谐性的起源长期存在争议，目前主要有三种假说：对粗糙感的厌恶、对谐波性的偏好以及由文化暴露产生的习得偏好。尽管现有证据尚不足以区分这些假说的贡献，本文提出粗糙感是未来研究的突出方向。本综述旨在总结并批判性评估粗糙感理论、模型与实验数据，指出两个关键问题：粗糙感的定义存在自指性，且实证测量缺乏独立性；尽管模型发展广泛，但普遍存在重复、数据质量差及过拟合问题。未来理论应追求模型简洁性，新增假设、特征和参数需系统评估；模型评价应尽可能覆盖多样化的刺激类型。
原文摘要 · Abstract (English)
The origins of consonance in human music has long been contested, and today there are three primary hypotheses: aversion to roughness, preference for harmonicity, and learned preferences from cultural exposure. While the evidence is currently insufficient to disentangle the contributions of these hypotheses, I propose several reasons why roughness is an especially promising area for future study. The aim of this review is to summarize and critically evaluate roughness theory and models, experimental data, to highlight areas that deserve further research. I identify 2 key areas: There are fundamental issues with the definition and interpretation of results due to tautology in the definition of roughness, and the lack of independence in empirical measurements. Despite extensive model development, there are many duplications and models have issues with data quality and overfitting. Future theory development should aim for model simplicity, and extra assumptions, features and parameters should be evaluated systematically. Model evaluation should aim to maximise the breadth of stimuli that are predicted.
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