Neuromagnetic representation
of musical roundness in chord progressions
Sophie D. Wöhrle1, Christoph Reuter2, André Rupp1, Martin Andermann1

1 Section of Biomagnetism, Department of Neurology, Heidelberg University Hospital, Heidelberg, Germany
2 Musicological Department (Acoustics/Music Psychology), University of Vienna, Vienna, Austria


Stimulus 1: Piano (in A)

Select an instrument and a key first and then choose a cadence:
Piano Violoncello IRN
Transpose: A Eb
1:   T | S | D7 | T  9:   T | T3 | D7 | T 17:   t | s | D7 | T 25:   t | t3 | D7 | T
2:   T | S | D9/5 | T 10:   T | T3 | D9/5 | T 18:   t | s | D9/5 | T 26:   t | t3 | D9/5 | T
3:   T | S | D7/5> | T 11:   T | T3 | D7/5> | T 19:   t | s | D7/5> | T 27:   t | t3 | D7/5> | T
4:   T | S | Trist. | T 12:   T | T3 | Trist. | T 20:   t | s | Trist. | T 28:   t | t3 | Trist. | T
5:   T | S | D7 | t 13:   T | T3 | D7 | t 21:   t | s | D7 | t 29:   t | t3 | D7 | t
6:   T | S | D9/5 | t 14:   T | T3 | D9/5 | t 22:   t | s | D9/5 | t 30:   t | t3 | D9/5 | t
7:   T | S | D7/5> | t 15:   T | T3 | D7/5> | t 23:   t | s | D7/5> | t 31:   t | t3 | D7/5> | t
8:   T | S | Trist. | t 16:   T | T3 | Trist. | t 24:   t | s | Trist. | t 32:   t | t3 | Trist. | t