Free classification was used to explore similarity relations in contempo-rary musical materials. Thirty-four subsections from the five themes ofThe Angel of Deathby Roger Reynolds were composed identically forpiano (Expt. 1) and chamber orchestra (Expt. 2) in terms of pitch,rhythm, and dynamics. Listeners were asked to group together thosejudged to be musically similar and to describe the similarities betweenthe subsections in each group. Listeners based their classifications onsurface similarities related to tempo, rhythmic and melodic texture,pitch register, melodic contour, and articulation. They were to someextent also based on similarity of the mood evoked by the excerpts. Thislatter factor was more prominent in the verbalizations for the orchestralversion. Instrumentation, timbre, and type of timbral change (smooth,disjunctive) also affected classifications in the orchestral version.Perceptual relations among thematic materials within the piece and theinteraction of form-bearing dimensions in musical similarity perceptionare discussed.
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机译：自由分类法用于探索当代音乐资料中的相似关系。罗杰·雷诺兹（Roger Reynolds）的《死亡天使》（Angel of Death）五个主题中的34个小节在音调，节奏和力度方面完全相同，分别是钢琴（实验1）和室内乐团（实验2）。要求听众将被判断为音乐上相似的人归为一类，并描述每组中各小节之间的相似之处。聆听者的分类基于与节奏，节奏和旋律纹理，音高寄存器，旋律轮廓和发音相关的表面相似性。它们在某种程度上也基于摘录引起的情绪相似性。在管弦乐队改版的口头表达中，这一因素更为突出。乐器，音色和音色变化类型（平滑，分离）也影响了管弦乐版本中的分类。讨论了乐曲中主题材料之间的知觉关系以及音乐相似感中形式维度的相互作用。
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