Separate voice part perception has been shown in polyphonic music. However, it remains unclear whether this segregation of voice parts is specific to polyphony or also occurs in homophonic music. This study compared voice part perceptions in polyphony and homophony using a redundant signals effect (RSE) paradigm. The RSE means that reaction times are shorter for two simultaneously presented signals than for one of these signals. At the final position of the four-voice homophonic and polyphonic sequences, notes in two voice parts were altered to out-of-key notes independently or simultaneously. Participants ( N = 208) responded to any deviant tones while withholding responses to non-deviant tones. All combinations of deviant voice parts (i.e., soprano–bass, tenor–bass, and alto–tenor) elicited RSEs in polyphonic and homophonic sequences, suggesting separate voice part perception, irrespective of musical texture. However, evidence of the coactivation of separate perceptual modules was obtained only for polyphonic sequences. Deviants in higher voice parts were detected faster and more accurately than those in lower voice parts in both musical textures. These results indicate that voice parts are perceived separately, with a bias toward higher voice parts in both musical textures, but voice parts are more segregated in polyphony.

中文翻译：

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复调和谐音音乐结构中不同声部的感知


复调音乐中已经显示出单独的声部感知。然而，目前尚不清楚这种声音部分的分离是否是复调音乐所特有的，还是也出现在谐音音乐中。本研究使用冗余信号效应 (RSE) 范式比较了复调和同音的语音部分感知。 RSE 意味着两个同时呈现的信号的反应时间比其中一个信号的反应时间短。在四声部同音和复调序列的最终位置，两个声部中的音符被独立或同时改变为跑调音符。参与者（N = 208）对任何异常的语气做出反应，同时不对非异常的语气做出反应。所有异常声部的组合（即女高音-低音、男高音-低音和中音-男高音）都会在复调和谐音序列中引发RSE，这表明无论音乐结构如何，都有单独的声部感知。然而，仅针对复调序列获得了单独感知模块共同激活的证据。在两种音乐结构中，高音部分的异常检测速度比低音部分的异常检测更快、更准确。这些结果表明，语音部分是分开感知的，在两种音乐纹理中都偏向于较高的语音部分，但复调中的语音部分更加分离。