Their most important contribution is the 12-tone, or serial, technique, which is based on the concept that a 12-tone row (a specific ordering of the 12 tones of the chromatic scale) forms the entire basis for the organization of a composition.
The order of tones in the stimulus sequence was: reference tone complex, test complex, reference pure tone, participant-adjusted pure tone.
The same researchers [21] also reported a positive correlation between years of music training and verbal recall of stories, as well as between years of music training and performance on auditory temporal order tests requiring discrimination of the order of tones and syllables.
The order of tone presentation was pseudo-randomised to guard against long sequences of the same stimulus.
But the poorest readers, many of whom had been formally diagnosed as dyslexic, could rarely distinguish the order of the tones.
In the first experiment, we verified the difficulty by adult dyslexics in judging the temporal order of two tones differing in frequency and presented diotically.
The interstimulus interval was set to 2000 ms as this period allows to catch potentially elicited KC events in the ERP data, and assigned with a random jitter of±0, ±100 or ±200 ms. The order of the tones was randomly assigned.
It should be noted that the parametric methods unlike the non-parametric approaches require prior knowledge of the model order (the number of tones).
The idiom is highly dissonant and motivic, straining at the limits of traditional tonality and pointing to Schoenberg's formulation of dodecaphony, or 12-tone music (deriving melody and harmony from the composer's ordering of the 12 tones of the chromatic scale into a distinctive series).
The results show that the FrFT-MFCC yields a better discriminability of tones and also of vowels, especially by using multitransform-order methods.
