> To explore the effects of harmonicity and roughness found in Study 1, we measured pleasantness ratings for pairs of pure tones (single frequencies) separated

> To explore the effects of harmonicity and roughness found in Study 1, we measured pleasantness ratings for pairs of pure tones (single frequencies) separated by intervals from the chromatic scale (0–8 semitones)21 (Fig. 3f). This range includes some consonant intervals, for which the tone frequencies approximate harmonics of a common fundamental (and are thus related by simple integer ratios), and some dissonant intervals, for which the tone frequencies are inharmonic. So... they went and found a group of people unfamiliar with western music, and then tested which of the intervals from 12-tone-equal-temperament sound good to them? What would be the result if we were to repeat the test with people familiar with western music, but the notes were taken from 13-tone-equal-temperament? What conclusions (if any) could we draw from that about whether those familiar with western music appreciate harmony? Granted, notes like the equal-tempered major third are probably close enough to their just equivalents (such as the 5:4 major third) that to someone who was familiar with the latter, the former would probably be recognized as such even to one who had never heard equal-tempered intervals before, but still they'd probably sound weirdly out-of-tune. (The ET third is about 15 cents sharp of the just third.) Why not just test with just intervals, which are more universal/fundamental than equal tempered intervals, which are sort of a modern "good enough" compromise we use for convenience.