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The Role of Segmentation and Expectation in the Perception of Closure Crystal Peebles

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The Role of Segmentation and Expectation in the Perception of Closure Crystal Peebles Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2011 The Role of Segmentation and Expectation in the Perception of Closure Crystal Peebles Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC THE ROLE OF SEGMENTATION AND EXPECTATION IN THE PERCEPTION OF CLOSURE By CRYSTAL PEEBLES A dissertation submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy Degree Awarded: Fall Semester, 2011 Copyright © 2011 Crystal Peebles All Rights Reserved Crystal Peebles defended this Dissertation on October 31, 2011. The members of the supervisory committee were: Nancy Rogers Professor Directing Dissertation Michael Kaschak University Representative James Mathes Committee Member Matthew Shaftel Committee Member The Graduate School has verified and approved the above-named committee members, and certifies that the dissertation has been approved in accordance with university requirements. ii For my parents, John and Lola Peebles iii ACKNOWLEDGEMENTS I first must thank my committee members for their unending support and guidance through the duration of this project. The unique perspectives contributed by Jim Mathes, Matt Shaftel, and Mike Kaschak positively shaped my initial inquiry and the subsequent outcome. I especially want to thank Mike for his assistance in designing the experiments, recruiting and testing participants, and analyzing the data. Finally, to the head of my committee, Nancy Rogers, I am immeasurably grateful for her constructive criticism, her keen attention to detail, and her encouragement, both during this project and throughout my graduate career. My experience as a graduate student in music theory program at The Florida State University has shaped me personally and professionally in more ways than I can count. I am indebted to the entire music theory faculty for providing opportunities for me to grow both as a teacher and as a scholar. I also value the meaningful friendships and professional relationships I have formed with my fellow graduate students at Florida State. I will always cherish the time we spent together in the T.A. office, in the library, and at the local pizza joint. Within the Tallahassee community, I would also like to thank my violin students and their parents for their untempered enthusiasm for music as well as the lovely people at St. Paul’s United Methodist Church. You have been my second family during my six years in Tallahassee, offering an unwavering community of love and support. Indeed, I thank God every time I remember you. I cannot begin to express my gratitude for my family’s love and encouragement. My parents, John and Lola Peebles, have consistently supported me in all I do, even when it takes me halfway across the country. A special note of thanks also goes to Rachel McCleery, whose loving companionship during my graduate studies has made an indelible mark on my life. I will always treasure our many meaningful conversations shared over a delicious dinner or a warm cup of coffee. Your critical commentary and insight certainly influenced this project and is reflected in these pages. Finally, I would like to acknowledge Boosey & Hawkes and European American Music Distributors for their permission to reproduce copyrighted excerpts of twentieth-century works by Bartók, Copland, and Webern. iv TABLE OF CONTENTS List of Tables ............................................................................................................................vii List of Figures............................................................................................................................ix List of Examples .........................................................................................................................x Abstract ....................................................................................................................................xii CHAPTER 1: INTRODUCTION................................................................................................1 CHAPTER 2: MUSICAL CHARACTISICS OF CLOSURE.......................................................6 Closure as the Completion of a Goal-Directed Process ........................................................6 Closure as the Segmentation of Musical Experience..........................................................11 Hierarchy and Closure.......................................................................................................15 Style and Closure..............................................................................................................18 CHAPTER 3: MUSICAL EXPECTATION AND CLOSURE ..................................................22 Formation of Expectations: Statistical Learning ................................................................22 Expectation.......................................................................................................................26 Expectation in Music Theory ...................................................................................26 Types of Expectation and Schema............................................................................29 Expectation and Memory: An Alternative View.......................................................38 An Expectation-based Model of Closure ...........................................................................41 Three Analytical Vignettes................................................................................................47 Schumann’s “Widmung” .........................................................................................47 Webern’s “Der Tag ist vergangen”...........................................................................57 Copland’s “The World Feels Dusty”........................................................................60 CHAPTER 4: EVENT SEGMENTATION THEORY...............................................................67 Event Segmentation ..........................................................................................................67 Event Segmentation Theory ..............................................................................................73 Event Segmentation Theory and Musical Closure .............................................................77 Experiment Overview .......................................................................................................81 Experiment 1 ...........................................................................................................81 Experiment 2 ...........................................................................................................81 Experiment 3 ...........................................................................................................82 CHAPTER 5: EXPERIMENT 1................................................................................................85 Method .............................................................................................................................86 Participants..............................................................................................................86 Stimuli .....................................................................................................................86 Coding Procedure ....................................................................................................88 Participant Procedure.............................................................................................101 Results ............................................................................................................................102 General Results......................................................................................................104 v Experiment 1a: Bartók Results...............................................................................116 Experiment 1b: Mozart Results..............................................................................124 Grouping Analysis.................................................................................................135 Discussion.......................................................................................................................149 CHAPTER 6: EXPERIMENT 2..............................................................................................153 Method ...........................................................................................................................154 Participants............................................................................................................154 Stimuli...................................................................................................................154 Procedure...............................................................................................................157 Results ............................................................................................................................157 Discussion.......................................................................................................................162 CHAPTER 7: EXPERIMENT 3..............................................................................................165 Method ...........................................................................................................................166
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