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The Cognitive Reality of Prolongational Structures in Tonal Music

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The Cognitive Reality of Prolongational Structures in Tonal Music Tesis de Doctorado. UNIVERSITY OF ROEHAMPTON SURREY, Londres, Reino Unido. The Cognitive Reality of Prolongational Structures in Tonal Music. Martínez, Isabel Cecilia. Cita: Martínez, Isabel Cecilia (2008). The Cognitive Reality of Prolongational Structures in Tonal Music (Tesis de Doctorado). UNIVERSITY OF ROEHAMPTON SURREY, Londres, Reino Unido. Dirección estable: https://www.aacademica.org/martinez.isabel.cecilia/86 Esta obra está bajo una licencia de Creative Commons. Para ver una copia de esta licencia, visite http://creativecommons.org/licenses/by-nc-nd/4.0/deed.es. Acta Académica es un proyecto académico sin fines de lucro enmarcado en la iniciativa de acceso abierto. Acta Académica fue creado para facilitar a investigadores de todo el mundo el compartir su producción académica. Para crear un perfil gratuitamente o acceder a otros trabajos visite: http://www.aacademica.org. THE COGNITIVE REALITY OF PROLONGATIONAL STRUCTURES IN TONAL MUSIC BY ISABEL CECILIA MARTINEZ A thesis submitted in partial fulfilment of the requirements for the degree of PhD SCHOOL OF EDUCATION ROEHAMPTON UNIVERSITY UNIVERSITY OF SURREY 2007 for Ana Laura, Juliana and Emilio ABSTRACT This thesis investigates the psychological implications of prolongation, a structural phenomenon of tonal music, which is described in the musicological literature as an elaborative process in which some pitch events - such as chords and notes - remain as if they were sounding even though they are not physically present. In spite of its theoretical value as an analytical device, the question of prolongation as experienced still remains. Its cognitive scope was thoroughly explored in two groups of experiments: in part 1 prolongation was hypothesized as a constituent organization, in which the linear continuity of the voice-leading as it unfolds is parsed into syntactical units with beginnings and endings. The listener’s capacity to identify prolongational boundaries was tested under experimental conditions that explored the moment-to-moment sensitivity to prolongation in music-attending tasks. A clear ontology of prolongation as a constituent percept, at foreground reductional levels of the underlying structure, emerged unequivocally from the experimental results. However, this research did not fully explain an imaginative component that, according to Schenkerian theory, is present in the concept of prolongation. Alternative views of human cognition, related to the study of embodied knowledge and metaphorical thinking, were pursued in order to answer this question. In part 2 it was hypothesised that prolongation would be experienced as a structural metaphor. The interrupted structure, an archetypal organization of tonal music, was investigated on the assumption that this underlying configuration, interacting with cognition, primes in music perception the activation of an image-schematic structure - involving force. By means of a cross-domain mapping process, the listener projects that image-schematic structure onto the sonic organization of the piece, understanding the interrupted structure as a sonic ii unfolding of the force schema. The results confirmed the hypothesis: prolongation has a relevant status as imagined cognition. Structural metaphors operate as idealized models of cognitive processing that listeners activate during their experience of music. iii TABLE OF CONTENTS ABSTRACT..........................................................................................................................II TABLE OF CONTENTS.................................................................................................... IV ACKNOWLEDGEMENTS ................................................................................................ XI CHAPTER I THE CONCEPT OF HIERARCHY IN MUSIC THEORY ..................................................1 I.1 MODELLING HIERARCHY: THEORETICAL MODELS OF UNDERLYING STRUCTURE.............1 I.2 THE CONCEPT OF PROLONGATION ..................................................................................6 I.2.1 Prolongation as a component of the underlying musical structure.......................6 I.2.2 Prolongation in three hierarchical theories of music..........................................13 I.2.2.1 The model of underlying structure by H. Schenker......................................13 I.2.2.2 The generative theory of tonal music by Lerdahl and Jackendoff................21 I.2.2.3 The implication-realization model by L. Meyer- E. Narmour......................27 I.2.3 Summary: prolongation as theorized...................................................................30 CHAPTER II PSYCHOLOGICAL BASES OF MUSIC HIERARCHY...................................................45 II.1. PSYCHOLOGICAL REALITY AND EVIDENCE.................................................................45 II.1.1.-The nature of cognitive hierarchies: characteristic features and psychological evidence........................................................................................................................50 II.1.1.1 Approaching hierarchies: analytical dimensions.........................................52 iv II.2. THE PSYCHOLOGICAL REALITY OF HIERARCHICAL STRUCTURE IN MUSIC: PRINCIPLES AND MODELS OF MUSIC HIERARCHY ..................................................................................62 II.2.1 Some cognitive principles of hierarchical structure in music............................66 II.2.1.1 Tonal hierarchies and event hierarchies. .....................................................66 II.2.1.2 Melodic anchoring.......................................................................................70 II.2.2. Static models of hierarchical processing ..........................................................72 II.2.3. Dynamic models of hierarchical processing .....................................................79 CHAPTER III PROLONGATION AS EXPERIENCED: SOME PRECURSORS ....................................85 III.1 ABSTRACTION OF HIERARCHICAL LEVELS .................................................................85 III.2 CATEGORIZATION OF THE UNDERLYING STRUCTURE BY FAMILIARITY ......................92 III.3 OUR OWN PREVIOUS INVESTIGATION.........................................................................94 III.3.1 Abstraction of hierarchical tonal structure ......................................................94 III.3.2 Categorization of the underlying voice-leading by similarity...........................95 III.4 PROLONGATION AS EXPERIENCED: SUMMARY AND PROSPECTS ...............................107 CHAPTER IV EXPERIENCING PROLONGATION AS A LINGUISTIC CONSTITUENT ................112 IV.1 MODELLING SYNTAX: CONSTITUENCY AND DEPENDENCY AS TWO STRUCTURAL COMPONENTS IN TONAL MUSIC........................................................................................112 IV.1.1 Constituency ....................................................................................................116 IV.1.2 Dependency .....................................................................................................118 IV.1.3 The relationship between constituency and dependency.................................120 IV.2 PROLONGATIONAL STATUS OF THE SYNTACTIC STRUCTURE....................................122 v IV.3 CONSTITUENCY AND ATTENTION TO MUSIC.............................................................129 IV.3.1 The concept of attention in cognitive psychology ...........................................129 IV.3.2 Attending to music hierarchy as a constituent organization...........................135 IV.3.3 Assessment of attention to the syntactic structure: the click technique ..........140 IV.4 SUMMARY: THE ASSUMPTION OF PROLONGATION AS A CONSTITUENT IN MUSIC ATTENDING .....................................................................................................................149 CHAPTER V EXPERIMENTAL STUDIES PART 1: PROLONGATION AS A LINGUISTIC CONSTITUENT ................................................................................................................153 INTRODUCTION................................................................................................................153 V.1 EXPERIMENT V.1: SENSITIVITY TO CLOSURE IN EMBEDDED AND LINEAR CONSTITUENT CONTEXTS .......................................................................................................................156 V.1.1 Introduction ......................................................................................................156 V.1.1.1 Aim............................................................................................................158 V.1.2 Method ..............................................................................................................159 V.1.2.1 Subjects .....................................................................................................159 V.1.2.2 Stimuli .......................................................................................................159 V.1.2.3 Apparatus ..................................................................................................163 V.1.2.4 Procedure...................................................................................................163 V.1.2.5 Design .......................................................................................................164 V.1.3 Results...............................................................................................................165 V.1.4 Discussion.........................................................................................................174
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