A Derivation of the Tonal Hierarchy from Basic Perceptual Processes
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A Psychological Approach to Musical Form: the Habituation–Fluency Theory of Repetition
A Psychological Approach to Musical Form: The Habituation–Fluency Theory of Repetition David Huron With the possible exception of dance and meditation, there appears to be nothing else in common human experience that is comparable to music in its repetitiveness (Kivy 1993; Ockelford 2005; Margulis 2013). Narrative arti- facts like movies, novels, cartoon strips, stories, and speeches have much less internal repetition. Even poetry is less repetitive than music. Occasionally, architecture can approach music in repeating some elements, but only some- times. There appears to be no visual analog to the sort of trance–inducing music that can engage listeners for hours. Although dance and meditation may be more repetitive than music, dance is rarely performed in the absence of music, and meditation tellingly relies on imagining a repeated sound or mantra (Huron 2006: 267). Repetition can be observed in music from all over the world (Nettl 2005). In much music, a simple “strophic” pattern is evident in which a single phrase or passage is repeated over and over. When sung, it is common for successive repetitions to employ different words, as in the case of strophic verses. However, it is also common to hear the same words used with each repetition. In the Western art–music tradition, internal patterns of repetition are commonly discussed under the rubric of form. Writing in The Oxford Companion to Music, Percy Scholes characterized musical form as “a series of strategies designed to find a successful mean between the opposite extremes of unrelieved repetition and unrelieved alteration” (1977: 289). Scholes’s characterization notwithstanding, musical form entails much more than simply the pattern of repetition. -
ICMPC11 Schedule at a Glan
Upadted 7/9/10 SCHEDULE AT A GLANCE 8/23-27/10 MONDAY 8/23 REGISTRATION REGISTRATION - Kane Hall Lobby REGISTRATION - Kane Hall Lobby REGISTRATION - Kane Hall Lobby REGISTRATION - Kane Hall Lobby REGISTRATION - Kane Hall Lobby REGISTRATION - Kane Hall Lobby 8:00-9:00AM Kane 130 Kane 110 Gowen 301 Smith 120 KANE - Walker Ames Room Session Rooms Gowen 201 WELCOME/KEYNOTE ADDRESS: Welcome and Opening Singing: when it hurts, when it helps, Keynote 9-10:30AM and when it changes brains. Gottfried Schlaug BREAK: 10:30-11:00AM Break Break Break Break Break Break INVITED SYMPOSIUM: SESSION 1 Effects of Musical Experience on Development During MUSIC THERAPY 1 SOCIAL PSYCHOLOGY 1 TONAL PERCEPTION 1 11-12:30 Infancy Laurel Trainor PA 021 Modeling Musical Structure from the Audience: Emergent PA027 The Effect of Structure and Rate Variation on Key-Finding SYM31:Beat Induction as a Fundamental Musical Skill PA 025 A Theory of Music and Sadness: A Role for Prolactin? 11:00 Rhythmic Models from Spontaneous Vocalizations in Samba Culture Morwaread Farbood, Gary Marcus, Panayotis Mavromatis, David Henkjan Honing David Huron Luiz Naveda, Fabien Gouyon, Marc Leman Poeppel SYM32: New Perspectives on Consonance and Dissonance PA 018 Improvisational Psychodynamic Music Therapy for PA110 Influences of Minority Status and Social Identity on the PA057 Common and Rare Musical Keys Are Absolutely Different: 11:30 Judy Plantinga, Sandra E. Trehub Depression: Randomized Controlled Trial Elaboration of Unfamiliar Music by Adolescents Implicit Absolute Pitch, Exposure -
Expectancy and Musical Emotion Effects of Pitch and Timing
Manuscript Expectancy and musical emotion Effects of pitch and timing expectancy on musical emotion Sauvé, S. A.1, Sayed, A.1, Dean, R. T.2, Pearce, M. T.1 1Queen Mary, University of London 2Western Sydney University Author Note Correspondence can be addressed to Sarah Sauvé at [email protected] School of Electronic Engineering and Computer Science Queen Mary University of London, Mile End Road London E1 4NS United Kingdom +447733661107 Biographies S Sauve: Originally a pianist, Sarah is now a PhD candidate in the Electronic Engineering and Computer Science department at Queen Mary University of London studying expectancy and stream segregation, supported by a college studentship. EXPECTANCY AND MUSICAL EMOTION 2 A Sayed: Aminah completed her MSc in Computer Science at Queen Mary University of London, specializing in multimedia. R.T. Dean: Roger is a composer/improviser and researcher at the MARCS Institute for Brain, Behaviour and Development. His research focuses on music cognition and music computation, both analytic and generative. M.T. Pearce: Marcus is Senior Lecturer at Queen Mary University of London, director of the Music Cognition and EEG Labs and co-director of the Centre for Mind in Society. His research interests cover computational, psychological and neuroscientific aspects of music cognition, with a particular focus on dynamic, predictive processing of melodic, rhythmic and harmonic structure, and its impact on emotional and aesthetic experience. He is the author of the IDyOM model of auditory expectation based on statistical learning and probabilistic prediction. EXPECTANCY AND MUSICAL EMOTION 3 Abstract Pitch and timing information work hand in hand to create a coherent piece of music; but what happens when this information goes against the norm? Relationships between musical expectancy and emotional responses were investigated in a study conducted with 40 participants: 20 musicians and 20 non-musicians. -
Cognitive Processes for Infering Tonic
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Student Research, Creative Activity, and Performance - School of Music Music, School of 8-2011 Cognitive Processes for Infering Tonic Steven J. Kaup University of Nebraska-Lincoln, [email protected] Follow this and additional works at: https://digitalcommons.unl.edu/musicstudent Part of the Cognition and Perception Commons, Music Practice Commons, Music Theory Commons, and the Other Music Commons Kaup, Steven J., "Cognitive Processes for Infering Tonic" (2011). Student Research, Creative Activity, and Performance - School of Music. 46. https://digitalcommons.unl.edu/musicstudent/46 This Article is brought to you for free and open access by the Music, School of at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Student Research, Creative Activity, and Performance - School of Music by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. COGNITIVE PROCESSES FOR INFERRING TONIC by Steven J. Kaup A THESIS Presented to the Faculty of The Graduate College at the University of Nebraska In Partial Fulfillment of Requirements For the Degree of Master of Music Major: Music Under the Supervision of Professor Stanley V. Kleppinger Lincoln, Nebraska August, 2011 COGNITIVE PROCESSES FOR INFERRING TONIC Steven J. Kaup, M. M. University of Nebraska, 2011 Advisor: Stanley V. Kleppinger Research concerning cognitive processes for tonic inference is diverse involving approaches from several different perspectives. Outwardly, the ability to infer tonic seems fundamentally simple; yet it cannot be attributed to any single cognitive process, but is multi-faceted, engaging complex elements of the brain. This study will examine past research concerning tonic inference in light of current findings. -
Perceptual Interactions of Pitch and Timbre: an Experimental Study on Pitch-Interval Recognition with Analytical Applications
Perceptual interactions of pitch and timbre: An experimental study on pitch-interval recognition with analytical applications SARAH GATES Music Theory Area Department of Music Research Schulich School of Music McGill University Montréal • Quebec • Canada August 2015 A thesis submitted to McGill University in partial fulfillment of the requirements of the degree of Master of Arts. Copyright © 2015 • Sarah Gates Contents List of Figures v List of Tables vi List of Examples vii Abstract ix Résumé xi Acknowledgements xiii Author Contributions xiv Introduction 1 Pitch, Timbre and their Interaction • Klangfarbenmelodie • Goals of the Current Project 1 Literature Review 7 Pitch-Timbre Interactions • Unanswered Questions • Resulting Goals and Hypotheses • Pitch-Interval Recognition 2 Experimental Investigation 19 2.1 Aims and Hypotheses of Current Experiment 19 2.2 Experiment 1: Timbre Selection on the Basis of Dissimilarity 20 A. Rationale 20 B. Methods 21 Participants • Stimuli • Apparatus • Procedure C. Results 23 2.3 Experiment 2: Interval Identification 26 A. Rationale 26 i B. Method 26 Participants • Stimuli • Apparatus • Procedure • Evaluation of Trials • Speech Errors and Evaluation Method C. Results 37 Accuracy • Response Time D. Discussion 51 2.4 Conclusions and Future Directions 55 3 Theoretical Investigation 58 3.1 Introduction 58 3.2 Auditory Scene Analysis 59 3.3 Carter Duets and Klangfarbenmelodie 62 Esprit Rude/Esprit Doux • Carter and Klangfarbenmelodie: Examples with Timbral Dissimilarity • Conclusions about Carter 3.4 Webern and Klangfarbenmelodie in Quartet op. 22 and Concerto op 24 83 Quartet op. 22 • Klangfarbenmelodie in Webern’s Concerto op. 24, mvt II: Timbre’s effect on Motivic and Formal Boundaries 3.5 Closing Remarks 110 4 Conclusions and Future Directions 112 Appendix 117 A.1,3,5,7,9,11,13 Confusion Matrices for each Timbre Pair A.2,4,6,8,10,12,14 Confusion Matrices by Direction for each Timbre Pair B.1 Response Times for Unisons by Timbre Pair References 122 ii List of Figures Fig. -
Unified Music Theories for General Equal-Temperament Systems
Unified Music Theories for General Equal-Temperament Systems Brandon Tingyeh Wu Research Assistant, Research Center for Information Technology Innovation, Academia Sinica, Taipei, Taiwan ABSTRACT Why are white and black piano keys in an octave arranged as they are today? This article examines the relations between abstract algebra and key signature, scales, degrees, and keyboard configurations in general equal-temperament systems. Without confining the study to the twelve-tone equal-temperament (12-TET) system, we propose a set of basic axioms based on musical observations. The axioms may lead to scales that are reasonable both mathematically and musically in any equal- temperament system. We reexamine the mathematical understandings and interpretations of ideas in classical music theory, such as the circle of fifths, enharmonic equivalent, degrees such as the dominant and the subdominant, and the leading tone, and endow them with meaning outside of the 12-TET system. In the process of deriving scales, we create various kinds of sequences to describe facts in music theory, and we name these sequences systematically and unambiguously with the aim to facilitate future research. - 1 - 1. INTRODUCTION Keyboard configuration and combinatorics The concept of key signatures is based on keyboard-like instruments, such as the piano. If all twelve keys in an octave were white, accidentals and key signatures would be meaningless. Therefore, the arrangement of black and white keys is of crucial importance, and keyboard configuration directly affects scales, degrees, key signatures, and even music theory. To debate the key configuration of the twelve- tone equal-temperament (12-TET) system is of little value because the piano keyboard arrangement is considered the foundation of almost all classical music theories. -
A New Illusion in the Perception of Relative Pitch Intervals
A new illusion in the perception of relative pitch intervals by Maartje Koning A thesis submitted to the Faculty of Humanities of the University of Amsterdam in partial fulfilment of the requirements for the degree of Master of Arts Department of Musicology 2015 Dr. M. Sadakata University of Amsterdam Dr. J.A. Burgoyne University of Amsterdam 2 Abstract This study is about the perception of relative pitch intervals. An earlier study of Sadakata & Ohgushi ‘Comparative judgments pitch intervals and an illusion’ (2000) showed that when when people listened to two tone intervals, their perception of relative pitch distance between the two tones depended on the direction and size of the intervals. In this follow-up study the participants had to listen to two tone intervals and indicate whether the size of the second interval was smaller, the same or larger than the first. The conditions were the same as in the study of Sadakata & Ohgushi. These four different conditions were illustrating the relationship between those two intervals. There were ascending and descending intervals and the starting tone of the second interval differed with respect to the starting tone of the first interval. The study made use of small and large intervals and hypothesized that the starting tone of the second interval with respect to the starting tone of the first interval had an effect on the melodic expectancy of the listener and because of that they over- or underestimate the size of the second tone interval. Furthermore, it was predicted that this tendency would be stronger for larger tone intervals compared to smaller tone intervals and that there would be no difference found between musicians and non-musicians. -
A Theory of Spatial Acquisition in Twelve-Tone Serial Music
A Theory of Spatial Acquisition in Twelve-Tone Serial Music Ph.D. Dissertation submitted to the University of Cincinnati College-Conservatory of Music in partial fulfillment of the requirements for the degree of Ph.D. in Music Theory by Michael Kelly 1615 Elkton Pl. Cincinnati, OH 45224 [email protected] B.M. in Music Education, the University of Cincinnati College-Conservatory of Music B.M. in Composition, the University of Cincinnati College-Conservatory of Music M.M. in Music Theory, the University of Cincinnati College-Conservatory of Music Committee: Dr. Miguel Roig-Francoli, Dr. David Carson Berry, Dr. Steven Cahn Abstract This study introduces the concept of spatial acquisition and demonstrates its applicability to the analysis of twelve-tone music. This concept was inspired by Krzysztof Penderecki’s dis- tinctly spatial approach to twelve-tone composition in his Passion According to St. Luke. In the most basic terms, the theory of spatial acquisition is based on an understanding of the cycle of twelve pitch classes as contiguous units rather than discrete points. Utilizing this theory, one can track the gradual acquisition of pitch-class space by a twelve-tone row as each of its member pitch classes appears in succession, noting the patterns that the pitch classes exhibit in the pro- cess in terms of directionality, the creation and filling in of gaps, and the like. The first part of this study is an explanation of spatial acquisition theory, while the se- cond part comprises analyses covering portions of seven varied twelve-tone works. The result of these analyses is a deeper understanding of each twelve-tone row’s composition and how each row’s spatial characteristics are manifested on the musical surface. -
Ninth, Eleventh and Thirteenth Chords Ninth, Eleventh and Thirteen Chords Sometimes Referred to As Chords with 'Extensions', I.E
Ninth, Eleventh and Thirteenth chords Ninth, Eleventh and Thirteen chords sometimes referred to as chords with 'extensions', i.e. extending the seventh chord to include tones that are stacking the interval of a third above the basic chord tones. These chords with upper extensions occur mostly on the V chord. The ninth chord is sometimes viewed as superimposing the vii7 chord on top of the V7 chord. The combination of the two chord creates a ninth chord. In major keys the ninth of the dominant ninth chord is a whole step above the root (plus octaves) w w w w w & c w w w C major: V7 vii7 V9 G7 Bm7b5 G9 ? c ∑ ∑ ∑ In the minor keys the ninth of the dominant ninth chord is a half step above the root (plus octaves). In chord symbols it is referred to as a b9, i.e. E7b9. The 'flat' terminology is use to indicate that the ninth is lowered compared to the major key version of the dominant ninth chord. Note that in many keys, the ninth is not literally a flatted note but might be a natural. 4 w w w & #w #w #w A minor: V7 vii7 V9 E7 G#dim7 E7b9 ? ∑ ∑ ∑ The dominant ninth usually resolves to I and the ninth often resolves down in parallel motion with the seventh of the chord. 7 ˙ ˙ ˙ ˙ & ˙ ˙ #˙ ˙ C major: V9 I A minor: V9 i G9 C E7b9 Am ˙ ˙ ˙ ˙ ˙ ? ˙ ˙ The dominant ninth chord is often used in a II-V-I chord progression where the II chord˙ and the I chord are both seventh chords and the V chord is a incomplete ninth with the fifth omitted. -
The Thirteenth Amendment: Modern Slavery, Capitalism, and Mass Incarceration Michele Goodwin University of California, Irvine
Cornell Law Review Volume 104 Article 4 Issue 4 May 2019 The Thirteenth Amendment: Modern Slavery, Capitalism, and Mass Incarceration Michele Goodwin University of California, Irvine Follow this and additional works at: https://scholarship.law.cornell.edu/clr Part of the Constitutional Law Commons Recommended Citation Michele Goodwin, The Thirteenth Amendment: Modern Slavery, Capitalism, and Mass Incarceration, 104 Cornell L. Rev. 899 (2019) Available at: https://scholarship.law.cornell.edu/clr/vol104/iss4/4 This Article is brought to you for free and open access by the Journals at Scholarship@Cornell Law: A Digital Repository. It has been accepted for inclusion in Cornell Law Review by an authorized editor of Scholarship@Cornell Law: A Digital Repository. For more information, please contact [email protected]. THE THIRTEENTH AMENDMENT: MODERN SLAVERY, CAPITALISM, AND MASS INCARCERATION Michele Goodwint INTRODUCTION ........................................ 900 I. A PRODIGIOUS CYCLE: PRESERVING THE PAST THROUGH THE PRESENT ................................... 909 II. PRESERVATION THROUGH TRANSFORMATION: POLICING, SLAVERY, AND EMANCIPATION........................ 922 A. Conditioned Abolition ....................... 923 B. The Punishment Clause: Slavery's Preservation Through Transformation..................... 928 C. Re-appropriation and Transformation of Black Labor Through Black Codes, Crop Liens, Lifetime Labor, Debt Peonage, and Jim Crow.. 933 1. Black Codes .......................... 935 2. Convict Leasing ........................ 941 -
Fourier Phase and Pitch-Class Sum
Fourier Phase and Pitch-Class Sum Dmitri Tymoczko1 and Jason Yust2(B) Author Proof 1 Princeton University, Princeton, NJ 08544, USA [email protected] 2 Boston University, Boston, MA 02215, USA [email protected] AQ1 Abstract. Music theorists have proposed two very different geometric models of musical objects, one based on voice leading and the other based on the Fourier transform. On the surface these models are completely different, but they converge in special cases, including many geometries that are of particular analytical interest. Keywords: Voice leading Fourier transform Tonal harmony Musical scales Chord geometry· · · · 1Introduction Early twenty-first century music theory explored a two-pronged generalization of traditional set theory. One prong situated sets and set-classes in continuous, non-Euclidean spaces whose paths represented voice leadings, or ways of mov- ing notes from one chord to another [4,13,16]. This endowed set theory with a contrapuntal aspect it had previously lacked, embedding its discrete entities in arobustlygeometricalcontext.AnotherpronginvolvedtheFouriertransform as applied to pitch-class distributions: this provided alternative coordinates for describing chords and set classes, coordinates that made manifest their harmonic content [1,3,8,10,19–21]. Harmonies could now be described in terms of their resemblance to various equal divisions of the octave, paradigmatic objects such as the augmented triad or diminished seventh chord. These coordinates also had a geometrical aspect, similar to yet distinct from voice-leading geometry. In this paper, we describe a new convergence between these two approaches. Specifically, we show that there exists a class of simple circular voice-leading spaces corresponding, in the case of n-note nearly even chords, to the nth Fourier “phase spaces.” An isomorphism of points exists for all chords regardless of struc- ture; when chords divide the octave evenly, we can extend the isomorphism to paths, which can then be interpreted as voice leadings. -
Cognition, Constraints and Conceptual Blends in Modernist Music the Pleasure of Modernism: Intention, Meaning, and the Compositional Avant-Garde, Ed
“Tone-color, movement, changing harmonic planes”: Cognition, Constraints and Conceptual Blends in Modernist Music The Pleasure of Modernism: Intention, Meaning, and the Compositional Avant-Garde, ed. Arved Ashby (Rochester: University of Rochester Press, 2004), 121–152. Amy Bauer I. Ligeti and the “Listenability” of Modernist Music György Ligeti has discussed his "micropolyphonic" music of the mid-1960s at some length, in an attempt to explain why its composed structure seems to bear no relation to its actual sound. Although works such as Lontano are based on strict canons, their compositional method assumes a listener will 'mishear' its structure: [In the large orchestral work Lontano] I composed . an extensively branching and yet strictly refined polyphony which, however, veers suddenly into something else. I don’t have a name for it and I don’t want to create a term for it. A kind of complex of tone-color, movement, changing harmonic planes. The polyphonic structure does not actually come through, you cannot hear it; it remains hidden in a microscopic underwater world, to us inaudible. I have retained melodic lines in the process of composition, they are governed by rules as strict as Palestrina's or those of the Flemish school, but the rules of polyphony are worked out by me. the polyphony is dissolved, like the harmony and the tone-color – to such an extent that it does not manifest itself, and yet it is there, just beneath the threshold.1 In the above passages, Ligeti appears to ally himself with modernists such as Boulez and Babbit, composers who use twelve-tone and other methods to systematically organize pitch structure.