Simulating melodic and harmonic expectations for tonal cadences using probabilistic models

<p>This study examines how the mind’s predictive mechanisms contribute to the perception of cadential closure during music listening. Using the Information Dynamics of Music model (or IDyOM) to simulate the formation of schematic expectations—a finite-context (or <i>n</i>-gram) model that predicts the next event in a musical stimulus by acquiring knowledge through unsupervised statistical learning of sequential structure—we predict the terminal melodic and harmonic events from 245 exemplars of the five most common cadence categories from the classical style. Our findings demonstrate that (1) terminal events from cadential contexts are more predictable than those from non-cadential contexts; (2) models of cadential strength advanced in contemporary cadence typologies reflect the formation of schematic expectations; and (3) a significant decrease in predictability follows the terminal note and chord events of the cadential formula.</p

Grundgestalt, multi-piece, and intertextuality in Brahams's opp. 117, 118, and 119

Schoenberg's notion of the Grundgestalt is one which has fascinated and intrigued analysts, theorists, and aestheticians alike. However, until the very end of his life, Schoenberg was reluctant to provide an absolute definition for Grundgestalt, and subsequent commentators have attempted multifarious deployments of the term, with various degrees of success. This thesis attempts a new examination and definition of the Grundgestalt, based upon a reconciliation of Schoenberg's writings with modern music theory. This locates the Grundgestalt as a median point between specific motivic structure of a given piece and the more generalised attributes of voice leading: providing a new and powerful method of interrogating generative structure. The thesis begins with an exploration of Schoenberg's own writings on the Grundgestalt, as well as an attempt to place Grundgestalt in his hierarchy of musical units. It will proceed to explore previous appropriations of the Grundgestalt, particularly the writings of Schoenberg's pupils. The main body of the thesis is provided by the development and implementation of a new methodology for Grundgestalt analysis in Brahms's Opp. 117, 118, and 119. The final two chapters expand the scope of the thesis from the exploration of the way in which a single construct may be of great generative importance to the structure of a single musical artifact, to the unifying links between larger musical communities: the Multi-Piece considers groups of compositions to be a single musical utterance, endowed with coherence and structural integrity. The thesis sets forward Brahms's Klavierstücke Op. 118 as a new example of the type. The final chapter explores the utility of the idea of Intertextuality, a structuralist coinage, in the broader exploration of musical identity and semantics

SOUND MATTERS: AURAL RHETORIC IN PHARMACEUTICAL ADVERTISING (TOWARD A THEORY AND METHOD OF AURALACY)

As scholarly theories and explorations of visuality continue to grow in prominence within the discourse on multimodal communication, a gap remains in the literature regarding the affective qualities of sound in multimedia messages. The following study attempts to address this gap and likewise propose a theory of auralacy (aural literacy) by examining the audiovisual interactions present in three different pharmaceutical commercials. This study begins by examining literature regarding Gestalt perceptual theory, with emphasis on its origins, historical developments, and current status in perceptual research. The literature shows that perceptual wholes may be formed visually, tactilely, aurally, or even intermodally. After reviewing this literature, a holistic methodology is presented for the interpretation of multimodal messages. Gunther Kress and Theo van Leeuwen`s Reading Images: The Grammar of Visual Design is invoked to help analyze on-screen movement of visuals in the pharmaceutical commercials, and Leonard Meyer`s principles of pattern perception--derived from Gestalt theory and set forth in Emotion and Meaning and Music--are brought to bear on the advertisement`s soundscapes. The affective qualities of each soundscape are examined, including music, narration, and sound effects. A visual strategy for presenting audiovisual interaction, dubbed as the movement analysis, is used to help foreground the aural mode and display patterns of movement and shape. This study concludes with a discussion of auralacy as an important tool for understanding contemporary composition and communication, as well as potential directions for further developing the movement analysis

Between Formenlehre and Cognition: A Puzzle-Based Investigation into the Perceptibility of Classical Syntax

A hybrid of theory-based analysis and empirical enquiry, this dissertation seeks to investigate the perceptibility of Classical syntax, ultimately striving to bridge the knowledge gaps that have long existed between the fields of analysis and cognitive science. In particular, the study looks to address the following unknowns: 1) recognition of initial tonic; 2) recognition of tight-knit and loose thematic constructions; and 3) understanding of the contextual nature of cadence. The study centres on the reconstruction of Classical piano sonatas that have been segmented into puzzle pieces using form-functional and sonata theories, an approach that enables the application of syntactical and formal perspectives in an empirical setting, thus giving this study its novelty. The following were hypothesised: 1) sequential accuracy, the ability to process Classical syntax and level of formal training are linearly related; 2) functional recognition, however, is found in any individual familiar with Western musical style regardless of educational background; 3) understanding of Classical syntax is largely Mozartean. The experiments were carried out virtually and were targeted at subjects that were representative of the spectrum of theoretical expertise. Results collected confirm the ability of subjects to organise formal functions, discern initial tonic given a random mix of harmonic shades, recognise the difference between tight-knit and loose themes and their significance, as well as the prevalence of Mozartean idiom in the cognitive faculty and the linear relationship between expertise and accuracy. Inasmuch as these findings strongly suggest that form-functional relationships are audible, the dissertation argues for the incorporation of both analysis and empirical science in music education, a combination that results in a richer understanding and deeper appreciation of musical processes

„Tote aber leben länger“. Друга бечка школа и њено место у промишљањима одабраних композитора друге половине XX века (Лутославски, Лигети, Лахенман, Харви)

The juxtaposition of classicism and actuality is a good description of the ambiguous position occupied by the Second Viennese School not only in the eyes of the scholars who research it, but also of composers who can be regarded as its successors. However, in the works and writings originating from the Second Viennese School we find a concentration of problems encountered by contemporary composers, especially the modernist ones. The aim of this article is to examine the role played by the representatives of the Second Viennese School in the reflections of selected twentieth-century composers, concerning their place in music history, the expressive categories present in their work, and their ambiguous attitude to tonality. A separate subject to be explored is the discourse used by contemporary composers to describe the music of their predecessors, full of both analytical categories and vivid metaphors. The quoted composers (Witold Lutosławski, György Ligeti, Helmut Lachenmann and Jonathan Harvey) may be identified with more-or-less radical modernist views. This article is guided by the thinking of Gianmario Borio and the idea of “historical appropriation”, according to which analysis of the works of the past helps composers to create their own artistic identities and to define their own place in the history of music.Јукстапозиција класицизма и актуелности добар је опис двосмисленог положаја Друге бечке школе, не само у очима научника који истражују њена остварења, већ и њених наследника у области композиције. Међутим, у делима и промишљањима која потичу од Друге бечке школе налазимо концентрацију многих проблема с којима се сусрећу савремени композитори, посебно модернистички. Циљ овог чланка јесте испитивање улоге коју представници Друге бечке школе играју у размишљањима одабраних композитора XX века: како ти композитори виде њихово место у историји музике, изражајне категорије присутне у њиховим делима и њихов двосмислен однос према тоналности. Посебна тема коју треба истражити јесте језик који савремени композитори користе за описивање музике својих претходника – језик препун аналитичких категорија и живих метафора. Цитирани композитори (Џонатан Харви, Ђерђ Лигети, Витолд Лутославски и Хелмут Лахенман) могу се идентификовати с мање или више радикално схваћеним модернистичким погледима. Читав чланак је вођен промишљањима Ђанмарија Борија и идејом „историјског присвајања“, према којој анализа дела прошлости композиторима помаже у стварању сопствених уметничких идентитета и дефинисању сопственог места у историји музике.Јукстапозиција класицизма и актуелности добар је опис двосмисленог положаја Друге бечке школе, не само у очима научника који истражују њена остварења, већ и њених наследника у области композиције. Међутим, у делима и промишљањима која потичу од Друге бечке школе налазимо концентрацију многих проблема с којима се сусрећу савремени композитори, посебно модернистички. Циљ овог чланка јесте испитивање улоге коју представници Друге бечке школе играју у размишљањима одабраних композитора XX века: како ти композитори виде њихово место у историји музике, изражајне категорије присутне у њиховим делима и њихов двосмислен однос према тоналности. Посебна тема коју треба истражити јесте језик који савремени композитори користе за описивање музике својих претходника – језик препун аналитичких категорија и живих метафора. Цитирани композитори (Џонатан Харви, Ђерђ Лигети, Витолд Лутославски и Хелмут Лахенман) могу се идентификовати с мање или више радикално схваћеним модернистичким погледима. Сви ти уметници потичу из Европе, али представљају њене различите регионе и због тога су њихова историјска и културна искуства прилично различита. Читав чланак је вођен промишљањима Ђанмарија Борија и идејом „историјског присвајања“, према којој анализа дела прошлости композиторима помаже у стварању сопствених уметничких идентитета и дефинисању сопственог места у историји музике. Разноликост искустава резултирала је различитим ставовима, понекад с очитим напетостима међу њима, али по многим питањима одликује их изненађујући степен подударности. То ствара занимљиву полифонију у којој се појединачни погледи међусобно коментаришу и надопуњују. Испоставило се да је Друга бечка школа стална референтна тачка у канонима појединих композитора, чак и ако неки од њих заузму полемички став према њој. Уцртавање нових путева у историји музике догађа се на бројне, различите начине. Они нису увек недвосмислено централизовани. Дела Шенберга, Веберна и Берга дубински се анализирају, што указује на поштовање њиховог умећа и познавање композиционих техника које су они користили. Међутим, те анализе немају за циљ да демонстрирају унутрашњу кохезију тих дела, већ пре дијалектику и двосмисленост дубоко укорењене у њима. Карактеришу их, такође, различити приступи самом тоналном систему: његовој трајности, вредности и опсегу утицаја на данашњег слушаоца. Значајно је да музика Друге бечке школе није сведена на проблем нове методе компоновања, већ даје подстицаја за размишљање о питању експресије и духовне поруке. Као таква, она остаје сведочење о егзистенцијалној кризи и покушајима њеног превазилажења. У описима се такође може наћи склоност ка коришћењу метафора, што сведочи о променљивим категоријама музичког мишљења

Musiktheorie als interdisziplinäres Fach: 8. Kongress der Gesellschaft für Musiktheorie Graz 2008

Im Oktober 2008 fand an der Universität für Musik und darstellende Kunst Graz (KUG) der 8. Kongress der Gesellschaft für Musiktheorie (GMTH) zum Thema »Musiktheorie als interdisziplinäres Fach« statt. Die hier vorgelegten gesammelten Beiträge akzentuieren Musiktheorie als multiperspektivische wissenschaftliche Disziplin in den Spannungsfeldern Theorie/Praxis, Kunst/Wissenschaft und Historik/Systematik. Die sechs Kapitel ergründen dabei die Grenzbereiche zur Musikgeschichte, Musikästhetik, zur Praxis musikalischer Interpretation, zur kompositorischen Praxis im 20. und 21. Jahrhundert, zur Ethnomusikologie sowie zur Systematischen Musikwissenschaft. Insgesamt 45 Aufsätze, davon 28 in deutscher, 17 in englischer Sprache, sowie die Dokumentation einer Podiumsdiskussion zeichnen in ihrer Gesamtheit einen höchst lebendigen und gegenwartsbezogenen Diskurs, der eine einzigartige Standortbestimmung des Fachs Musiktheorie bietet.The 8th congress of the Gesellschaft für Musiktheorie (GMTH) took place in October 2008 at the University for Music and Dramatic Arts Graz (KUG) on the topic »Music Theory and Interdisciplinarity«. The collected contributions characterize music theory as a multi-faceted scholarly discipline at the intersection of theory/practice, art/science and history/system. The six chapters explore commonalties with music history, music aesthetics, musical performance, compositional practice in twentieth- and twenty-first-century music, ethnomusicology and systematic musicology. A total of 45 essays (28 in German, 17 in English) and the documentation of a panel discussion form a vital discourse informed by contemporaneous issues of research in a broad number of fields, providing a unique overview of music theory today. A comprehensive English summary appears at the beginning of all contributions

Talk on Musical Interpretation — Visual Tools for Perceived Dynamics and Points of Gravity

Typical for Western classical music is the process of interpreting and conveying a written score into sounding music. However, sometimes the communication of musical issues between musicians may be experienced as aggravating. In educational contexts in a broad sense, it might be advantageous if this communication could be facilitated, for example, by using visual illustrations as a complement to the verbal language. The final aim of the present PhD project is to introduce a further investigation of the relationship between what musicians do when performing classical compositions and how the music will be experienced by listeners familiar with this kind of music. As an indispensable preparative step for this purpose, based on established conventions of melody phrasing, two special visual tools were developed: the Melody Phrasing Curve and a system for notating metrical points of gravity. In two empirical studies, the relevancy of these visual tools, intended to simplify the communication of matters linked to musical interpretation, was tested. This purpose includes the exploration of musical thoughts coming up when the tools are employed by professional musicians as instruments for illustrating their musical experiences. The Melody Phrasing Curve is a continuous line that is drawn by free hand into a special device indicating approximately the experienced dynamical fluctuations within the melody part of a composition. In the two phases of Study A, this phrasing curve was tested from the perspective of music professors listening to classical piano excerpts recorded on audio tape. The results indicate that the visual tool mentioned might be used as an instrument for illustrating the experienced changing dynamics of the melody part, primarily in piano music of a clear homophonic character. In the consecutive Study B, the other visual tool, the system for notating metrical points of gravity, was introduced. This tool was used by four professional musicians, together with the Melody Phrasing Curve, as an aid when preparing performances of three classical piano excerpts, as well as for the purpose of visually illustrating musical aspects of their recorded performances. The study included in-depth-interviews revealing some of the participants’ musical ideas. The results revealed that the participants respected the traditions of classical music, but they were also interested in further exploring the expressive potential of the music, in order to find new interpretative solutions. Moreover, the results indicate that the visual tools employed might be used in educational contexts as triggers for activating musicians’ self-reflection and for developing a bigger awareness when interpreting classical music. Aside from the participants’ diverging drawing styles, the results further support the functionality of the Melody Phrasing Curve as a visual tool for mirroring the experienced dynamical progression of the melody part. Finally, the phrasing curve may be used for the purpose of planning musical interpretations, as well as for illustrating a given performance