Literaturnachweis - Detailanzeige
Autor/inn/en | Ockelford, Adam; Sergeant, Desmond |
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Titel | Musical Expectancy in Atonal Contexts: Musicians' Perception of "Antistructure" |
Quelle | In: Psychology of Music, 41 (2013) 2, S.139-174 (36 Seiten)
PDF als Volltext |
Sprache | englisch |
Dokumenttyp | gedruckt; online; Zeitschriftenaufsatz |
ISSN | 0305-7356 |
DOI | 10.1177/0305735612442582 |
Schlagwörter | Music; Musicians; Attitudes; Intervals; Music Theory; Musical Composition; Listening; Cognitive Processes |
Abstract | Two exploratory studies examine how 12-tone rows are processed cognitively. Tone-rows use each pitch-class once, and were devised by the composer Arnold Schoenberg as a way of structuring music in the absence of tonality, an approach subsequently known as "serialism". One form of "antistructure" implied in the design of tone-rows--eschewal of pitch repetition--is explored using the "probe-tone" method, where subjects rate how well a pitch stimulus fits in a given context. The results support the finding of Krumhansl, Sandell and Sergeant that listeners can detect--and come to expect--the avoidance of pitch repetition. This cognitive strategy is modelled using Ockelford's "zygonic" theory of music-structural understanding. A further study examines the second form "antistructure" implicit in serialist thinking (though not always adhered to in practice): the avoidance of patterns of intervals that give rise to a sense of key in suitably encultured listeners. Here, the discrepancies between the outputs of the zygonic model and the probe-tone ratings suggest that, despite the structural atonality, tonal schemata may also feature in the listening experience. These are evaluated using supplementary data gathered in a task where subjects were asked to identify potential "tonal flecks" in tone-row segments. (Contains 6 tables, 17 figures and 9 notes.) (As Provided). |
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Erfasst von | ERIC (Education Resources Information Center), Washington, DC |
Update | 2017/4/10 |