Harmony

Seeger, Charles; Schenker, Heinrich; Jonas, Oswald; Borgese, Elisabeth Mann

doi:10.2307/893527

Cited by 2 publications

(2 citation statements)

References 0 publications

Supporting

Mentioning

Contrasting

Order By: Relevance

“…From the perspective of music analysis, these findings could be considered counterintuitive: many analytical approaches to music proceed by removing surface features until a background structure (or Ursatz) is revealed (Pankhurst, 2008, pp. 54-55;Schenker, 1906Schenker, /1954; see also Bharucha (1994) and Lerdahl andJackendoff (1983/1996). While analysts such as Heinrich Schenker did not claim that surface features are unimportant, the stripping away of melody and rhythm implies a hierarchical relationship between elements; without a wellformed (contrapuntal) background structure, the surface features of a piece of music will be perceived as somehow inferior (Schenker's idealized conception of so-called organic composition).…”

Section: Discussionmentioning

confidence: 99%

Influence of surface features on the perception of nonadjacent musical phrases

Spyra

Woolhouse

2023

Musicae Scientiae

View full text Add to dashboard Cite

Although temporally nonadjacent key relationships (e.g., Key X →Key Y→ Key X) are ubiquitous within tonal music, the full extent to which they are perceived is uncertain. Previous research suggests that memory for an initial key remains active up to 20 s after modulation; however, homophonic textures were used in these studies, leaving open the possibility that surface features such as figuration may contribute to nonadjacency effects. In two experiments, we investigated this issue by measuring goodness of completion ratings for stimuli in which musical surface features were manipulated. Two types of surface feature were tested: figuration and activity (total number of notes per stimulus). Stimuli were composed of three parts: (1) nonadjacent section (in either the same or a different key to the probe); (2) intervening section (in a different key to the probe); and (3) probe (a cadence in either the same or different key as the nonadjacent section). In Experiment 1, we tested whether the presence of surface features resulted in higher goodness of completion ratings for the probe; in Experiment 2, we manipulated nonadjacent key relationships to ascertain the effect of surface features on global perception of key. Results showed that figuration and activity contributed to goodness of completion ratings, particularly in stimuli where these features matched each other in the nonadjacent sections. Moreover, the presence of surface features strengthened the perceived relationships between the keys of nonadjacent sections, thereby appearing to contribute to the global perception of phrase. In sum, although from an analytical perspective surface features are often considered to be less important hierarchically, our results indicate that they contribute significantly to the perception of nonadjacent key relationships.

show abstract

Section: Discussionmentioning

confidence: 99%

Influence of surface features on the perception of nonadjacent musical phrases

Spyra

Woolhouse

2023

Musicae Scientiae

View full text Add to dashboard Cite

show abstract

“…He continued, "What [the student] is yearning to see, the confirmation of theoretical propositions in examples from the works of the great masters, he looks for in vain in this book." (5) Mercifully, most harmony texts now abound with excerpts from real music literature-a condition not nearly so prevalent at the turn of the last century. Crack the pages of just about any theory textbook newly published or revised in the last decade and you'll most likely find it brimming with excerpts from instrumental and vocal works in a variety of styles and genres, drawn from common-practice-period music, and even jazz and popular music.…”

mentioning

confidence: 99%

Lessons from the Past

Karpinski

2000

MTO

View full text Add to dashboard Cite

As we music theorists chart our course into the next century, we can learn many lessons from the past--lessons about teaching and learning music that can inform and inspire our work as pedagogues and help us deliver the very best our discipline has to offer to all students of music. This essay addresses six main pedagogical issues: counterpoint, figured bass, harmony and voice leading, aural skills, computer-assisted instruction, and curriculum design. Each issue is examined in its historical perspective leading up to the recent turn of the century, and suggestions are made for further research and teaching in the future.

show abstract

Harmony

Cited by 2 publications

References 0 publications

Influence of surface features on the perception of nonadjacent musical phrases

Influence of surface features on the perception of nonadjacent musical phrases

Lessons from the Past

Contact Info

Product

Resources

About