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Tonal structure

Tonal structure. Aiello, R. Sloboda, J.A. (1994). (Eds) Musical Perceptions. OUP. Chapter 8. D. Butler, H.Brown. Describing the mental representation of music Cook, P. (2001). (Ed) Music, Cognition and Computerized Sound. MIT. Chapter 15. R. Shepard. Tonal structure and scales.

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Tonal structure

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  1. Tonal structure Aiello, R. Sloboda, J.A. (1994). (Eds) Musical Perceptions. OUP. Chapter 8. D. Butler, H.Brown. Describing the mental representation of music Cook, P. (2001). (Ed) Music, Cognition and Computerized Sound. MIT. Chapter 15. R. Shepard. Tonal structure and scales

  2. Probe-tone technique(Carol Krumhansl) • Participants listen to a musical context, e.g., an ascending or descending diatonic scale, a chord, a chord progression, or a brief excerpt from a musical composition. • The musical context is followed by the presentation of a tone ( "the probe-tone") which is randomly chosen among the 12 pitches. • Participants are asked to rate on a scale from 1 to 7 ( 1 = very bad to 7 = very good) how ell the probe tone fit in the previously heard experiment.

  3. Example 1 • Diatonic scale up, with no octave • Probe tone • Same as 1. • Probe tone (different from 2.) Track 64

  4. Example 2 • Cadence without arrival on tonic • Probe pitch that is remote from intended end of cadence • Same as 1. • Probe tone that is a third of 1. Track 65

  5. Example 3 • Melody in Western scale • Probe tone • Repeat of 1. • Probe tone (different from 2.) Track 69

  6. Experiment • Group 1 (about seven years of instruction and performance) • Group 3 (no significant instruction or performance • Group 2 fell in between • 8 members in each group

  7. Results Group 1 • Notes of the diatonic scale show higher fitness than non-scale note • Notes considered musically important (the tonic and its octave, the perfect fifth, the major third, and the major second) show fitness measures roughly equal to their importance in Western music 1 = very bad to 7 = very good

  8. 1 = very bad to 7 = very good Interesting difference between between descending and ascending context

  9. Krumhans'l probe-tone ratings have also been applied in investigating the perception of North Indian and Balinese music. • Gamelan musical example • Sample tone in Bali tuning • Probe ending to 2. • Repeat of 2. • Another probe ending to 2. Track 68

  10. Tonality • Our own musical includes highly varied approaches to combining pitches. • Several well-worn, well-understood stylistic norms have been tremendously important in shaping Western music for the past three centuries or so. • Composers and listeners have formed an unspoken pact, a fairly sophisticated set of ground rules, regarding how pitches are to be organized to form normal-sounding patterns. • This set of conventions is known as tonality.

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