Näytä suppeat kuvailutiedot

dc.contributor.authorEitan, Zohar
dc.contributor.authorGranot, Roni Y.
dc.date.accessioned2009-12-22T11:10:18Z
dc.date.available2009-12-22T11:10:18Z
dc.date.issued2009
dc.identifier.citationEitan, Z. & Granot, R. Y. (2009). Primary versus secondary musical parameters and the classification of melodic motives. Musicae Scientiae, Discussion Forum 4B, 139-179.
dc.identifier.urihttps://jyx.jyu.fi/handle/123456789/22624
dc.description.abstractMusic theorists often maintain that motivic categorization in music is determined by primary musical parameters music-specific aspects of pitch and temporal structure, like pitch intervals or metric hierarchies, serving as bases for musical syntax. In contrast, secondary parameters, including important aspects of extra-musical auditory perception like loudness, pitch register and timbre, do not establish motivic categories. We examined systematically the effects of contrasts in primary vis-à-vis secondary musical parameters on listeners melodic classification. Matrices of melodic patterns, each presenting 8 motives, were created by all interactions of two contrasting conditions in three musical features. In Experiment 1, four matrices manipulated pitch contour, pitch-interval class, and a compound feature involving the secondary parameters of dynamics, pitch register and articulation. In Experiment 2, four different matrices manipulated rhythmic structure (metrical and durational accent), pitch intervals, and the compound feature used in Exp1. Participants (95 participants, 27 musically trained, in Exp. 1; 88 participants, 23 musically trained, in Exp. 2) classified stimuli in each matrix into two equal-numbered (4-4) groups of motives belonging together. In both experiments, most participants used contrast in secondary parameters as a basis for classification, while few classifications relied on differences in pitch interval (Exp. 2) or interval class (Exp. 1). Classifications by musically trained participants also applied melodic contour and rhythm. Results suggest a hierarchy of musical parameters that challenges those suggested by most music theorists. We discuss the ramifications of the results for notions of perceived thematic-motivic structure in music, and consequentially for cognitively-informed music analysis.en
dc.language.isoengen
dc.subject.othermusical motivesen
dc.subject.othercategorizationen
dc.subject.othersecondary parametersen
dc.subject.otherpitchen
dc.subject.otherrhythmen
dc.titlePrimary versus secondary musical parameters and the classification of melodic motivesen
dc.typeArticleen
dc.identifier.urnURN:NBN:fi:jyu-201804202248
dc.rights.accesslevelrestrictedAccess


Aineistoon kuuluvat tiedostot

Thumbnail

Aineisto kuuluu seuraaviin kokoelmiin

Näytä suppeat kuvailutiedot