The Perception of Music

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Zoe Horton
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1 Presentation by Joanne mmanuel The Perception of Music y H.. Longuet-Higgins, RS The problem considered in this lecture is that of describing the conceptual structures by which we represent Western classical music, and the processes by which these structures are created. Introduction iven that a listener can distinguish time intervals differing by a few hundredths of a second, and can tell the difference between two notes separated by a keyboard semitone, how does he use this information in discerning the rhythmic and tonal structure of a piece of music? efinitions Performance Piece of Music Rhythmic Relationships ompetent Performer Listener onceptual Structure Problem How to match omposer s s Intentions Performer s s Performance Listener s s onceptual Understanding Look at Rhythm Tonality

2 Worm vs. Tree Rhythm Worm s s ye View Look at sequence of notes from one note to the next. Rhythm depends on the overall beat structure. inary Tree Look at the whole piece. Identify rhythm based on relations to the beat. Rules to Rhythm Keep track of the beat. metrical unit at a given level of the tree may be a note or a rest. Metrical unit may be divided into n units (n =, ) pply a tolerance to account for hange in tempo Tied notes and syncopation Ornamentation (trills) Tonality

3 Why Octaves? Tonal Space The octave can be tuned to the satisfaction of any other musician lso possible with 5 th and rd Western music is created using these three intervals Octave minus fifth = ourth ourth plus third = Sixth Tonal coordinates determine keyboard position Intervals in tonal music appear as vectors in tonal space Tonal space allows us to visualize the notion of a key using harmonic space. Z octaves Y major rd X 5th Harmonic Space Key defined as the neighborhood in harmonic space. Y = - - X= b - # b b b - # # b bb - # # b # ## # b b ## # # b # # # xample Y = - - X= b - # b b b - # # b bb - # # b # ## # b b ## # # b # Key is first note because second note is on the right side does not belong to the original key # #

4 xample (cont.) Y = - - X= b - # b b b - # # b bb - # # b # ## # b b ## # # b Key is first note because second note is to the right of the first note ll notes played are within the neighborhood # # # Remoteness igure Sharpness is the distance from a key in intervals of fifths -b #... Remoteness is the distance in sharpness from a key - has remoteness of iatonic/ hromatic iatonic Remoteness less than 6 hromatic Remoteness greater than 6 Remoteness of 6? Rules or notes L, M, N If LM and MN are both chromatic hange name of M to M M to make LM and M NM diatonic Same applies to when preceded by note K Rule? (p. 9)

5 Tonality - Summary Listener interprets each note as lying within the extended key as suggested by the first two notes. If this results in a key where the notes are jumping from the key, select a new key that reduces remoteness. The Program onstraints an only be applied to unaccompanied melodies annot be applied to polyphonic music hromatic intervals can only be applied to notes within the same phrase Parts to Program Tonal nalysis Ignoring octaves, each note is assigned a place in the current key. Key changed as needed. Rhythmic nalysis onstruction of rhythmic hierarchy is performed. hange in tempo is considered. nalysis is displayed in matrix format 5

6 Results xample Program able to perceive the performance xample lthough rhythm is correct, problems with phrasing affect note spelling losing Program treats Rhythm and Tonal nalysis as independent processes Unable to perceive atonal or arhythmic music This theory is a very basic start to understanding the processes of music appreciation. Questions? 6

Lesson Week: August 17-19, 2016 Grade Level: 11 th & 12 th Subject: Advanced Placement Music Theory Prepared by: Aaron Williams Overview & Purpose:

Pre-Week 1 Lesson Week: August 17-19, 2016 Overview of AP Music Theory Course AP Music Theory Pre-Assessment (Aural & Non-Aural) Overview of AP Music Theory Course, overview of scope and sequence of AP