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The Primacy of the Musical Peak: Rel...

Patrick, Morgan,

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The Primacy of the Musical Peak: Relational Salience as a Structure Building Principle in Music Listening and Formal Design /

Record Type:	Electronic resources : Monograph/item
Title/Author:	The Primacy of the Musical Peak: Relational Salience as a Structure Building Principle in Music Listening and Formal Design // Morgan Patrick.
Author:	Patrick, Morgan,
Description:	1 electronic resource (261 pages)
Notes:	Source: Dissertations Abstracts International, Volume: 86-06, Section: B.
Contained By:	Dissertations Abstracts International86-06B.
Subject:	Music theory. -
Online resource:	https://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=31557127
ISBN:	9798346858027

The Primacy of the Musical Peak: Relational Salience as a Structure Building Principle in Music Listening and Formal Design /
Patrick, Morgan,

The Primacy of the Musical Peak: Relational Salience as a Structure Building Principle in Music Listening and Formal Design /Morgan Patrick. - 1 electronic resource (261 pages)

Source: Dissertations Abstracts International, Volume: 86-06, Section: B.

This dissertation contemplates relational salience-the relative attentional priority and structural importance enjoyed by formal correspondences-as an organizing force in the listening act and in compositional design. I begin by situating salience as a common element across distinct areas of musical organization. I explore how salience is implicated in the traversal of correspondences that characterize formal syntax, arguing that structure-mapping theory (Gentner 2010) can explain the central roles of contrast and invariance in attributions of music-analytic and aural salience. Next, turning from music analysis to the listening act, I use principles of structure-mapping theory and the structure-mapping engine ("SME," Forbus et al. 2017) to erect a model of real-time listening that accounts for the relative attentional priority of correspondent changes ("alignable differences") and higher-order commonalities ("relational abstraction"). This model recasts bottom-up Gestalt principles as conditions that facilitate the online integration of analogous musical structures. I survey existing empirical evidence for the salience of these correspondences during listening as indirect evidence for this online process; I then present the results of two behavioral studies that initiate more direct inquiry in this direction. Finally, turning from the listener to compositional design, I explore how relational pacing schemas across music, discourse, and narrative standardize the traversal of correspondences at various architectonic levels of form, targeting attention to moments of differentiation. Motivated by these cross-domain connections, I apply an analytic formalism from narrative grammar (Cohn 2013) to capture this ebb and flow across musical schemas. In doing so, I inform theoretical debate surrounding the shape, value, and substrates of tree-based representations of musical form. Ultimately, this work gestures in the direction of a shared cognitive architecture of salience pacing across music and narrative, pointing to the ebb and flow of salience and arousal (rather than tension) as a common experiential correlate across domains.

English

ISBN: 9798346858027Subjects--Topical Terms:

547155
Music theory.
Subjects--Index Terms:

Music cognition

The Primacy of the Musical Peak: Relational Salience as a Structure Building Principle in Music Listening and Formal Design /
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520 $a This dissertation contemplates relational salience-the relative attentional priority and structural importance enjoyed by formal correspondences-as an organizing force in the listening act and in compositional design. I begin by situating salience as a common element across distinct areas of musical organization. I explore how salience is implicated in the traversal of correspondences that characterize formal syntax, arguing that structure-mapping theory (Gentner 2010) can explain the central roles of contrast and invariance in attributions of music-analytic and aural salience. Next, turning from music analysis to the listening act, I use principles of structure-mapping theory and the structure-mapping engine ("SME," Forbus et al. 2017) to erect a model of real-time listening that accounts for the relative attentional priority of correspondent changes ("alignable differences") and higher-order commonalities ("relational abstraction"). This model recasts bottom-up Gestalt principles as conditions that facilitate the online integration of analogous musical structures. I survey existing empirical evidence for the salience of these correspondences during listening as indirect evidence for this online process; I then present the results of two behavioral studies that initiate more direct inquiry in this direction. Finally, turning from the listener to compositional design, I explore how relational pacing schemas across music, discourse, and narrative standardize the traversal of correspondences at various architectonic levels of form, targeting attention to moments of differentiation. Motivated by these cross-domain connections, I apply an analytic formalism from narrative grammar (Cohn 2013) to capture this ebb and flow across musical schemas. In doing so, I inform theoretical debate surrounding the shape, value, and substrates of tree-based representations of musical form. Ultimately, this work gestures in the direction of a shared cognitive architecture of salience pacing across music and narrative, pointing to the ebb and flow of salience and arousal (rather than tension) as a common experiential correlate across domains.
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650 4 $a Cognitive psychology. $3 523881
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