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A Schema-Theoretic Approach To Hierarchy In Eighteenth-Century Tonality, Simon K. S. Prosser
A Schema-Theoretic Approach To Hierarchy In Eighteenth-Century Tonality, Simon K. S. Prosser
Dissertations, Theses, and Capstone Projects
Prevalent modern-day theories of tonal hierarchy for eighteenth-century music, especially those influenced by the ideas of Heinrich Schenker, have been called into question by schema theorists such as Robert Gjerdingen and Vasili Byros, who argue from both cognitive and historical evidence that eighteenth-century tonal cognition was sequential or “windowed” rather than hierarchical. This dissertation seeks to recuperate the concept of tonal hierarchy in eighteenth-century music, drawing on research that reconstructs the implicit tonal theories of the partimento and thoroughbass traditions, as well as concepts of hierarchy from schema theory itself, to formulate a historically and cognitively grounded theory of tonal …
A Derivation Of The Tonal Hierarchy From Basic Perceptual Processes, David Smey
A Derivation Of The Tonal Hierarchy From Basic Perceptual Processes, David Smey
Dissertations, Theses, and Capstone Projects
In recent decades music psychologists have explained the functioning of tonal music in terms of the tonal hierarchy, a stable schema of relative structural importance that helps us interpret the events in a passage of tonal music. This idea has been most influentially disseminated by Carol Krumhansl in her 1990 monograph Cognitive Foundations of Musical Pitch. Krumhansl hypothesized that this sense of the importance or centrality of certain tones of a key is learned through exposure to tonal music, in particular by learning the relative frequency of appearance of the various pitch classes in tonal passages. The correlation of pitch-class …