A Study of Event Hierarchies in Tonal and Post-Tonal Music
A Study of Event Hierarchies in Tonal and Post-Tonal Music
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音调和后音调音乐中事件层次结构的研究
DOI：
10.1177/0305735690181002
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发表时间：
1990
影响因子：
1.7
通讯作者：
D. Butler
中科院分区：
文献类型：
--
作者：
D. Butler
矛盾的是，尽管人们普遍认为，当听者被给予声调刺激时，即兴知觉要准确得多，但主要的知觉理论在其定义的声调语境本身中并不一致。几乎所有关于音乐中所谓音高的认知理论都假定声音的声学成分之间的关系。或数学群，或几何构造，可以作为制定音乐创作规则和理解音高关系的充分基础。这些理论有一个明显的智力ippecai，但没有描述实际音乐中音高关系的时间结构，因此无法解释不同风格时期或不同文化对音高的处理方式的显著差异。事件层次的知觉理论，最著名的是由Bharucha提出的，它试图描述音乐音准中音高关系的知觉，因此是一个重要的例外，因为音乐音高的知觉理论只处理永恒的抽象。事件-层次理论认为，当音乐事件(音调、和弦)在特定的作品中展开时，它们被听者分层解释；这种转换层次在听者中激活了音调层次，也就是CCit类的层次。在Deutsch(1984)所说的“精心设计的自助式操作”中，这两个等级被认为是共同生成的共生伙伴。目前还不存在对这种自举操作的充分描述，其中，当事件hicrarchx定义音调层次时，总层次的相对稳定和不稳定的成员被认为生成片段特定的事件层次。除了这样一个理论的关键的鸡蛋性质之外，这个理论有可能比它应该描述的认知行为更具共性。对具有代表性的西方调性音乐和后调性音乐样本的考察表明，在自然音阶中很少出现的音程的时间顺序上存在着与音阶有关的差异。这篇论文第一次报告了一项实验的结果，该实验使用了从实际音调和音调后的曲子中提取的时间组织方案。这些结果表明，通过罕见音程的时间搭配所传达的听觉语境可能与音高内容在激发音乐听者的音调结构感方面具有同样的影响。此外，稀有音程MAV的时间组织为调性音乐中的节律组织提供了感知线索。
It is paradoxical that although there is general agreemenrt that imlusici pitc1b perception is much more accurate when the listener is givetn a tonal cOl1tt for the stimulus, leading perceptual theories disagree in their definitiois o tonal context itself. Nearly all cognitive theories of so-called pitch istruct Li-., in music assume that relations among acoustical components of sound. or mathematical groups, or geometrical constructs, can serve as adequate bases on which rules of musical composition and comprehension of pitch relationl- ships may be formulated. These theories have an obvious intellectual iippecai but do not describe the temporal structure of pitch relations in actual music, and thus fail to account for significant differences in the compositiona treatment of pitch from one style period, or one culture, to another. I hc perceptual theory of event hierarchies, advanced most notably by Bharucha attempts to describe the perception of pitch relationships in musical timtc and thus is an important exception to the rule that perceptual theories oi musical pitch deal solely in timeless abstractions. The event-hierarchhx theory holds that as musical events (tones, chords) unfold in a specitic composition, they are interpreted hierarchically by the listener; this cxvent hierarchy activates in the listener a tonal hierarchy, a hierarchy of ccivt classes. The two hierarchies are thought to be perceptually co-generativec symbiotic partners in what Deutsch (1984) calls an "elaborate bootstrapping operation". No adequate description yet exists of this bootstrapping opera tion, in which relatively stable and unstable members of a totial hierarchx are said to generate a piece-specific event hierarchy as the event hicrarchx defines the tonal hierarchy. Beyond the critical chicken-egg character of such a theory, there is the likelihood that the theory is far more comuplex than the cognitive act it is supposed to describe. An inspection of represen- tative samples of Western tonal and post-tonal music shows that stvic- dependent differences exist in the time orders of intervals that occtur onlv rarely in the diatonic set. The paper includes the first report of the results of an experiment using temporal organising schemes extracted from actual tonal and post-tonal compositions. These results indicate that aural context conveyed by temporal collocation of rare intervals may be as influenti'il as pitch content is in eliciting a sense of tonal structure in the musical listener. and further that temporal organisation of rare intervals mav provide perceptual cues for metrical organisation in tonal music.