The Perception of Music - University of Southern California · 1 January 22, 2004 ISE 599 – Music Cognition and Perception The Perception of Music By H. C. Longuet-Higgins, FRS

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January 22, 2004January 22, 2004 ISE 599 ISE 599 –– Music Cognition and Perception Music Cognition and Perception

The Perception of MusicThe Perception of MusicBy H. C. By H. C. LonguetLonguet-Higgins, FRS-Higgins, FRS

““The problem considered in this lecture isThe problem considered in this lecture isthat of describing the conceptual structuresthat of describing the conceptual structuresby which we represent Western classicalby which we represent Western classicalmusic, and the processes by which thesemusic, and the processes by which thesestructures are created.structures are created.””

Presentation by Joanne EmmanuelPresentation by Joanne Emmanuel


IntroductionIntroduction

““Given that a listener can distinguish timeGiven that a listener can distinguish timeintervals differing by a few hundredths of aintervals differing by a few hundredths of asecond, and can tell the differencesecond, and can tell the differencebetween two notes separated by abetween two notes separated by akeyboard semitone, how does he use thiskeyboard semitone, how does he use thisinformation in discerning the rhythmic andinformation in discerning the rhythmic andtonal structure of a piece of music?tonal structure of a piece of music?””


DefinitionsDefinitions

PerformancePerformance

Piece of MusicPiece of Music

Rhythmic RelationshipsRhythmic Relationships

Competent PerformerCompetent Performer

ListenerListener

Conceptual StructureConceptual Structure


ProblemProblem

How to matchHow to matchnn ComposerComposer’’s Intentionss Intentions

nn PerformerPerformer’’s Performances Performance

nn ListenerListener’’s Conceptual Understandings Conceptual Understanding

Look atLook atnn RhythmRhythm

nn TonalityTonality

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RhythmRhythm


Worm vs. TreeWorm vs. Tree

WormWorm’’s Eye Views Eye Viewnn Look at sequence of notes from one note toLook at sequence of notes from one note to

the next.the next. Rhythm depends on the overall beat structure. Rhythm depends on the overall beat structure.

Binary TreeBinary Treenn Look at the whole piece.Look at the whole piece.

Identify rhythm based on relations to the beat. Identify rhythm based on relations to the beat.


Rules to RhythmRules to Rhythm

Keep track of the beat.Keep track of the beat.A metrical unit at a given level of the treeA metrical unit at a given level of the treemay be a note or a rest.may be a note or a rest.nn Metrical unit may be divided into n unitsMetrical unit may be divided into n units(n = 2, 3)(n = 2, 3)

Apply a Apply a tolerancetolerance to account for to account for……nn Change in tempoChange in temponn Tied notes and syncopationTied notes and syncopationnn Ornamentation (trills)Ornamentation (trills)


TonalityTonality

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Why Octaves?Why Octaves?

The octave can be tuned to theThe octave can be tuned to thesatisfaction of any other musiciansatisfaction of any other musiciannn Also possible with 5Also possible with 5thth and 3 and 3rdrd

Western music is created using theseWestern music is created using thesethree intervalsthree intervalsnn Octave minus fifth = FourthOctave minus fifth = Fourth

nn Fourth plus third = SixthFourth plus third = Sixth


Tonal SpaceTonal Space

Tonal coordinatesTonal coordinatesdetermine keyboarddetermine keyboardpositionposition

Intervals in tonalIntervals in tonalmusic appear asmusic appear asvectors in tonal spacevectors in tonal space

Tonal space allows usTonal space allows usto visualize the notionto visualize the notionof a key usingof a key usingharmonic space.harmonic space.

Z octaves

Y major 3rd

X 5th


Harmonic SpaceHarmonic Space

Key defined as the neighborhood in harmonicKey defined as the neighborhood in harmonicspace.space.

4433221100-1-1-2-2-3-3X=X=

AbAbDbDbGbGbCbCbFbFbBbbBbbEbbEbbAbbAbb-2-2

CCFFBbBbEbEbAbAbDbDbGbGbCbCb-1-1

EEAADDGGCCFFBbBbEbEb00

G#G#C#C#F#F#BBEEAADDGG11

B#B#E#E#A#A#D#D#G#G#C#C#F#F#BB22

D##D##G##G##C##C##F##F##B#B#E#E#A#A#D#D#Y = 3Y = 3


ExampleExample

4433221100-1-1-2-2-3-3X=X=







Key is first note because second note is on theKey is first note because second note is on theright sideright side

D# does not belong to the original keyD# does not belong to the original key

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Example (cont.)Example (cont.)

4433221100-1-1-2-2-3-3X=X=







Key is first note because second note is to theKey is first note because second note is to theright of the first noteright of the first note

All notes played are within the neighborhoodAll notes played are within the neighborhood


““RemotenessRemoteness””

Figure 13Figure 13

Sharpness is the distance from a key inSharpness is the distance from a key inintervals of fifthsintervals of fifthsnn ……EbEb-Bb-F-C-G-D-A-E-B-F#-C#...-Bb-F-C-G-D-A-E-B-F#-C#...

Remoteness is the distance in sharpnessRemoteness is the distance in sharpnessfrom a keyfrom a keynn C-G has remoteness of 1C-G has remoteness of 1


Diatonic/ ChromaticDiatonic/ Chromatic

DiatonicDiatonicnn Remoteness less than 6Remoteness less than 6

ChromaticChromaticnn Remoteness greater than 6Remoteness greater than 6

Remoteness of 6 ?Remoteness of 6 ?


RulesRules

For notes L, M, N For notes L, M, Nnn If LM and MN are both chromaticIf LM and MN are both chromatic

Change name of M to MChange name of M to M’’ to make LM to make LM’’ and M and M’’NNdiatonicdiatonic

nn Same applies to when preceded by note KSame applies to when preceded by note K

nn Rule 3 ? (p. 319)Rule 3 ? (p. 319)

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Tonality - SummaryTonality - Summary

Listener interprets each note as lyingListener interprets each note as lyingwithin the extended key as suggested bywithin the extended key as suggested bythe first two notes.the first two notes.

If this results in a key where the notes areIf this results in a key where the notes arejumping from the key, select a new keyjumping from the key, select a new keythat reduces remoteness.that reduces remoteness.


The ProgramThe Program


ConstraintsConstraints

Can only be applied to unaccompaniedCan only be applied to unaccompaniedmelodiesmelodies

Cannot be applied to polyphonic musicCannot be applied to polyphonic music

Chromatic intervals can only be applied toChromatic intervals can only be applied tonotes within the same phrasenotes within the same phrase


2 Parts to Program2 Parts to Program

Tonal AnalysisTonal Analysisnn Ignoring octaves, each note is assigned aIgnoring octaves, each note is assigned a

place in the current key. Key changed asplace in the current key. Key changed asneeded.needed.

Rhythmic AnalysisRhythmic Analysisnn Construction of rhythmic hierarchy isConstruction of rhythmic hierarchy is

performed. Change in tempo is considered.performed. Change in tempo is considered.

Analysis is displayed in matrix formatAnalysis is displayed in matrix format

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ResultsResults

Example 1Example 1nn Program able to perceive the performanceProgram able to perceive the performance

Example 2Example 2nn Although rhythm is correct, problems withAlthough rhythm is correct, problems with

phrasing affect note spellingphrasing affect note spelling


ClosingClosing

Program treats Rhythm and TonalProgram treats Rhythm and TonalAnalysis as independent processesAnalysis as independent processes

Unable to perceive atonal or Unable to perceive atonal or arhythmicarhythmicmusicmusic

This theory is a very basic start toThis theory is a very basic start tounderstanding the processes of musicunderstanding the processes of musicappreciation.appreciation.


Questions?Questions?

Documents

The Perception of Music - University of Southern California · 1 January 22, 2004 ISE 599 – Music Cognition and Perception The Perception of Music By H. C. Longuet-Higgins, FRS