schenkerien prolongation and the emotional connotations of major-minor tonality schenkerien...
TRANSCRIPT
Schenkerien prolongation and the
emotional connotations of major-minor tonality
Richard ParncuttUniversity of Graz, Austria
ICME3, Jyväskylä Finland, 2013SysMus Graz
Theses
1. A passage of MmT* is perceived as a prolonged background triad
2. This prolonged triad is the origin of “major-minor = happy-sad”
*major-minor tonality
Questions arising
Does this background triad exist? Why major=happy and minor=sad?
More questions… Why two triads? Why these two? Why this specific mapping? What about Leonard Meyer’s theory?
Evolutionary functional origins of emotion
Arousal High: energy available or necessary Low: energy unavailable or unnecessary
Valence positive: clear situation safety, confidence negative: unclear situation fear or anger
Psychohistoric origin of MmTFive psychohistorical steps
1. Diatonic scales in ancient music
2. Leading tones in medieval polyphony
3. Importance of major and minor triads
4. Implied pitches in these triads
5. No consecutive semitones in scales
Major-minor Tonality (MmT)
Most music in MmT can be reduced to chord progressions.Most chords correspond to one of these diatonic triads.
Origin of pentatonic, diatonic, chromatic scales
etha
nhei
n.co
m
Pairs of harmonic complex tones with frequencies or pitches in common Octave and fifth relationsCircle of fifths
Harmonics in common perceptual similarity
Leading tones in early musicGuillaume de Machaut (1300-1377). Rondeau Ma fin est mon commencement
F# tonicizes G - C# tonicizes D
Origin of leading tones?Consonance / prevalence of individual tones in chant
1 2 3 4 5 6 70
10000
20000
30000
40000
50000
60000
70000
A B C D E F G
1 2 3 4 5 6 70
1
2
3
4
5
Data
A B C D E F G
Model
Data: Counted in the Liber Usualis (DDMAL, Fujiniaga et al., McGill)Model: No. of harmonic pcs (P5, M3, m7, M2) at diatonic scale steps Comparison: df = 5, r = 0.90, p<.01
Finding: C (F) more prevalent than B (E) origin of leading tone?
Cf. Parncutt, R. & Prem, D. (2008 ). The relative prevalence of Medieval modes and the origin of the leading tone (poster). International Conference on Music
Perception and Cognition (ICMPC10), Sapporo, Japan, 25-29 August.Based on Bryden, & Hughes (1969). An index of Gregorian chant.
Origin of major and minor triads
The most consonant sets of 3 pitch classes• Include P5 high harmonicity
• No m2 or M2 low roughness(Parncutt, 1988)
Only two chords satisfy this constraint!Major and minor triads dominate MmTOur attention is drawn to their difference
Missing fundamentals in triads(Parncutt, 1988; Terhardt, 1982)
Chord CEG has missing fundamentals at A, F
Chord CEbG has missing fundamentals at F, Ab
Why? e.g. E and G are harmonics of AMistuning of a ¼ - ½ tone? No problem in pitch perception
Do these missing fundamentals exist? Empirical evidence
E.g. C-major triad goes better with F than F# (Parncutt, 1993) BUT: can also be explained by musical experience
Logical argument Brain tries to locate fundamentals in ambiguous sounds Perception of missing fundamentals is inevitable
Origin of major and minor scalesCompatible with major and minor triads (tonic triads)
Krumhansl’s key profiles as pitch salience profiles of tonic triadsParncutt, 2011
∆ Krumhansl’s key profiles ▀ calc. pitch salience in tonic triadevidence that tonic in MmT is a triad, not a tone
Avoiding consecutive semitones
If there are consecutive semitones in a melody, middle tone perceived as passing
middle tone not a scale step
no consecutive semitones in (jazz) scalesPressing (1981)
Common exceptions: #4-5-b6, #7-8-b9
This can explain why C-major & –minor include D & not Db. Alternative explanations: Chord V is important. It must have P5 to be consonant. Use of standard diatonic scales
Psychohistoric origin of major and minor scales
1. Diatonic scales in ancient music
2. Importance of major and minor triads CEG, CEbG
3. Leading tones CEGB, CEbGB
4. Implied pitches in these triads CEFGAB, CEbFGAbB
5. No consecutive semitones CDEFGAB, CDEbFGAbB
Claim: The tonic in MmT is a triad not a single tone!
Corollary: Any passage in MmT is perceived
as a prolongation of its tonic triad
Evidence: Qualitative
• Success of Schenkerian approach Quantitative
• Correlation between pitch salience in tonic triad and stability in scale
• Transition probabilities in melodies
Transition probabilities between scale steps in major-mode melodies
(Huron, 2006, 2012)
Why is the transition between scale steps 6 and 7 avoided?
“Huron’s stereotype”
531
7 1 2 3 4 5 6
Music theory: Embellishment of tonic triad• Arpeggiation
• Passing notes• Neighbor notes
Psychological basis: Auditory scene analysis• Harmonicity
• Pitch proximity
A classical example Opening themes of 10 out of 18 Mozart piano sonatas conform to Huron‘s stereotype:
KV 279, 280, 281, 283, 284, 310, 331, 332, 333, 545
Schenker’s Ursatz
“Great music” (Bach, Beethoven, Brahms…) is a prolongation (elaboration, embellishment, Auskomponierung, Auswicklung) of the Ursatz.
The Ursatz (background) prolongs the tonic triad. The Ursatz is elaborated middleground The middleground is elaborated foreground
The whole piece prolongs the tonic triad
Prolongation of prolongation?
Not only “great” musicIs all music in Mmt is a prolongation of the tonic triad?
Not only music analysisDoes chord prolongation have a psychological basis?
Major-minor and valencesome basic facts
Positive valence happiness, contentment, serenity, grace, tenderness, elation, joy,
victory, majesty…
Negative valence sadness, anger, fear, tension, solemnity, lament, tragedy, pathos,
mourning, melancholy, frustration, depression, gloom…
Major-minor effect can be overridden by tempo E.g. fast, happy minor or slow, sad major
Applies to tonalities not individual chords A major triad in a minor key can sound sad A minor triad in a major key can sound happy
Leonard B. MeyerEmotion and meaning in music (1956)
Minor tonality is more ambiguous Two versions of scale degrees 6 and 7 Extreme example: Carmen’s Habanera
(“scandalous”: Susan McClary, 2005)
Uncertainty negative emotion measured by information theory
Sad speech and musicHuron‘s approach. Some salient stuctural features:
1. Mean pitch is lower than average
2. Smaller pitch intervals between successive syllables
3. Lower sound level
4. Slower
My hypothesis: Only 1 can explain origin of minor-sad Other are consequences
Why is major happy? Most music is happy
(births, weddings, feasts, preparation for war, entertainment, relaxation) not sad (funerals)
Most music is major Major keys/chord more common than minor
• Modulation to relative major; major dominant triad• Reason: more consonant? (higher harmonicity, less ambiguity)
Minor keys the tonal Other Unhappy music the Other musical emotion
Analogous asymmetries
In everyday life and music, Positive valence is normal Negative valence is abnormal (emotional Other)
In music, Consonance is normal Dissonance is abnormal (needs resolution)
Consonance includes smoothness, harmonicity, diatonicity, familiarity; major is more consonant
Why is minor sad?Two theories – competing or complementary?
1. Structural ambiguity (LB Meyer) Minor: root of tonic and tonic of scale are more ambiguous
Is this dynamic (higher-arousal) negativity? afraid, angry, tense, frustrated…
2. Expected pitch in speech (Huron) Minor: 3rd and 6th scale degrees are lower than expected
Is this static (lower-arousal) negativity? sad, solemn, gloomy, melancholy, depressed, lamenting, mourning, tragic, pathetic…
In both cases, association between music and situation/speech role of duration & prolongation: keys not chords
Theses
1. A passage of MmT is perceived as a prolonged background triad.
2. The prolonged triad is the ultimate origin of “major-minor = happy-sad”.
Read all about it!
Latest issue of Empirical Musicology ReviewSpecial thanks to David Huron and Matthew Davis for their study on mean interval size, which inspired this study