Gives an account of tonality, and why tonality is central to our musical tradition Shows that the attempt to replace tonality with atonal or serial forms of musical order threatens the foundations of musical perception, and explores the various ways in which music can depart from tonality while still maintaining its character as an object of aesthetic interest. Contains a critical account of Schoenberg's theories and of Adorno's associated socio‐cultural analysis.

This essay illustrates the main aspects of the discussion between Brentano and Stumpf about «tonal fusion». In his Tonpsychologie, Stumpf essentially moved from a Brentanian standpoint. Yet, he did not adopt Brentano’s subsequently developed new theory of «sensible qualities», so that a polemic eventually arouse between them. Far from representing a marginal issue, the episode is relevant to our understanding of their relationship. The discussion as to the mechanism of tonal fusion reveals a general divergence between Brentano and Stumpf concerning (...) the idea of human sensibility as a whole and of the method of psychology. (shrink)

It has been claimed by Diana Raffman, that atonal (and in particular serial) music can have no aesthetic value, because it is in an important sense meaningless. This worthlessness is claimed to result from cognitive/psychological facts about human listeners that have been confirmed by empirical investigations such as those conducted by Lerdahl and Jackendoff. Similar assertions about the necessary inferiority of 12-tone music have been made by, among others, Taruskin, Cavell, and Goldman, some of whom echo Raffman’s suggestion that both (...) composers and performers of atonal music are committing a kind of fraud. This paper responds to all of those allegations. In particular, it points out that even if the empirical claim about human cognitive capacities with respect to the discernment of “local structure” in atonal works is assumed to be correct (which is actually quite doubtful), all the arguments brought by the “prosecution” against atonal music that rely on this claim are invalid. It is noted that such arguments by tonality advocates somewhat ironically rely on their own variety of what Taruskin has called “the poietic fallacy,” a gaff which he has frequently accused serialists (and perhaps alea supporters) of committing. Readers are reminded that the main basis for claims of aesthetic worth (or worthlessness) can never be primarily theoretical, but must be principally based on the experiences of beholders. (shrink)

Das Buch behandelt die Ästhetik der tonalen Musik. Analysiert werden Klangformen wie Konsonanz, Dissonanz, Tonalität, Takt, Kontrapunkt oder Motiv. Dabei zeigt sich: Alle harmonischen, rhythmischen und melodischen Klanggestalten sind ihrem Wesen nach Verhältnisse des klanglichen Zusammenpassens. Als solche sind sie systematisch aufeinander aufgebaut und bilden ein Ensemble aus acht ästhetischen Prinzipien, denen jeweils ein Kapitel dieses Buches gewidmet ist. In der logischen Abfolge dieser Kapitel wird der innere Zusammenhang von Harmonie, Rhythmus und Melodie offen gelegt. Die Suche nach einer "Bedeutung" (...) der musikalischen Formen ist nicht die Sache dieses Buches. Dann schon eher die schonungslose Kritik der theoretischen Absurditäten, die sich aus jener musikwissenschaftlichen Unsitte ergeben. (shrink)

Psychophysics measures the attributes of perceptual experience. The question of whether some of these attributes should be interpreted as more fundamental, or “real,” than others has been answered differently throughout its history. The operationism of Stevens and Boring answers “no,” reacting to the perceived vacuity of earlier debates about fundamentality. The subsequent rise of multidimensional scaling (MDS) implicitly answers “yes” in its insistence that psychophysical data be represented in spaces of low dimensionality. I argue the return of fundamentality follows from (...) a trend toward increasing epistemic humility. Operationism exhibited a kind of hubris in the constitutive role it assigned to the experimenter’s presuppositions that is abandoned by the algorithmic methods of MDS. This broad epistemic trend is illustrated by following the trajectory of research on a particular candidate attribute: tonal volume. (shrink)

Is the tonal ordering of music, and the order of European triadic tonality in particular, the developed manifestation of an essential musical structure—a structure naturally suited to our human capacity to organize sounds musically? Historically and geographically, triadic tonality is a highly local phenomenon, limited to music beginning in the mid-seventeenth century and, until the nineteenth century, almost wholly confined to the Western European musical tradition. Some theorists accordingly regard tonality as a dispensable aesthetic convention—and one which, (...) moreover, has had its day. For many listeners, however, works within this tradition possess a distinctive ability to embody musical movement and expression. This paper examines Roger Scruton's defense of tonality as developed in the European common practice period. I examine his reasons for supposing that tonality is an ineliminable feature of sounds heard and understood as music. Those reasons, I conclude, are inconclusive; on their own they do not show that tonality either will or should persist as an authoritative musical order. Triadic tonality has, at best, an uncertain future. (shrink)

I try to indicate this special quality of classical intelligibility by linking it with the notion of "dual structure," a notion which should not be flattened to mean any sort of intelligibility to those listeners deemed "competent," especially if the term "competence" is used without qualification. Dual structure in music, as I construe it, is an intrastructural system of reference between pairs of discrete semiotic constructs both members of which are in some sense wholly embodied in a given musical structure. (...) These constructs include a general ground of meaning and more particularized semiotic configurations derived from that ground; and because both are present in the musical structure, the relationship between them—the meaning of the music—can be retrieved directly, wholly, and on a general scale. No extrastructural mediating explanation or specialized information or training is needed; the interpreter need merely use the musical equivalent of reason. The archetype of such a system in music seems to be the relation of implication or self-generation that obtains between premise and conclusion within a pure system of logic, which, as described by Kant in his account of theoretical reason, would be universally intelligible. Rose Rosengard Subotnik, assistant professor of music at the University of Chicago, is the author of articles on nineteenth-century music. Her essay which prompted this exchange, "The Cultural Message of Musical Semiology: Some Thoughts on Music, Language, and Criticism since the Enlightenment," appeared in the Summer 1978 issue of Critical Inquiry. (shrink)

Lerdahl and Jackendoff's Generative Theory of Tonal Music (GTTM) is an important contribution to cognitive science. Jackendoff claims it is a computationalist theory and that the mental representations it postulates are unconscious. Thus GTTM looks to be a kind of cognitive science remote from the folk-psychological. I argue that this picture of GTTM is mistaken: GTTM is at least as much music analysis as cognitive science. Jackendoff's metatheory fails to explain how a listener can tell that a structural description corresponds (...) to the way she hears, how analytically minded listeners can communicate about their hearing, and how a reader of their book can comprehend it. I suggest an alternative construal, on which GTTM's analytical vocabulary functions as a public language and its mental representations are perceptual beliefs. Interesting philosophical problems ensue about knowledge of musical structure and knowledge about what structures one hears. There is a paradox: one wants an analysis to be true to a hearing, yet to be illuminating. Though analysis and hearing coincide in content at an abstract level, they do not coincide in conceptual content. What sort of knowledge then underlies the inference from perceptual to music-analytical representation? I argue that such knowledge is a priori. (shrink)

Speech variability facilitates non-tonal language speakers’ lexical tone learning. However, it remains unknown whether tonal language speakers can also benefit from speech variability while learning second language (L2) lexical tones. Researchers also reported that the effectiveness of speech variability was only shown on learning new items. Considering that the first language (L1) and L2 probably share similar tonal categories, the present study hypothesizes that speech variability only promotes the tonal language speakers’ acquisition of L2 tones that are different from the (...) tones in their L1. To test this hypothesis, the present study trained native Mandarin (a tonal language) speakers to learn Cantonese tones with either high variability (HV) or low variability (LV) speech materials, and then compared their learning performance. The results partially supported this hypothesis: only Mandarin subjects’ productions of Cantonese low level and mid level tones benefited from the speech variability. They probably relied on the mental representations in L1 to learn the Cantonese tones that had similar Mandarin counterparts. This learning strategy limited the impact of speech variability. Furthermore, the results also revealed a discrepancy between L2 perception and production. The perception improvement may not necessarily lead to an improvement in production. (shrink)

In her essay examining how rhetoric attends to an “explicitly nonhermeneutic, ethical dimension” of the relationship between self and other, Diane Davis argues that the act of attunement is vital to the rhetorical challenge of “keep[ing] hermeneutic interpretation from absorbing the strictly rhetorical gesture of the [other’s] approach, which interrupts the movement of appropriation and busts any illusion of having understood” (2005, 208, original hers). This comment is part of a larger conversation about ethical action in the face of radical (...) alterity, those marks and gestures of the other that “communicate more than I can comprehend, a ‘surplus’ of alterity that I can neither appropriate nor abdicate” (2005 .. (shrink)

Though explicit references to music are infrequent in Barthes's Collège de France lectures, Barthes's use of music in other work from the 1970s makes it clear that music can act as a fruitful analogy in consideration of the text. This article uses the serialist or atonal analogy, as set up by Barthes in ‘From Work to Text’ and elsewhere, to examine the structuring of Comment vivre ensemble and The Neutral. In viewing these courses as serial or open works we can, (...) it is hoped, arrive at a fuller understanding of their methodology and the role they ascribe to the listener or reader. The atonal analogy, however, is left behind in 1978, as Barthes's major projects employ more conventional, developmental structuring. It is here, then, that the analogy with tonality, again suggested by Barthes, can be usefully employed. (shrink)

This paper presents a new line of inquiry into when and how music as a semiotic system was born. Eleven principal expressive aspects of music each contains specific structural patterns whose configuration signifies a certain affective state. This distinguishes the tonal organization of music from the phonetic and prosodic organization of natural languages and animal communication. The question of music’s origin can therefore be answered by establishing the point in human history at which all eleven expressive aspects might have been (...) abstracted from the instinct-driven primate calls and used to express human psycho-emotional states. Etic analysis of acoustic parameters is the prime means of cross-examination of the typical patterns of expression of the basic emotions in human music versus animal vocal communication. A new method of such analysis is proposed here. Formation of such expressive aspects as meter, tempo, melodic intervals, and articulation can be explained by the influence of bipedal locomotion, breathing cycle, and heartbeat, long before Homo sapiens. However, two aspects, rhythm and melodic contour, most crucial for music as we know it, lack proxies in the Paleolithic lifestyle. The available ethnographic and developmental data leads one to believe that rhythmic and directional patterns of melody became involved in conveying emotion-related information in the process of frequent switching from one call-type to another within the limited repertory of calls. Such calls are usually adopted for the ongoing caretaking of human youngsters and domestic animals. The efficacy of rhythm and pitch contour in affective communication must have been spontaneously discovered in new important cultural activities. The most likely scenario for music to have become fully semiotically functional and to have spread wide enough to avoid extinctions is the formation of cross-specific communication between humans and domesticated animals during the Neolithic demographic explosion and the subsequent cultural revolution. Changes in distance during such communication must have promoted the integration between different expressive aspects and generated the basic musical grammar. The model of such communication can be found in the surviving tradition of Scandinavian pastoral music - kulning. This article discusses the most likely ways in which such music evolved. (shrink)

Philosophisch relevante Auseinandersetzungen mit Musik, die aufzuschließen vermögen, wie und unter welchen Voraussetzungen das Element der Empfindung schönheitsfähig ist, finden sich kaum. Ernest Ansermets Die Grundlagen der Musik im menschlichen Bewusstsein (1961) ist zweifellos eine solche. Ansermets zentrales Anliegen ist Begründung der Tonalität. Worin gründet die „natürlich“ erscheinende – und zugleich im 20. Jahrhundert als überholt angesehene – tonale Syntax? Wodurch unterscheidet sich diese von nachtonalen Formen? Ansermet unternimmt angesichts der musikalischen Entwicklungen des 20. Jahrhunderts eine großangelegte Apologie der Tonalität. (...) In dieser soll aufgezeigt werden, dass die tonale Form des musikalischen Materials im „menschlichen Bewusstsein“ fundiert ist. Dabei gelangt er letztlich zu der Auffassung, dass die tonale Form der Tonhöhen- und Tondauergestaltung als Selbstvergegenständlichung des Menschen zu fassen sei. Die vorliegende Untersuchung unternimmt es, Ansermets Grundansatz und dessen Voraussetzungen sowie auch die – durchaus disparaten – Durchführungsbestimmungen in der Weise eines kritischen Kommentars zu bedenken. Der Autor Dr. Max Gottschlich ist Assistent für Philosophie am Institut für Kunstwissenschaft und Philosophie an der Katholisch-Theologischen Privatuniversität Linz. (shrink)

Previous research has established that people can implicitly learn chunks, which do not require a memory buffer to process. The present study explores the implicit learning of nonlocal dependencies generated by higher than finite-state grammars, specifically, Chinese tonal retrogrades and inversions , which do require buffers . People were asked to listen to and memorize artificial poetry instantiating one of the two grammars; after this training phase, people were informed of the existence of rules and asked to classify new poems, (...) while providing attributions of the basis of their judgments. People acquired unconscious structural knowledge of both tonal retrogrades and inversions. Moreover, inversions were implicitly learnt more easily than retrogrades constraining the nature of the memory buffer in computational models of implicit learning. (shrink)

The study aims to help characterize the sort of structures about which people can acquire unconscious knowledge. It is already well established that people can implicitly learn n-grams and also repetition patterns. We explore the acquisition of unconscious structural knowledge of symmetry. Chinese Tang poetry uses a specific sort of mirror symmetry, an inversion rule with respect to the tones of characters in successive lines of verse. We show, using artificial poetry to control both n-gram structure and repetition patterns, that (...) people can implicitly learn to discriminate inversions from non-inversions, presenting a challenge to existing models of implicit learning. (shrink)