@PhDThesis{        marvin1988-generalized,
    author       = {Marvin, Elizabeth West},
    year         = {1988},
    title        = {A generalized theory of musical contour: its application
                   to melodic and rhythmic analysis of non-tonal music and
                   its perceptual and pedagogical implications},
    abstract     = {This dissertation proposes the thesis that abstract
                   theories of pitch- and set-class structure do not reflect
                   listeners' aural perception of sounding music as
                   effectively as theories modelling the articulation of
                   these underlying structures on the musical surface. This
                   position is supported by a review of pertinent
                   music-theoretical and music-psychological research. Based
                   upon the data collected by various music-psychologists,
                   published elsewhere but compared and critiqued here, this
                   study concludes that listeners generally use figural cues
                   drawn from musical context --- for example, melodic
                   shapes, changes of direction, relative durationnal
                   patterns, and so on --- to retain and recognize musical
                   ideas in short-term memory. These figural cues may be
                   represented in precise notation and compared with one
                   another by application and generalization of Robert
                   Morris's contour theories. Morris's comparison matrix and
                   contour equivalence relations are introduced here,
                   followed by this author's generalization of the thwory to
                   duration space and development of similarity relations for
                   melodic contours of relative pitch height and rhythmic
                   contours of relative suration successions. The similarity
                   relations for musical contours build upon previous wort of
                   Dabid Lewin, Robert Morris, and John Rahn. While the
                   efficacy of these theories for modelling perceivable
                   patterns in musical contexts cannot be proven without
                   further psychological testing, their applicability to
                   musical analysis is demonstrated. Analyses drawn form the
                   music of Bartok, Webern, Berg, and Var{\`{e}}se illustrate
                   ways in which melodic and rhythmic contour relationships
                   may be used to shape a formal scheme to differentiate
                   melody from accompaniment, to associate musical ideas that
                   belong to different set classes, and to create unity
                   throuth varied repetition. The concluding chapter explores
                   avenues for future work. A section on music-psychological
                   experimentation offers a critical overview of research in
                   this area and proposes ideas for future experimentation.
                   Second, the implications of music-psychological research
                   for the pedagogy of non-tonal music theory are considered
                   and a model curriculum for non-tonal music theory
                   proposed. The dissertation concludes by proposing a number
                   of ways in which contour theory might be generalized to
                   other domains and illustrates the application of one such
                   generalization to the analysis of chord spacing in a piano
                   work of Luigi Dallapiccola.},
    keywords     = {music contour},
    mendeley-tags= {music contour},
    school       = {University of Rochester},
    type         = {PhD Dissertation},
    url          = {http://www.mendeley.com/research/a-generalized-theory-of-musical-contour-its-application-to-melodic-and-rhythmic-analysis-of-nontonal-music-and-its-perceptual-and-pedagogical-implications/}
}

{"_id":"hRRt49NhcTztj5Yco","bibbaseid":"marvin-ageneralizedtheoryofmusicalcontouritsapplicationtomelodicandrhythmicanalysisofnontonalmusicanditsperceptualandpedagogicalimplications-1988","authorIDs":[],"author_short":["Marvin, E. W."],"bibdata":{"bibtype":"phdthesis","type":"PhD Dissertation","author":[{"propositions":[],"lastnames":["Marvin"],"firstnames":["Elizabeth","West"],"suffixes":[]}],"year":"1988","title":"A generalized theory of musical contour: its application to melodic and rhythmic analysis of non-tonal music and its perceptual and pedagogical implications","abstract":"This dissertation proposes the thesis that abstract theories of pitch- and set-class structure do not reflect listeners' aural perception of sounding music as effectively as theories modelling the articulation of these underlying structures on the musical surface. This position is supported by a review of pertinent music-theoretical and music-psychological research. Based upon the data collected by various music-psychologists, published elsewhere but compared and critiqued here, this study concludes that listeners generally use figural cues drawn from musical context — for example, melodic shapes, changes of direction, relative durationnal patterns, and so on — to retain and recognize musical ideas in short-term memory. These figural cues may be represented in precise notation and compared with one another by application and generalization of Robert Morris's contour theories. Morris's comparison matrix and contour equivalence relations are introduced here, followed by this author's generalization of the thwory to duration space and development of similarity relations for melodic contours of relative pitch height and rhythmic contours of relative suration successions. The similarity relations for musical contours build upon previous wort of Dabid Lewin, Robert Morris, and John Rahn. While the efficacy of these theories for modelling perceivable patterns in musical contexts cannot be proven without further psychological testing, their applicability to musical analysis is demonstrated. Analyses drawn form the music of Bartok, Webern, Berg, and Varèse illustrate ways in which melodic and rhythmic contour relationships may be used to shape a formal scheme to differentiate melody from accompaniment, to associate musical ideas that belong to different set classes, and to create unity throuth varied repetition. The concluding chapter explores avenues for future work. A section on music-psychological experimentation offers a critical overview of research in this area and proposes ideas for future experimentation. Second, the implications of music-psychological research for the pedagogy of non-tonal music theory are considered and a model curriculum for non-tonal music theory proposed. The dissertation concludes by proposing a number of ways in which contour theory might be generalized to other domains and illustrates the application of one such generalization to the analysis of chord spacing in a piano work of Luigi Dallapiccola.","keywords":"music contour","mendeley-tags":"music contour","school":"University of Rochester","url":"http://www.mendeley.com/research/a-generalized-theory-of-musical-contour-its-application-to-melodic-and-rhythmic-analysis-of-nontonal-music-and-its-perceptual-and-pedagogical-implications/","bibtex":"@PhDThesis{ marvin1988-generalized,\n author = {Marvin, Elizabeth West},\n year = {1988},\n title = {A generalized theory of musical contour: its application\n to melodic and rhythmic analysis of non-tonal music and\n its perceptual and pedagogical implications},\n abstract = {This dissertation proposes the thesis that abstract\n theories of pitch- and set-class structure do not reflect\n listeners' aural perception of sounding music as\n effectively as theories modelling the articulation of\n these underlying structures on the musical surface. This\n position is supported by a review of pertinent\n music-theoretical and music-psychological research. Based\n upon the data collected by various music-psychologists,\n published elsewhere but compared and critiqued here, this\n study concludes that listeners generally use figural cues\n drawn from musical context --- for example, melodic\n shapes, changes of direction, relative durationnal\n patterns, and so on --- to retain and recognize musical\n ideas in short-term memory. These figural cues may be\n represented in precise notation and compared with one\n another by application and generalization of Robert\n Morris's contour theories. Morris's comparison matrix and\n contour equivalence relations are introduced here,\n followed by this author's generalization of the thwory to\n duration space and development of similarity relations for\n melodic contours of relative pitch height and rhythmic\n contours of relative suration successions. The similarity\n relations for musical contours build upon previous wort of\n Dabid Lewin, Robert Morris, and John Rahn. While the\n efficacy of these theories for modelling perceivable\n patterns in musical contexts cannot be proven without\n further psychological testing, their applicability to\n musical analysis is demonstrated. Analyses drawn form the\n music of Bartok, Webern, Berg, and Var{\\`{e}}se illustrate\n ways in which melodic and rhythmic contour relationships\n may be used to shape a formal scheme to differentiate\n melody from accompaniment, to associate musical ideas that\n belong to different set classes, and to create unity\n throuth varied repetition. The concluding chapter explores\n avenues for future work. A section on music-psychological\n experimentation offers a critical overview of research in\n this area and proposes ideas for future experimentation.\n Second, the implications of music-psychological research\n for the pedagogy of non-tonal music theory are considered\n and a model curriculum for non-tonal music theory\n proposed. The dissertation concludes by proposing a number\n of ways in which contour theory might be generalized to\n other domains and illustrates the application of one such\n generalization to the analysis of chord spacing in a piano\n work of Luigi Dallapiccola.},\n keywords = {music contour},\n mendeley-tags= {music contour},\n school = {University of Rochester},\n type = {PhD Dissertation},\n url = {http://www.mendeley.com/research/a-generalized-theory-of-musical-contour-its-application-to-melodic-and-rhythmic-analysis-of-nontonal-music-and-its-perceptual-and-pedagogical-implications/}\n}\n\n","author_short":["Marvin, E. 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