scholarly journals Harmonic Perception and Voice Leading Spaces of Set Classes Related by Unordered Interval Classes

2019 ◽  
Vol 3 (2) ◽  
Author(s):  
Rodolfo Coelho de Souza
Keyword(s):  
Structural Similarity ◽  
Analytical Application ◽  
Voice Leading ◽  
Harmonic Content ◽  
The Voice ◽  
Prime Form

We call PCORD the prime form the interval string of Forte’s set classes. Analysis based on PCORD relations can yield a structural similarity between two different set classes, besides some possible perceptual likeness, measured by trichordal content. However different, the PCORD relation is analog to Forte’s Z-relation, but more embracing. This study provides the table of all set classes related by PCORD to be used as an analytical and compositional tool. The paper points out a precursor analytical use of the PCORD relation by Richard Parks in Debussy’s music. To demonstrate the analytical application of PCORD-relations, we analyzed four excerpts: from Hans Otte’s Das Buch der Klänge (1982), Villa-Lobos’ Rudepoema (1920) and from Coelho de Souza’s Metropolis (1990) and Dialogues (1987). We also analyzed the harmonic content of set classes using trichords or PCORDs of cardinality 3 and the PCORD connections in the voice-leading space of set classes with cardinality 3 to 9. Finally, we proposed that PCORD theory can be used as a compositional tool to engender harmonic directionality in atonal progressions.

Direct Intervals Revisited

Voice Leading ◽  
2016 ◽  
Author(s):  
David Huron
Keyword(s):  
Hierarchical Organization ◽  
Voice Leading ◽  
The Voice

The Direct or Hidden Intervals rule has a special status in the voice-leading canon. It offers two lessons. First, the direct intervals rule provides a logical link between three perceptual principles (harmonic fusion, semblant motion, and pitch proximity). The rule provides the glue that establishes a logical interconnection between the various rules of in the voice-leading canon. Said another way, the direct intervals rule points to the unity of the traditional part-writing rules. Second, perceptual experiments testing this traditional rule will lead us to question whether listeners hear nominally four-part harmony as truly evoking four independent lines. This observation leads us to consider possible hierarchical organization of auditory streams—which is the topic of the next chapter.

scholarly journals Hipster Harmony

2015 ◽  
Vol 21 (2) ◽  
Author(s):  
David J. Heetderks
Keyword(s):  
Large Scale ◽  
Grizzly Bear ◽  
Voice Leading ◽  
Roman Numeral ◽  
The Voice

This article argues that art-rock groups active since 2000 often use chromatic progressions between seventh chords and other chords of four or more notes in order to differentiate themselves from generic rock styles. These groups introduce chromatic progressions through one of three schemas: altering a recurring diatonic progression (a recurring Roman-numeral progression), exploring the voice-leading possibilities of a recurring chord (a magic chord), and exploring the diatonic and chromatic possibilities of a voice-leading motion (a magic voice leading). When a chromatic progression appears, it functions as a large-scale, tonally undetermined alternation between two chords, or as a substitution for a normative progression. Hybrid syntax occurs where progressions arising from the techniques listed above are juxtaposed with common rock progressions. I analyze instances of hybrid syntax in songs by Dirty Projectors, Deerhunter, Mew, Grizzly Bear, and Radiohead. In these songs, chromatic progressions conspire with lyrics, timbre, and texture to convey otherworldliness or ambiguity, supporting the depictions of unusual personae or situations that art-rock groups favor.

Three Short Essays on Neo-Riemannian Theory

2011 ◽  
pp. 547-577 ◽  
Author(s):  
Daniel Harrison
Keyword(s):  
Voice Leading ◽  
Functional Differences ◽  
The Voice ◽  
Short Essays

This article presents a three-section discussion, exploring the specific interrelated themes and questions central to the transformational and neo-Riemannian enterprise. The first section discusses the natures of musical objects and relations within the transformational worldview. It asks what happens when tones and chords are imagines not as objects but as transformations. The second section delves further into the object/transformation dichotomy. It explores the structural and functional differences among dissonant and consonant trichords in a particular nonatonic cycle. It also explores how the voice-leading functional and set-theoretical implications of the cycle might be engaged by a transformational perspective as a means to impart “sensuous distinctions”. The last section examines the analytical implications of the first two sections, by examining Vaughan Williams's neo-modal triadic Fantasia on a Theme by Thomas Tallis.

scholarly journals Cross-modal Suppression of Auditory Association Cortex by Visual Speech as a Mechanism for Audiovisual Speech Perception

2019 ◽  
Author(s):  
Patrick J. Karas ◽  
John F. Magnotti ◽  
Brian A. Metzger ◽  
Lin L. Zhu ◽  
Kristen B. Smith ◽  
...  
Keyword(s):  
Speech Perception ◽  
Auditory Processing ◽  
Visual Information ◽  
Visual Speech ◽  
Association Cortex ◽  
Auditory Information ◽  
Voice Leading ◽  
Audiovisual Speech Perception ◽  
Auditory Association Cortex ◽  
The Voice

AbstractVision provides a perceptual head start for speech perception because most speech is “mouth-leading”: visual information from the talker’s mouth is available before auditory information from the voice. However, some speech is “voice-leading” (auditory before visual). Consistent with a model in which vision modulates subsequent auditory processing, there was a larger perceptual benefit of visual speech for mouth-leading vs. voice-leading words (28% vs. 4%). The neural substrates of this difference were examined by recording broadband high-frequency activity from electrodes implanted over auditory association cortex in the posterior superior temporal gyrus (pSTG) of epileptic patients. Responses were smaller for audiovisual vs. auditory-only mouth-leading words (34% difference) while there was little difference (5%) for voice-leading words. Evidence for cross-modal suppression of auditory cortex complements our previous work showing enhancement of visual cortex (Ozker et al., 2018b) and confirms that multisensory interactions are a powerful modulator of activity throughout the speech perception network.Impact StatementHuman perception and brain responses differ between words in which mouth movements are visible before the voice is heard and words for which the reverse is true.

Hybridité et voix auctoriale

2016 ◽  
pp. 168-176
Author(s):  
Martine Motard-Noar
Keyword(s):  
Voice Leading ◽  
Generic Level ◽  
The Voice ◽  
Authorial Voice ◽  
Different Levels

This article analyzes three hybrid narratives – Sylvie Gracia’s Le livre des visages (2012), Pascal Quignard’s Les ombres errantes (2002), and Hélène Cixous’s Hyperrêve (2006). Although their hybridity can be found at different levels, such as the generic level, or the lexical level, all three texts attempt to catch the Mother in their narrative subterfuges in order to bring her back to life (or in the case of Cixous, to keep her alive), in vain. In the process, the authorial voice is reinforced as the voice leading the reader through narrative transgressions.

scholarly journals Modern approaches to the diagnosis and voice therapy of voice-leading disorders in vocalists

2021 ◽  
Vol 20 (6) ◽  
pp. 70-77
Author(s):  
Yu. E. Stepanova ◽  
◽  
T. V. Gotovyakhina ◽  
M. V. Mokhotaeva ◽  
◽  
...  
Keyword(s):  
Acoustic Analysis ◽  
Voice Leading ◽  
Vocal Technique ◽  
Vocal Function ◽  
Laryngeal Diseases ◽  
Functional Dysphonia ◽  
Diagnostic Difficulties ◽  
The Individual ◽  
The Voice ◽  
Selection Of

Diagnosis and treatment of laryngeal diseases in vocalists remains one of the most important tasks of otorhinolaryngology. One of the causes of vocal dysfunction in vocalists is functional dysphonia. Among the factors leading to the development of functional disorders of the larynx, a significant role is given to non-compliance with the vocal regime and vocal technique. The high frequency of voice function disorders among vocalists and the existing diagnostic difficulties determine the relevance of this problem and the need for further research. Objectives: Improvement of the effectiveness of diagnostics of laryngeal diseases and phonopedic rehabilitation in vocalists by identifying the features of the mechanism of voice-leading while the larynx is in a vocal position and the use of the individual vocal technique. Materials and methods: An examination of 10 vocalists with complaints of impaired vocal function was conducted. The age of the patients ranged from 18 to 43 years. The method includes performing video endolaryngoscopy and video stroboscopic endolaryngoscopy using a flexible video rhino-pharynx-laryngoscope during functional tests. Simultaneously with the endoscopy of the larynx, an audio recording of the voice followed by computer acoustic analysis was done. Conclusions: This method makes it possible to evaluate the patient’s phonation in a vocal position and when using various vocal techniques, as well as to determine objective acoustic indicators. The results obtained are necessary for the selection of phonopedic correction methods. The proposed method increases the effectiveness of the diagnosis of laryngeal diseases and phonopedic rehabilitation in vocalists.

scholarly journals A Tetrahelix Animates Bach: Revisualization of David Lewin’s Analysis of the Opening of the F# Minor Fugue from WTC I

2007 ◽  
Vol 13 (4) ◽  
Author(s):  
Jacob Reed ◽  
Matthew Bain
Keyword(s):  
Computer Modeling ◽  
Music Theory ◽  
Graphic Design ◽  
Geometric Modeling ◽  
Triple Helix ◽  
Three Dimensional ◽  
Voice Leading ◽  
The Voice ◽  
David Lewin

Music theory has long benefited from the use of visualizations to demonstrate analyses. This article presents one example of how music theorists might implement contemporary methods in graphic design and computer modeling. We apply three-dimensional geometric modeling and animation to a concise analysis on the opening of Bach’s F# Minor Fugue from WTCI by David Lewin. The application models the voice-leading of Cohn flips on Forte-set 3-2 with a triple helix whose structuring tetrahedrons combine chromatic, trichord, tetrachord and octatonic elements. The animations of the music through this model depict the pattern and relationships of the (013) forms described in Lewin’s article but demonstrate how a 3-D figure and animation elucidate and amplify his analysis and reveal an unusual aspect of these six measures.

scholarly journals A Theory for Parsimonious Voice-Leading Classes

2021 ◽  
Vol 5 (2) ◽  
Author(s):  
Carlos de Lemos Almada
Keyword(s):  
Popular Music ◽  
Analytical Model ◽  
Analytical Application ◽  
Voice Leading ◽  
New Concepts ◽  
Graphic Representations

This article introduces a theoretical-analytical model intended to address voice leading in popular music, considering specifically harmonic progressions characterized by dense chordal formations and smooth voicing connections, which is perfectly epitomized in Antonio Carlos Jobim's compositions. New concepts, typologies, preference rules, graphic representations, specific terminology/symbology, as well as an integrated analytical model provide the necessary foundation for the elaboration of a system of classes of parsimonious voice leading (PVL), which form the very core of the proposal. Some analytical application is provided in the last section of the article with the exam of five excerpts of Jobim’s compositions.

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