What contributes to the perception of musical phrases in western classical music? [PhD Thesis]

1 Introduction The elongated upbeat
1.1 Introduction 1
1.2 Background 15
2 Introductory Study - Phrasing in Songs The first downbeat
2.1 Introduction and Aims 41
2.2 Why songs? 42
2.3 Approaches 42
2.4 Schubert’s Lieder 43
2.5 The two Lieder: Morgengruß and Gefrorne Tränen 44
2.6 Methods 48
2.7 Results 50
2.8 Discussion 58
2.9 Summary 61
3 Listeners’ ‘Phrasing’ Study - methods and results A fore-phrase
3.1 Introduction 63
3.2 The music investigated 64
3.3. Listeners responses: methods of data gathering and approaches to analysing the responses 66
4 Listeners’ Phrasing Study - A statistical method An after-phrase
4.1 Introduction 93
4.2 Aims 94
4.3 Theory 95
4.4 Method of Analysis 96
4.5 Results and Discussion 101
4.6 Summary 108
5 Clicks and Phrases - Reaction and Recollection Boundaries
5.1 Introduction 111
5.2 Background 112
5.3 Methodological Aspects 119
5.4. Method 122
5.5 Results 123
5.6 General Discussion 135
6 Graphic annotation of phrasing The second downbeat
6.1 Introduction 137
6.2 Method 137
6.3 Results and Discussion 138
6.4 Summary 141
7 Performers’ Phrasing Study Performance as communication Polyphony
7.1 Introduction 143
7.2 Performance Studies 144
7.3 Empirical approach to the study of performances: Tempo and Dynamic change in different performances of the case-study pieces 155
7.4 General Summary 164
8 Previous theories and the current listening study results Cacophony
8.1 Introduction 165
8.2 Lerdahl and Jackendoff’s Grouping Structure Preference Rules 168
8.3 Deliège’s Segmentation study 180
8.4 Cambouropoulos’ boundary detection and segmentation 194
8.5 Bod’s memory-based approach to phrasing 203
8.6 Ferrand’s unsupervised learning of melodic segmentation 206
8.7 Temperley’s Phrase Structure Preference Rules 210
8.8 Palmer and Krumhansl’s experimental approach to phrase completeness judgements. 220
8.9 Summary 231
9 Music analysis and music-analytic The third downbeat approaches to phrasing
9.1 Aspects of Music Analysis 239
9.2 Music-analytic approaches to phrasing: Koch and Rothstein 241
10 Musicological analyses of the case-study The fourth downbeat pieces and comparison with the results of the current phrasing studies
10.1 General introduction 255
10.2. Swimming in Bach: Wiewohl mein Herz in Tränen schwimmt from Bach’s St. Matthew Passion 257
10.3 Static harmony, clear general divisions and local ambiguities: Prelude of the Suite in C minor BWV 1011 by J.S. Bach 275
10.4 Clarity, and complexity, classic harmonic structures with melodic counterpoint: The Slow Movement of Mozart’s Piano Sonata, K. 310 285
10.5 A relatively simple example, the strength of symmetry, repetition and contrast: an excerpt from the aria no. 25, Act IV of Le Nozze di Figaro by Mozart 294
10.6. A clear yet unclear structure: Brahms’ Intermezzo Op. 119, no. 1 301
10.7 An underlying reliance on phrases: the hidden nature yet essential role of phrasing: Wagner, Die alte Weise from Tristan Und Isolde 321
10.8 Summary 336
11 Frequency of features, their combinations, Expectation of the end and occurrence with phrase parts
11.1 Introduction 339
11.2 Results: Features coinciding with major phrase part responses 340
11.3 Discussion: Feature Types, Phrase Parts and Phrase Types 359
11.4 Coincidence of performance features, musical features and phrase responses 363
11.5 Summary 365
12 General discussion of musical features The beginning of the end
12.1 Introduction 369
12.2 The individual features 373
12.3 Feature categories revisited 391
12.4 Summary 393
13 What are musical phrases? The arrival
13.1. Introduction 395
13.2. General Structural Aspects 396
13.3. General Functions of phrases 396
13.4. Phrase-Type Categories 397
13.5. Internal structure of the phrase 401
13.6. Features for Phrase-Type and Phrase-Part Categories 405
13.7. Relation between phrases 406
13.8. Phrase length 408
13.9. Summary 409
14 Features, Feature-combinations and Phrase Labels Elaboration
14.1 A Rule Base 411
14.2 An Algorithm 430
15 Application of the new concepts and methods to test pieces Finale
15.1 Introduction 447
15.2 The Test Pieces 449
15.3 General comparison between annotations by analyst and algorithm 465
15.4 Summary of the analyses of the test pieces 466
16. Summary Coda 471
Samenvatting 477
References 481