[Smt-talk] Classical Form and Recursion
Olli Väisälä
ovaisala at siba.fi
Fri Apr 3 08:09:56 PDT 2009
>
>> Owing to this property, music has, in my view, much stronger
>> potential for extensive recursive (prolongational) structuring
>> than has language.
>
> I'll just report that every psychologist, linguist, and
> evolutionary biologist I've talked to about this issue has told me
> that they find this suggestion implausible.
OK, Dmitri. If you base your arguments on consulting your linguist
and biologist acquaintances—rather than on considering what actually
takes place in music, or considering what might make music different
from language in this respect—there may indeed not be sufficient
methodological common ground for fruitful discussion.
(I doubt whether one can reliably derive the limits of human
invention from evolution biology. Evolution seems to have endowed
people with faculties that are used much beyond the purposes that
originally pertained to their evolutional advantage.)
For those willing to consider my points, I outline the following
three reasons why deeper recursive structures might have emerged in
music than in language:
1. Perception of musical structure is much more strongly assisted by
its relationship with factors such as meter, registral connection,
consonance–dissonance relationship, and Gestalt principles that
relate more or less directly with our primitive perceptual faculties.
(I am not saying that functional consonance and dissonance, for
example, is identical with perceptual consonance and dissonance, but
a degree of correspondence between the two assists the adoption of
the functional norm.)
2. The composition of musical structures that show the deepest
hierarchy of recursion is not everyman's faculty as is language, but
has emerged in the work of exceptionally gifted individuals who have
devoted their principal ambitions to the creation of music.
3. In language, there is little motivation—even for the exceptionally
gifted authors—to generalize syntactic principles to larger spans,
i.e., to connect sentences through relationships that resemble those
within the sentence. The larger coherence of linguistic discussion
relies on other factors such as semantics, for which there is no
access in music. In musical composition, one has to resort to other
kind of resources in order to create larger meaningful entities, and
my claim is that one of such resources (but by no means the only one)
is prolongation. If we think of a composer such as Bach, who
doubtless had internalized principles of harmony and voice-leading to
the extent that he applied them without conscious effort to surface
progressions, it is, in my view, not at all implausible to think that
similar principles also found their way to his creation of large-
scale patterns (especially given point 1 above).
>
> My question was: what justifies the "reduction" of ABA to A. Your
> answer seems to be "there is a norm that harmonic progressions
> begin and end with I."
No, that does not amount to my answer. "Reducing" ABA to A is a tool
for indicating (1) that there is a well-defined sense in which we may
perceive A as the governing element in this progression and (2) that
A is the element that enters larger relationships of harmony and
voice leading.
By referring to tonal closure, I identified one aspect of (1). Other
aspects were illustrated by my reduction of the V–I–V to V in bar 2
of my example progression. More generally, governing status in the
sense relevant for present purposes depends on, first, archetypal
patterns such as I–V–I harmonic motion and passing and neighboring
voice-leading motions between the prolonged and prolonging elements,
and, second, independent factors such as design, meter, and register.
On these lines we may approach a stipulative definition of "governing
status." Of course, modeling such status through the reduction tool
would not be motivated if the elements enjoying such status did not
enter larger connections (2), a hypothesis to which I have tried to
present empirical evidence.
Olli Väisälä
ovaisala at siba.fi
Sibelius Academy
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