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Dynamic Groupings
Clark, Jesse David
Clark, Jesse David
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Thesis/Dissertation
Date
2024-05
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Music Theory
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DOI
http://dx.doi.org/10.34944/dspace/10160
Abstract
This dissertation proposes a new speculative model for understanding how a listener attends to music. I rely on and build upon concepts already familiar to music theorists, such as Grouping Theory, Implication-Realization Theory, and Gestalt Theory. I also borrow concepts from Information Theory, which is sourced in mathematics and used in communication transmissions. With the confluence of the aforementioned I will explain the model I name Dynamic Grouping. The dynamism of the grouping process is owed to the listener’s changing expectation for what musical content the listener expects and when the subject expects it. A listener expects continuation of a delineation. I will describe the particular listener for whom this theory applies. A listener establishes delineation between points of congruity as recognized per each basic domain, which then serves to precipitate expectation for progressive continuation of such content along the same musical delineation. The temporal point and syntactical relations for when the subject expects this musical content to occur is derived from extrapolations of syntactical and temporal regularities (rhythm) sourced from previous groupings. Unlike the five basic domains that form delineations independently, of which I list pitch, timbre, dissonance, volume, and location, rhythm is a super domain because rhythmic delineations are formed sourcing any combination of the basic domains. But because the listener also recognizes syntactical regularities, rhythm is a super meta domain: a listener recognizes patterns of patterns. The temporal size of each group increases when preceding music offers realization of a listener’s expectation and decreases in size when it stymies expectation. I correlate patterns of dynamic grouping rhythm and dramatic moments in music. I explain means by which a listener will delineate music per each of the domains, as delineation per each domain is achieved differently.
I offer a bottom-up analysis of the basic domains for a movement from a Beethoven Symphony. I use pop music to show how my theory for delineation formation also applies for rhythm. This single theory sufficiently accounts for much of what we witness in the music of the Common Practice Period. I also propose means by which composers may explore other means for creating drama not commonly used in current practice. My engagement with music cognition scholarship herein is limited to the specific confines of the theory.
I chose a variety of musical examples for use in the paper. I include two Beethoven symphonies because they, in particular, are most often found in similar theoretical writings. For many of my musical choices that are meant to explicate most poignantly theories of rhythm I turn often to American Popular Music. I am familiar with the controversial lyrics of The Rolling Stones’s song, but I assure the reader that I will only cover the opening guitar riff and its immediate development through the introduction.
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Accompanied by one .pdf score: 1) Cello Concerto #2
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