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To Affinity and Beyond: The Sound of Diatonic Positions.

Record Type:	Electronic resources : Monograph/item
Title/Author:	To Affinity and Beyond: The Sound of Diatonic Positions./
Author:	Reich, Samuel.
Published:	Ann Arbor : ProQuest Dissertations & Theses, : 2020,
Description:	89 p.
Notes:	Source: Dissertations Abstracts International, Volume: 82-05, Section: A.
Contained By:	Dissertations Abstracts International82-05A.
Subject:	Music. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=28274273
ISBN:	9798691218262

To Affinity and Beyond: The Sound of Diatonic Positions.
Reich, Samuel.

To Affinity and Beyond: The Sound of Diatonic Positions. - Ann Arbor : ProQuest Dissertations & Theses, 2020 - 89 p.

Source: Dissertations Abstracts International, Volume: 82-05, Section: A.

Thesis (D.M.A.)--University of Cincinnati, 2020.

This item must not be sold to any third party vendors.

This document seeks to elucidate the perceptual quality of a note's position in the diatonic scale, regardless of its distance from a centric pitch. While some notes are leading tones, I argue that all notes are leaning tones, some leaning up, others down. In the first chapter, I introduce the idea of diatonic position, following Lam's (2019) concept defined by its intervallic position in the scale, regardless of the prevailing tonal centrism. I order these positions according to Browne's (1981) concept of interval contexts. The second chapter traces perceptual theories by Hucbald, Guido, and Handschin, and compares and contrasts Hansberry's (2017) narrow definition of scale degree qualia with the qualia of diatonic positions. I then cast the character of a diatonic position as an orientation, notes leaning up or down based on their diatonic position on the line of fifths. Chapter three offers a visual representation of these diatonic positions, adding a new layer of representation to our understanding. In chapter four I use melodic subjects by Bach to model how we perceive these positions as listeners by mapping intervals to a pitch wheel. The resulting interval patterns are compared to the interval contexts of each diatonic position to find possible matches. I continue to compare the experience of hearing changes in scale degrees to diatonic positions. Chapter five explores how we move from one diatonic position to another. Tracing motion through the line of fifths as well as diatonic scale space, I suggest a phenomenal way to distinguish specific interval qualities, building on the structural observation of diatonic scale theory. Finally, in chapter six I explore to what extent the sound of a diatonic position plays a role in the experience of resolution-tendency qualia as described by Hansberry, separating the contextual orientation of a note from its immediate sense of resolution.

ISBN: 9798691218262Subjects--Topical Terms:

516178
Music.
Subjects--Index Terms:

Diatonic position

To Affinity and Beyond: The Sound of Diatonic Positions.
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300 $a 89 p.
500 $a Source: Dissertations Abstracts International, Volume: 82-05, Section: A.
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506 $a This item must not be sold to any third party vendors.
520 $a This document seeks to elucidate the perceptual quality of a note's position in the diatonic scale, regardless of its distance from a centric pitch. While some notes are leading tones, I argue that all notes are leaning tones, some leaning up, others down. In the first chapter, I introduce the idea of diatonic position, following Lam's (2019) concept defined by its intervallic position in the scale, regardless of the prevailing tonal centrism. I order these positions according to Browne's (1981) concept of interval contexts. The second chapter traces perceptual theories by Hucbald, Guido, and Handschin, and compares and contrasts Hansberry's (2017) narrow definition of scale degree qualia with the qualia of diatonic positions. I then cast the character of a diatonic position as an orientation, notes leaning up or down based on their diatonic position on the line of fifths. Chapter three offers a visual representation of these diatonic positions, adding a new layer of representation to our understanding. In chapter four I use melodic subjects by Bach to model how we perceive these positions as listeners by mapping intervals to a pitch wheel. The resulting interval patterns are compared to the interval contexts of each diatonic position to find possible matches. I continue to compare the experience of hearing changes in scale degrees to diatonic positions. Chapter five explores how we move from one diatonic position to another. Tracing motion through the line of fifths as well as diatonic scale space, I suggest a phenomenal way to distinguish specific interval qualities, building on the structural observation of diatonic scale theory. Finally, in chapter six I explore to what extent the sound of a diatonic position plays a role in the experience of resolution-tendency qualia as described by Hansberry, separating the contextual orientation of a note from its immediate sense of resolution.
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