Musical expectancy in atonal contexts: Musicians’ perception of “antistructure”

Abstract

Two exploratory studies examine how 12-tone rows are processed cognitively. Tone-rows use each pitch-class once, and were devised by the composer Arnold Schoenberg as a way of structuring music in the absence of tonality, an approach subsequently known as “serialism”. One form of “antistructure” implied in the design of tone-rows – eschewal of pitch repetition – is explored using the “probe-tone” method, where subjects rate how well a pitch stimulus fits in a given context. The results support the finding of Krumhansl, Sandell and Sergeant that listeners can detect – and come to expect – the avoidance of pitch repetition. This cognitive strategy is modelled using Ockelford’s “zygonic” theory of music-structural understanding. A further study examines the second form “antistructure” implicit in serialist thinking (though not always adhered to in practice): the avoidance of patterns of intervals that give rise to a sense of key in suitably encultured listeners. Here, the discrepancies between the outputs of the zygonic model and the probe-tone ratings suggest that, despite the structural atonality, tonal schemata may also feature in the listening experience. These are evaluated using supplementary data gathered in a task where subjects were asked to identify potential “tonal flecks” in tone-row segments.