Leseprobe
Table of Contents
List of tables
Zusammenfassung
Abstract
Danksagung
1. Introduction
1.1 Aim
1.2 Music theoretical background
1.2.1 Chord Progressions
1.2.2 Cadences
1.2.3 Music theoretical developments in history
1.2.3.1 Medieval Ages (500-1400)
1.2.3.2 Renaissance Period (1400-1600)
1.2.3.3 Baroque Period (1600-1750)
1.2.3.4 Classical Period (1730-1820)
1.2.3.5 Romantic Period
1.2.3.6 20th Century Music
1.2.4 The circle of fifths
1.2.5 OCTs
1.3 Literature Overview
1.3.1 Riemann and Hauptmann
1.3.2 Schmuckler and Piston
1.3.3 Bharucha and Krumhansl
1.3.4 Rosner and Narmour
1.3.5 Eberlein and Fricke
1.3.6 Huron
1.3.7 Parncutt
2. Experiments
2.1 Introduction to two experiments
2.2 Palestrina’s analysis
2.2.1 Palestrina
2.2.2 Palestrina background
2.2.3 Palestrina Style
2.2.4 Analysis of Palestrina’s 1st Motet in “Canticum Canticorum”
2.3 Listening experiment: Closure in two-chord progressions
2.3.1 Introduction
2.3.2 Method
2.3.3 Apparatus
2.3.4 Design
2.3.5 Procedure
2.3.6 Results
2.3.7 Conclusion of the experimental data
2.3.8 Theoretical Predictions
3. Conclusion
4. Discussion, Limitations and Relevance
4.1 Discussion
4.2 Limitations and Relevance
5. References
6. Appendix
6.1: Results for the chord progressions “minor-minor”
6.2: Results for the chord progressions „major-minor“
6.3 Results for the chord progressions “major-major”
6.4: Results for the chord progressions „minor-major“
7. Questionnaire
8.: Motet „Canticum Canticorum“, written by Palestrina
- Arbeit zitieren
- M.A. Stephanie Lüders (Autor:in), 2011, The perception of closure in chord progressions, München, GRIN Verlag, https://www.grin.com/document/191295
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