The meaning of »enharmonic equivalence«

Datum

07.06.2016

Zeit

17:00 - 18:00

Sprecher

Prof. Dres Schlitknecht

Sprache

en

Hauptthema

Mathematik

Andere Themen

Mathematik

Host

Prof. Dr. St. Schmidt

Beschreibung

Hinweis: Raum ABS/E08 (August-Bebel-Straße 20) Abstract: The current theories about late- and post-tonal harmony all refer to the twelve pitch classes of the chromatic scale as given musical material. Therefore enharmonic equivalence, i.e. the possibility of different pitch designations being equivalent or identical (d♯ = e♭) is assumed as a precondition. This precondition - the abolition of the difference between cognitive meaning and acoustic representation of a pitch (Schwab-Felisch) - can be questioned from the perspective of perceptual psychology: Assuming that our cognitive perception of the twelve-tone pitch space is based on diatonic relationships, enharmonic equivalence turns out to be a precisely articulated, perceived ambiguity, providing one pitch (»Tonort«) simultaneously with two different meanings (it therefore applies d♯ = e♭ AND d♯ ≠ e♭ at the same time). This ambiguity is not set a priori, but rather the result of a particular use of the musical material. My investigations aim to specify enharmonic equivalence not only as a »musical idea« of local impact (Güldenstein), but as a basic principle to shape musical structure. I’ll suggest that so-called atonal music depends on the ubiquity of certain triad structures in order to support constant enharmonic equivalence. The analytical implications of these »enharmonic chords« - derived from the assumption of diatonic pitch-perception - can reveal a new and fresh approach to the structure of late- and post-tonal harmony.

Letztmalig verändert: 03.06.2016, 17:56:20