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Relating Musical Structure and Content to Aesthetic Response: A Model and Analysis of Beethoven's Piano Sonata Op. 110

Published online by Cambridge University Press:  01 January 2020

Adam Ockelford
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Abstract

A model is presented which aims to show how, for listeners familiar with a given style, aesthetic response to music may be related to its ‘structure’ (as defined in relation to ‘zygonic’ theory) and ‘content’ (the particular perceived qualities of sound that pertain to a given musical event). The model combines recent empirical findings from music psychology with other approaches adapted from music theory and philosophy. Intramusical considerations, which form the core of the model, are positioned within a broader socio-cultural, cognitive and physical context. The new framework is used to inform an analysis of Beethoven's Piano Sonata op.110, which examines in particular the notions of teleology in music and narrative metaphor.

Type
Research Article
Information
Journal of the Royal Musical Association , Volume 130 , Issue 1 , 2005 , pp. 74 - 118
Copyright
Copyright © 2005 Royal Musical Association

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59 Hence this view is opposed to that famously (though not uncontroversially) espoused by Leonard Meyer, who most recently concludes that states of feeling become emotional experiences ‘when they are at least tinged by uncertainty’ (‘Music and Emotion’, 353), something which music achieves through the physical-somatic conditions created by the statistical parameters being qualified through the action of syntactic and native processes which uniquely characterize the art form (p. 346). These generate arousal, so directing attention to what is still to come, thereby giving rise to implication. Since what is implied can never be more than probable, meaningful attention to music is necessarily characterized by uncertainty as to how past and present patterns will be continued and, ultimately, resolved (p. 354). Yet here – on the contrary – we are saying that informed anticipation is a key element in one's aesthetic response to music. See Ockelford, ‘Implication and Expectation in Music: A Zygonic Model’ (forthcoming, Psychology of Music, 2005).Google Scholar

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85 Thus creating an effect in some ways comparable to that produced by the technique of photomontage when it is used to form the image of a human face from many smaller pictures of faces. The expressions (happy, sad, etc.) on these individual physiognomies need not correspond to those evinced by the single, larger face. Hence there could be a number of smaller, sad images coming together to make a happy whole. So it is with minor chords in a major context and vice versa: by focusing one's attention on the detail, a particular aesthetic response may come to the fore; by attending more globally, a different reaction may be engendered. In fact, it is likely there will be an interaction between the two: the effect of a major tonality will be coloured by the minor elements within it (and vice versa). In his Auditory Scene Analysis (Cambridge, MA, 1990), Albert Bregman makes a similar observation in relation to the perception of Webern's arrangement of the Ricercar from Bach's The Musical Offering (p. 471). John Sloboda observes in ‘Music Structure and Emotional Response’ (p. 115) that sequences based on the cycle of fifths often underlie passages that listeners describe as being particularly laden with emotion. The current theory suggests that this may occur through the predictable transformation of motives from major to minor (and back) that repeated transposition within the framework of the diatonic major scale necessarily engenders.Google Scholar

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93 Note that these form a subset of the domain of ‘musical experience/knowledge’ identified in Figure 2.Google Scholar

94 See Schenker, Heinrich, Beethoven: Die letzten Sonaten: Sonate in As Dur Op. 110 (Vienna, 1972), 17.Google Scholar

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96 For example, Eric Blom, Beethoven's Piano Sonatas Discussed (London, 1938), 230.Google Scholar

97 Other Beethoven sonatas that open with chords with the mediant at the top have spacing that conforms more immediately to that of the harmonic series. For example: op. 2 no. 3; op. 7; op. 10 no. 2; op. 90; op. 101.Google Scholar

98 However, this is a typical feature of Beethoven's late style – see Cooper, Martin, Beethoven: The Last Decade 1817–1827 (Oxford, 1985), 425 – and the opening sonority foreshadows greater extremes of register later in the movement; see, for example, bars 25–8.Google Scholar

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100 Including the great majority of Beethoven's other piano sonatas.Google Scholar

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103 See Cooper, Beethoven, 190.Google Scholar

104 Kinderman, ‘Integration and Narrative Design in Beethoven's Piano Sonata in A♭ Major, Opus 110‘, 117.Google Scholar

105 With the possible exception of the harmony constituting the fourth quaver of bar 3, which can be interpreted as B♭ minor7 or D♭ major6.Google Scholar

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108 Ibid.Google Scholar

109 Ibid., 121.Google Scholar

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111 Kinderman, ‘Integration and Narrative Design in Beethoven's Piano Sonata in A♭ Major, Opus 110‘, 120.Google Scholar

112 Through a zygonic relationship that combines imitation in the domains of relative pitch and perceived time – a so-called ‘syzygy’ (see Ockelford, The Cognition of Order in Music).Google Scholar

113 Ockelford, Repetition in Music; Rudolph Réti, The Thematic Process in Music (Westport, 1951).Google Scholar

114 Ockelford, Repetition in Music, 121.Google Scholar

115 English translations taken from Kinderman, ‘Integration and Narrative Design in Beethoven's Piano Sonata in A♭ Major, Opus 110‘, 121.Google Scholar

116 Christopher Ballantine, Music and its Social Meanings (Johannesburg, 1984), 74.Google Scholar

117 Cooper, Beethoven, 190.Google Scholar

118 Compare Bach's use of two folksongs in Variation 30 of the Goldberg Variations.Google Scholar

119 See, for example, Kinderman, ‘Integration and Narrative Design in Beethoven's Piano Sonata in A♭ Major, Opus 110'; Maus, ‘Narrative, Drama and Emotion in Instrumental Music'.Google Scholar

120 Ockelford, Repetition in Music, 111ff.Google Scholar

121 That is, transformational configurations can (and often do) sustain zygonic links in addition to their principal structural connection (see Figure 5).Google Scholar

122 ‘Profile’ is a term I coin in The Cognition of Order in Music to mean a series of relative values of pitch (thus being equivalent to ‘rhythm’ in the domain of perceived time) – see Figure 4.Google Scholar

123 Although, as is the case throughout op. 110, this classification identifies only the principal connections among a multiplicity of links; see above, note 108.Google Scholar

124 See Kinderman, ‘Integration and Narrative Design in Beethoven's Piano Sonata in A♭ Major, Opus 110‘, 117.Google Scholar

125 See Kinderman, ‘Integration and Narrative Design in Beethoven's Piano Sonata in A♭ Major, Opus 110‘, 140.Google Scholar

126 Cook and Dibben, ‘Musicological Approaches to Emotion’, 67.Google Scholar