Abstract
Original language | English |
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Pages (from-to) | 1-43 |
Number of pages | 43 |
Journal | Music Analysis |
Early online date | 30 Jul 2019 |
DOIs | |
Publication status | E-pub ahead of print - 30 Jul 2019 |
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The Butterfly Schema in the Classical Instrumental Style : A Product of the Tendency for Congruence. / Rawbone, Trevor; Jan, Steven.
In: Music Analysis, 30.07.2019, p. 1-43.Research output: Contribution to journal › Article
TY - JOUR
T1 - The Butterfly Schema in the Classical Instrumental Style
T2 - A Product of the Tendency for Congruence
AU - Rawbone, Trevor
AU - Jan, Steven
PY - 2019/7/30
Y1 - 2019/7/30
N2 - This article integrates theories that explain schemata as psychological and statistical associations of features with those that define schemata as collections of cognitively generated archetypes. It is proposed that styles contain a spectrum of features but tend towards congruence. This propensity originates in cognition and becomes manifest in and between the features of styles. A localised structure, termed the ‘butterfly’ schema, is argued to be in part a product of the tendency for congruence in the Classical instrumental style. An analysis of the styles and schemata of the Baroque, Classical and Romantic periods explicates their distinct forms of congruent structuring. A survey of European instrumental music c. 1750–1850 compares the quantity and type of butterfly schemata in samples from the first half of this time-period with those from the second. It is found that butterfly schemata with highly congruent features are more common in the earlier, Classical-period samples, suggesting that they are a product of the tendency for congruence in the particular form defined.
AB - This article integrates theories that explain schemata as psychological and statistical associations of features with those that define schemata as collections of cognitively generated archetypes. It is proposed that styles contain a spectrum of features but tend towards congruence. This propensity originates in cognition and becomes manifest in and between the features of styles. A localised structure, termed the ‘butterfly’ schema, is argued to be in part a product of the tendency for congruence in the Classical instrumental style. An analysis of the styles and schemata of the Baroque, Classical and Romantic periods explicates their distinct forms of congruent structuring. A survey of European instrumental music c. 1750–1850 compares the quantity and type of butterfly schemata in samples from the first half of this time-period with those from the second. It is found that butterfly schemata with highly congruent features are more common in the earlier, Classical-period samples, suggesting that they are a product of the tendency for congruence in the particular form defined.
U2 - 10.1111/musa.12133
DO - 10.1111/musa.12133
M3 - Article
SP - 1
EP - 43
JO - Music Analysis
JF - Music Analysis
SN - 0262-5245
ER -