How Do The Cognitive Processing Patterns Of Hierarchical Reductive Listening, As Proposed By Eugene Narmour's Implication-realization Model, Intersect With The Structural Anomalies Introduced By Non-tonal Harmonic Progressions In Atonal Music, Such As Those Found In The Works Of Arnold Schoenberg Or Alban Berg?
The intersection of Eugene Narmour's implication-realization model with the structural anomalies in atonal music, such as works by Schoenberg and Berg, reveals a dynamic interplay between cognitive expectations and musical innovation. Here's a structured summary:
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Cognitive Expectations and Musical Implication: Narmour's model suggests that listeners develop musical expectations based on prior experiences, particularly with tonal music. These expectations are rooted in typical harmonic progressions and resolutions, which create a sense of implication.
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Atonal Music's Challenge to Expectations: Atonal music disrupts these expectations by abandoning traditional tonal hierarchies and harmonic structures. This results in unexpected realizations, where the anticipated resolutions are either absent or replaced with unconventional progressions, leading to heightened tension and surprise.
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Structural Anomalies and Cognitive Processing: The structural anomalies in atonal music force listeners to re-evaluate their listening strategies. The brain must work harder to process these unfamiliar patterns, potentially leading to new ways of engaging with the music as it deviates from accustomed harmonic trajectories.
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Adaptation and Engagement: Over time, listeners may adapt by recognizing internal logics within atonal works, even if they diverge from tonal norms. This adaptation can foster a deeper, more nuanced engagement, where the surprise and complexity become integral to the music's appeal.
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Emotional and Aesthetic Impact: The continuous subversion of expectations in atonal music can evoke a range of emotions, from tension to curiosity, enriching the listening experience beyond traditional harmonic satisfaction.
In essence, the interplay between Narmour's cognitive model and atonal music's anomalies highlights a shift from reliance on familiar structures to an exploration of new musical languages, offering a rich and challenging auditory experience.