tener, at some level, represent high-level structure. For instance, one cannot
define ‘‘melodic appoggiatura’’ apart from a description of music in terms of
strong and weak beats within a metrical structure and of discord and resolution
within a tonal framework. This is one reason we find it difficult to respond
emotionall yto the music of other cultures as do the members of those cultures.
We have not yet assimilated the means of representing their musical structures
that would allow the appropriate structure–emotion links to be activated.
We have man yinteresting and important questions to explore, such as wh y
these particular structures mediate these particular emotions in the wa ythat
the ydo. Research, however, has begun to clarif ya major strand in musical ex-
pertise that distinguishes it starkl yfrom the other forms of expertise repre-
sented in this volume. It suggests that the central conditions for acquisition of
musical expertise are as follows:
- Existence in a musical culture of forms that have perceptible structures
of certain kinds (as specified b yLerdahl and others) - Frequent informal exposure to examples of these forms over a lifetime
- Existence of a normal range of human emotional responses
- Opportunit yto experience these emotions mediated through perceived
musical structures, which in itself requires - Opportunit yto experience music in contexts free of externall yimposed
constraints or negative reinforcements
If we can ensure these conditions, then the problems associated with bringing
individuals to levels of achievement we would currentl yregard as exceptional
ma yturn out to be trivial.
References
Amabile, T. M. (1983).The social psychology of creativity. New York: Springer-Verlag.
Balzano, G. J. (1980). The group-theoretic description of twelvefold and microtonal pitch systems.
Computer Musi cJournal, 4 , 66–84.
Table 24.1
Emotion and musical structure
Emotional response Associated structural features
Tears or lump in throat Descending circle of 5ths in harmony
Melodic appoggiatura
Melodic or harmonic sequence
Harmonic or melodic acceleration to cadence
Shivers down spine or goose pimples Enharmonic change
Dela yof final cadence
New or unprepared harmony
Sudden dynamic or textural change
Racing heart and ‘‘pit of stomach’’ sensations Harmonic or melodic acceleration
Sudden dynamic or textural change
Repeated syncopation
Prominent event arriving earlier than expected
Musical Expertise 579