Meta+Hodos: Applying James Tenney’s Gestalt Based Analytical Model in Undergraduate Theory Pedagogy

Abstract

To this day, undergraduate theory curriculum is primarily concerned with information related to the form defining elements of functional harmony. Students are taught to analyze

harmonic context and pitch relationships almost to the exclusion of all other factors. How- ever, contemporary and modernist compositions frequently rely far less on pitch relationships

as primary form creating devices. Other parameters take on greater significance. Even as pitch remains a critical element in serial and set related music, a method of drawing attention

to non-pitch or non-functional harmonic structures is crucial to a more complete understand- ing of the form and comprehension of post-tonal music. As a potential remedy, this article

explores the possible utilization and merits of James Tenney's gestalt based analytical model presented in his book Meta+Hodos. Within the context of this paper, his insights into gestalt theory will be used as an attempt to clarify and describe perceived aural phenomena from which a more comprehensive interpretation of non-tonal music may follow.