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The Structuring of Musical Perception.

Record Type:	Language materials, manuscript : Monograph/item
Title/Author:	The Structuring of Musical Perception./
Author:	Sullo, Gregory B.
Description:	1 online resource (72 pages)
Notes:	Source: Masters Abstracts International, Volume: 56-05.
Subject:	Art history. -
Online resource:	click for full text (PQDT)
ISBN:	9780355110722

The Structuring of Musical Perception.
Sullo, Gregory B.

The Structuring of Musical Perception. - 1 online resource (72 pages)

Source: Masters Abstracts International, Volume: 56-05.

Thesis (M.A.)--Illinois State University, 2017.

Includes bibliographical references

What we hear and how we hear it rests upon a foundation of centuries of history. Musical, philosophical, socio-political and economic histories interact in ways both audible and silent to listeners. As changes in performance spaces and listening environments in Western culture have often been the result of social, political and economic factors unrelated to musical concerns, the development of musical aesthetics may be more complicated than the traditional history of Western music suggests. Chapter two begins with an analysis of Medieval church music, up through the Romantic era, a period that sees significant changes in the spaces of musical performance and the emergence of orchestral concert halls across Europe. Chapter three will focus on some of the political and socio-economic changes that occured during the Classical and Romantic periods, roughly 1750-1900. The first half of this era was a time of major socioeconomic and political upheaval across the Western world and the second half saw an emerging bourgeoisie as ruling class establishing its authority in part through the production of large-scale public works projects, including the construction of concert halls. Looking at all these developments through the theories of Deleuze and Guattari, chapter four addresses the shared philosophical foundations between musical structures and broader socio-economic and political structures that developed after the Enlightenment. Chapter five will consider alternative ways of shaping space and sound. One alternative will consider the work of twentieth-century European composers who challenged a system of musical aesthetics they inherited. The other will look at Hindustani music as one example of how non-Western cultures might consider the structuring of music theory and spatial relations in musical performance.

Electronic reproduction.
Ann Arbor, Mich. :
ProQuest,
2018

Mode of access: World Wide Web

ISBN: 9780355110722Subjects--Topical Terms:

1180038
Art history.
Index Terms--Genre/Form:

554714
Electronic books.

The Structuring of Musical Perception.
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500 $a Source: Masters Abstracts International, Volume: 56-05.
500 $a Adviser: Vanessa Schulman.
502 $a Thesis (M.A.)--Illinois State University, 2017.
504 $a Includes bibliographical references
520 $a What we hear and how we hear it rests upon a foundation of centuries of history. Musical, philosophical, socio-political and economic histories interact in ways both audible and silent to listeners. As changes in performance spaces and listening environments in Western culture have often been the result of social, political and economic factors unrelated to musical concerns, the development of musical aesthetics may be more complicated than the traditional history of Western music suggests. Chapter two begins with an analysis of Medieval church music, up through the Romantic era, a period that sees significant changes in the spaces of musical performance and the emergence of orchestral concert halls across Europe. Chapter three will focus on some of the political and socio-economic changes that occured during the Classical and Romantic periods, roughly 1750-1900. The first half of this era was a time of major socioeconomic and political upheaval across the Western world and the second half saw an emerging bourgeoisie as ruling class establishing its authority in part through the production of large-scale public works projects, including the construction of concert halls. Looking at all these developments through the theories of Deleuze and Guattari, chapter four addresses the shared philosophical foundations between musical structures and broader socio-economic and political structures that developed after the Enlightenment. Chapter five will consider alternative ways of shaping space and sound. One alternative will consider the work of twentieth-century European composers who challenged a system of musical aesthetics they inherited. The other will look at Hindustani music as one example of how non-Western cultures might consider the structuring of music theory and spatial relations in musical performance.
533 $a Electronic reproduction. $b Ann Arbor, Mich. : $c ProQuest, $d 2018
538 $a Mode of access: World Wide Web
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