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Motivic Similarity and Form in Boulez's Anthemes.

紀錄類型:	書目-語言資料,手稿 : Monograph/item
正題名/作者:	Motivic Similarity and Form in Boulez's Anthemes./
作者:	Taher, Cecilia.
面頁冊數:	1 online resource (231 pages)
附註:	Source: Dissertations Abstracts International, Volume: 82-09, Section: A.
Contained By:	Dissertations Abstracts International82-09A.
標題:	Information retrieval. -
電子資源:	click for full text (PQDT)
ISBN:	9798597049670

Motivic Similarity and Form in Boulez's Anthemes.
Taher, Cecilia.

Motivic Similarity and Form in Boulez's Anthemes. - 1 online resource (231 pages)

Source: Dissertations Abstracts International, Volume: 82-09, Section: A.

Thesis (Ph.D.)--McGill University (Canada), 2016.

Includes bibliographical references

This dissertation combines theoretical, analytical, and empirical methods to study aspects of motivic similarity and form in Boulez's Anthemes. The concept of similarity is central to the definition of motives and musical form. Nevertheless, little is known about the perception of motivic relationships and form while listening to post-tonal music. The most traditional theoretical methods used for post-tonal analysis (such as pitch-class set theory) have tended to emphasize abstract similarity relations based on local pitch and interval structures, disregarding features other than pitch as well as larger formal levels. However, experimental research has demonstrated that the perception of these pitch relationships in post-tonal music is secondary and extremely difficult. According to the empirical evidence, the kinds of structures that are particularly salient during music listening (including post-tonal music listening) are defined by both local- and global-level relationships involving surface features such as articulation and rhythm. This marks a gap between theoretical and perceptual research agendas. Boulez seemed to be aware of this disconnect, as he explicitly intended to reconcile perception with compositional practice. He described the form of Anthemes in terms of constantly changing yet clearly recognizable motives, with surface features acting as large-scale formal markers. The two versions of Anthemes-Anthemes 1 (1992) for violin and Anthemes 2 (1997) for violin and electronics-can be understood as two different formal and timbral settings for the same motivic materials.This dissertation aims to begin filling the gap that separates theory and perception in the scholarship of post-tonal music. Chapter 1 introduces the topic of motivic similarity and its relationship to form, reviewing previous literature within the context of Boulez's ideas about music. Chapter 2 investigates aspects of motivic categorization and similarity in Anthemes out of the context of the piece. Two theoretical analyses of Anthemes 1 combined with the results of three perceptual experiments show that (1) motivic materials can be grouped in families with different degrees of internal consistency, and (2) the perception of similarity relationships is highly dependent on the surface features of the materials and the conditions under which those materials are heard. Chapter 3 integrates formal and feature analyses with findings from two perceptual experiments to study the perception of motivic relationships while listening to Anthemes 1 and Anthemes 2. I propose that predictability, formal-unit blend (due to a lack of surface contrast), and elapsed musical time (resulting from the development and organization of materials) shift the listeners' attention to different formal levels. A basic model of form perception is sketched based on these findings. Chapter 4 concludes the dissertation with a discussion about the effects of the musical context on motivic similarity perception, and an overview of the limitations and possibilities for future research on this topic.

Electronic reproduction.
Ann Arbor, Mich. :
ProQuest,
2024

Mode of access: World Wide Web

ISBN: 9798597049670Subjects--Topical Terms:

563691
Information retrieval.
Subjects--Index Terms:

Boulez, PierreIndex Terms--Genre/Form:

554714
Electronic books.

Motivic Similarity and Form in Boulez's Anthemes.
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500 $a Source: Dissertations Abstracts International, Volume: 82-09, Section: A.
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502 $a Thesis (Ph.D.)--McGill University (Canada), 2016.
504 $a Includes bibliographical references
520 $a This dissertation combines theoretical, analytical, and empirical methods to study aspects of motivic similarity and form in Boulez's Anthemes. The concept of similarity is central to the definition of motives and musical form. Nevertheless, little is known about the perception of motivic relationships and form while listening to post-tonal music. The most traditional theoretical methods used for post-tonal analysis (such as pitch-class set theory) have tended to emphasize abstract similarity relations based on local pitch and interval structures, disregarding features other than pitch as well as larger formal levels. However, experimental research has demonstrated that the perception of these pitch relationships in post-tonal music is secondary and extremely difficult. According to the empirical evidence, the kinds of structures that are particularly salient during music listening (including post-tonal music listening) are defined by both local- and global-level relationships involving surface features such as articulation and rhythm. This marks a gap between theoretical and perceptual research agendas. Boulez seemed to be aware of this disconnect, as he explicitly intended to reconcile perception with compositional practice. He described the form of Anthemes in terms of constantly changing yet clearly recognizable motives, with surface features acting as large-scale formal markers. The two versions of Anthemes-Anthemes 1 (1992) for violin and Anthemes 2 (1997) for violin and electronics-can be understood as two different formal and timbral settings for the same motivic materials.This dissertation aims to begin filling the gap that separates theory and perception in the scholarship of post-tonal music. Chapter 1 introduces the topic of motivic similarity and its relationship to form, reviewing previous literature within the context of Boulez's ideas about music. Chapter 2 investigates aspects of motivic categorization and similarity in Anthemes out of the context of the piece. Two theoretical analyses of Anthemes 1 combined with the results of three perceptual experiments show that (1) motivic materials can be grouped in families with different degrees of internal consistency, and (2) the perception of similarity relationships is highly dependent on the surface features of the materials and the conditions under which those materials are heard. Chapter 3 integrates formal and feature analyses with findings from two perceptual experiments to study the perception of motivic relationships while listening to Anthemes 1 and Anthemes 2. I propose that predictability, formal-unit blend (due to a lack of surface contrast), and elapsed musical time (resulting from the development and organization of materials) shift the listeners' attention to different formal levels. A basic model of form perception is sketched based on these findings. Chapter 4 concludes the dissertation with a discussion about the effects of the musical context on motivic similarity perception, and an overview of the limitations and possibilities for future research on this topic.
520 $a Cette these combine des methodes theoriques, analytiques et empiriques afin d'etudier les aspects mis en oeuvre dans Anthemes de Boulez concernant la similitude motivique et la forme. Le concept de similitude est central dans la definition des motifs et de la forme musicale. Neanmoins, les connaissances sur la perception des relations motiviques et de la forme pendant l'ecoute de la musique post-tonale sont encore tres limitees. Les methodes theoriques les plus traditionnellement employees pour l'analyse post-tonale (telle que la theorie des ensembles de classes de hauteurs) ont eu tendance a mettre l'emphase sur les relations de similitudes abstraites fondees sur les structures locales de hauteurs et d'intervalles, ignorant ainsi tous les parametres autres que ceux lies a la hauteur et aux niveaux de forme a plus grande echelle. Cependant, la recherche experimentale a mis en evidence que la perception de ces relations entre hauteurs dans la musique post-tonale etait secondaire et extremement difficile. Les resultats empiriques revelent que les types de structures les plus saillantes pendant l'ecoute (y compris l'ecoute de la musique post-tonale) sont definis a la fois par les relations locales et globales qui impliquent des traits de surface tels que l'articulation et le rythme. Ceci souligne l'existence d'un ecart entre les programmes de recherche theorique et perceptif. Boulez semblait etre conscient de cette coupure et cherchait en effet explicitement a reconcilier la perception avec sa pratique compositionnelle. Il decrivit la forme d'Anthemes en termes de motifs changeant continuellement tout en restant clairement reconnaissables, les traits de surface agissant ainsi comme marqueurs de la forme a grande echelle. Les deux versions d'Anthemes-Anthemes 1 (1992) pour violon et Anthemes 2 (1997) pour violon et electronique live-peuvent etre interpretees comme deux manifestations de forme et de timbre des memes materiaux motiviques.Cette these a pour objectif de commencer a combler le vide separant la theorie et la perception dans l'etude de la musique post-tonale. Le premier chapitre introduit le theme de la similitude motivique et de sa relation avec la forme au regard de la litterature existante et dans le contexte des idees de Boulez sur la musique. Le deuxieme chapitre etudie differents aspects concernant la categorisation et la similitude des motifs en dehors du contexte de l'oeuvre. Deux analyses theoriques d'Anthemes 1, combinees avec les resultats de trois experiences perceptives montrent que (1) les materiaux motiviques peuvent etre classes en familles ayant des degres de coherence interne differents et (2) la perception des relations de similitude depend fortement des traits de surface des materiaux ainsi que des conditions dans lesquelles ils sont ecoutes. Le troisieme chapitre integre l'analyse de la forme et celle des traits avec les resultats de deux experiences perceptives afin d'etudier la perception des relations motiviques pendant l'ecoute d'Anthemes 1 et 2. Nous proposons que le caractere previsible, l'integration des unites de forme (due a un manque de contraste de la surface) et le temps musical ecoule (consequence du developpement et de l'organisation des materiaux) deplace l'attention de l'auditeur sur des niveaux de forme differents. Le quatrieme chapitre conclut la these avec une discussion concernant les effets du contexte musical sur la perception de la similitude motivique, ainsi qu'avec un apercu des limites et perspectives de recherches concernant ce sujet.
533 $a Electronic reproduction. $b Ann Arbor, Mich. : $c ProQuest, $d 2024
538 $a Mode of access: World Wide Web
650 4 $a Information retrieval. $3 563691
650 4 $a Cognition & reasoning. $3 1372461
650 4 $a Music theory. $3 564045
650 4 $a Atonality. $3 1478046
650 4 $a Psychology. $3 555998
653 $a Boulez, Pierre
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