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Temporal Experience and the Music of Charles Ives.

Record Type:	Language materials, manuscript : Monograph/item
Title/Author:	Temporal Experience and the Music of Charles Ives./
Author:	Myler, Derek J.
Description:	1 online resource (399 pages)
Notes:	Source: Dissertations Abstracts International, Volume: 85-03, Section: A.
Contained By:	Dissertations Abstracts International85-03A.
Subject:	Music theory. -
Online resource:	click for full text (PQDT)
ISBN:	9798380317122

Temporal Experience and the Music of Charles Ives.
Myler, Derek J.

Temporal Experience and the Music of Charles Ives. - 1 online resource (399 pages)

Source: Dissertations Abstracts International, Volume: 85-03, Section: A.

Thesis (Ph.D.)--University of Rochester, 2023.

Includes bibliographical references

This dissertation proceeds from the thesis that the music of Charles Ives (1874-1954) frequently complicates the way we reciprocally experience music in time and time through music. Under a guiding frame of multiple temporality, I explore how Ives invites us to participate in music listening through multiple types of temporality, multiple temporal scopes, and multiple kinds of temporal experiences. In this endeavor, I recruit a wide array of orientations and methodologies, from music theory to the philosophy of time, from cognitive-behavioral research to the phenomenology of experience and beyond.Chapter 1 proposes a theory of multiple temporality and situates it within the broader history of temporal thought. Chapter 2 uses Husserlian phenomenology and multistable perception as tools for understanding polytonal and polymetric experience in listening to Ives's superimpositions. Chapter 3 explores Ives's association of similar tunes through the lens of motivic overlap and phenomenological blend, using musical contour theory and Bergson's idea of qualitative multiplicity. Chapter 4 revisits ideas of superimposition and investigates the experience of hearing multiple juxtaposed temporal traces in Ives's superimposed phrases from the perspective of formal functionality. Chapter 5 then resumes the thread of motives and applies motivic experience to larger spans, using transformational theory, Schoenberg's idea of the Grundgestalt, and Peter Burkholder's cumulative form to examine the sensation of thematic emergence across full movements and works. Chapter 6 explores the function and signification of pedal point and ostinato in Ives's music, interpreting such devices as a musical topic for eternity or timelessness. Finally, Chapter 7 collects the ideas and methodologies of earlier chapters and applies them in an integrated analysis of the Finale of the Fourth Symphony. The final chapter thus attempts a synthesis of the tools and techniques I propose toward a more comprehensive understanding of temporal experience as it manifests while listening to Charles Ives.

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

Mode of access: World Wide Web

ISBN: 9798380317122Subjects--Topical Terms:

564045
Music theory.
Subjects--Index Terms:

Music listeningIndex Terms--Genre/Form:

554714
Electronic books.

Temporal Experience and the Music of Charles Ives.
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520 $a This dissertation proceeds from the thesis that the music of Charles Ives (1874-1954) frequently complicates the way we reciprocally experience music in time and time through music. Under a guiding frame of multiple temporality, I explore how Ives invites us to participate in music listening through multiple types of temporality, multiple temporal scopes, and multiple kinds of temporal experiences. In this endeavor, I recruit a wide array of orientations and methodologies, from music theory to the philosophy of time, from cognitive-behavioral research to the phenomenology of experience and beyond.Chapter 1 proposes a theory of multiple temporality and situates it within the broader history of temporal thought. Chapter 2 uses Husserlian phenomenology and multistable perception as tools for understanding polytonal and polymetric experience in listening to Ives's superimpositions. Chapter 3 explores Ives's association of similar tunes through the lens of motivic overlap and phenomenological blend, using musical contour theory and Bergson's idea of qualitative multiplicity. Chapter 4 revisits ideas of superimposition and investigates the experience of hearing multiple juxtaposed temporal traces in Ives's superimposed phrases from the perspective of formal functionality. Chapter 5 then resumes the thread of motives and applies motivic experience to larger spans, using transformational theory, Schoenberg's idea of the Grundgestalt, and Peter Burkholder's cumulative form to examine the sensation of thematic emergence across full movements and works. Chapter 6 explores the function and signification of pedal point and ostinato in Ives's music, interpreting such devices as a musical topic for eternity or timelessness. Finally, Chapter 7 collects the ideas and methodologies of earlier chapters and applies them in an integrated analysis of the Finale of the Fourth Symphony. The final chapter thus attempts a synthesis of the tools and techniques I propose toward a more comprehensive understanding of temporal experience as it manifests while listening to Charles Ives.
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