자료유형  

 학위논문

Control Number  

0017160672

International Standard Book Number  

9798382317939

Dewey Decimal Classification Number  

781

Main Entry-Personal Name  

Kahrs, Noah Litman.

Publication, Distribution, etc. (Imprint  

[S.l.] : University of Rochester., 2024

Publication, Distribution, etc. (Imprint  

Ann Arbor : ProQuest Dissertations & Theses, 2024

Physical Description  

354 p.

General Note  

Source: Dissertations Abstracts International, Volume: 85-10, Section: B.

General Note  

Advisor: Bernstein, Zachary.

Dissertation Note  

Thesis (Ph.D.)--University of Rochester, 2024.

Summary, Etc.  

요약This dissertation makes two distinct but related claims about how compositional theory and scientific accounts of sound have interacted in the recent past. First, a number of post-1950 compositions intervene into discourse around how pitches are generated and perceived, detaching acoustics and perception from the tonal norms they have historically been taken to support. Second, the attention to acoustics and perception modeled by such pieces provides a useful analytical strategy for a wide array of post-1950 compositions.My dissertation has four chapters: an introduction and three analytical chapters following sounds' paths from the air through the ear and into the brain. Chapter 1, an introduction, situates my claims not just in music theory and its histories but also in music cognition, sound studies, and musicological studies of experimental music. Chapter 2 reads several experimental works, including Alvin Lucier's Exploration of the House and Maryanne Amacher's "Chorale 1," as unmooring triadic harmony from its ostensible acoustic foundations (in resonance and combination tones, respectively)-these compositions acoustically perform experimental music's verbal critiques of norms surrounding Western music. Chapter 3 considers several hundred compositions that begin with unison openings, interpreting them as establishing a persistent schema that repurposes roughness and fusion (often taken as perceptual bases of dissonance and consonance) outside of tonal contexts. While some compositions, such as James Tenney's Critical Band, explicitly reference (psycho)acoustics, the schema's core features persist among hundreds of works from a variety of styles. Chapter 4 interprets Morton Feldman's six-hour String Quartet No. 2 as encouraging statistical learning of the piece's unique harmonic language. While statistical learning is most often presented as an account of culturally learned expectations in tonal music, I suggest that its underlying principles can generalize to non-tonal compositions under the right circumstances, helping listeners unlearn tonal norms.Acoustics and perception of pitch, having long been theorized with reference to tonal materials, are too often taken to imply that tonality is uniquely "natural." My dissertation counters such views: each of my three analytical chapters shows how the same aspects of pitch can support other musical possibilities.

Subject Added Entry-Topical Term  

Music theory.

Subject Added Entry-Topical Term  

Music.

Subject Added Entry-Topical Term  

Acoustics.

Index Term-Uncontrolled  

Corpus studies

Index Term-Uncontrolled  

Music analysis

Index Term-Uncontrolled  

Music perception

Index Term-Uncontrolled  

Psychoacoustics

Index Term-Uncontrolled  

Sound studies

Added Entry-Corporate Name  

University of Rochester Eastman School of Music

Host Item Entry  

Dissertations Abstracts International. 85-10B.

Electronic Location and Access  

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Control Number  

joongbu:658060