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postgraduate thesis: Structural ordering in contemporary music: the perceptibility factor reconsidered

TitleStructural ordering in contemporary music: the perceptibility factor reconsidered
Authors
Advisors
Issue Date2011
PublisherThe University of Hong Kong (Pokfulam, Hong Kong)
Citation
Lo, T. [盧定彰]. (2011). Structural ordering in contemporary music : the perceptibility factor reconsidered. (Thesis). University of Hong Kong, Pokfulam, Hong Kong SAR. Retrieved from http://dx.doi.org/10.5353/th_b4819953
AbstractThe multi-faceted nature of twentieth-century music is anything but familiar to listeners who are accustomed to hearing Western music based on ideas steeped in the classical tradition. The emergence of new tonalities and atonality as well as new temporalities challenged and revolutionized commonly accepted notions of musical sound and musical motion. The surge of new music characterized by the treatment of sound as independent entity, the absence of functional tonality and the dissolution of metric order has created new demands on the perceptual-cognition abilities of the listener. The perception of atonal musical works has been a subject of interest for many scholars in the field of music cognition. The findings of recent studies addressing this issue have pointed to the presence of salient features as an aid to the comprehension of relationships between musical events in an atonal composition. Salient features which effectively serve as structural cues include change/contrast and repetition, with the latter emerging as the most frequently used and easily acknowledged form of salience. An examination of the role of repetition in the music of the post-serial American composer George Crumb sheds light on how repetition, a common ingredient in many conventional models of organization, is able to operate in atonal pieces as structural cue to patterns underpinning the musical form. The investigation further reveals the possible role of repetition, where it is associated with timbre, as clue to structural direction in compositions that subscribe to the contemporary notion of musical motion.
DegreeMaster of Philosophy
SubjectComposition (Music)
Dept/ProgramMusic

 

DC FieldValueLanguage
dc.contributor.advisorChan, HY-
dc.contributor.advisorBiancorosso, G-
dc.contributor.authorLo, Ting-cheung.-
dc.contributor.author盧定彰.-
dc.date.issued2011-
dc.identifier.citationLo, T. [盧定彰]. (2011). Structural ordering in contemporary music : the perceptibility factor reconsidered. (Thesis). University of Hong Kong, Pokfulam, Hong Kong SAR. Retrieved from http://dx.doi.org/10.5353/th_b4819953-
dc.description.abstractThe multi-faceted nature of twentieth-century music is anything but familiar to listeners who are accustomed to hearing Western music based on ideas steeped in the classical tradition. The emergence of new tonalities and atonality as well as new temporalities challenged and revolutionized commonly accepted notions of musical sound and musical motion. The surge of new music characterized by the treatment of sound as independent entity, the absence of functional tonality and the dissolution of metric order has created new demands on the perceptual-cognition abilities of the listener. The perception of atonal musical works has been a subject of interest for many scholars in the field of music cognition. The findings of recent studies addressing this issue have pointed to the presence of salient features as an aid to the comprehension of relationships between musical events in an atonal composition. Salient features which effectively serve as structural cues include change/contrast and repetition, with the latter emerging as the most frequently used and easily acknowledged form of salience. An examination of the role of repetition in the music of the post-serial American composer George Crumb sheds light on how repetition, a common ingredient in many conventional models of organization, is able to operate in atonal pieces as structural cue to patterns underpinning the musical form. The investigation further reveals the possible role of repetition, where it is associated with timbre, as clue to structural direction in compositions that subscribe to the contemporary notion of musical motion.-
dc.languageeng-
dc.publisherThe University of Hong Kong (Pokfulam, Hong Kong)-
dc.relation.ispartofHKU Theses Online (HKUTO)-
dc.rightsThe author retains all proprietary rights, (such as patent rights) and the right to use in future works.-
dc.rightsCreative Commons: Attribution 3.0 Hong Kong License-
dc.source.urihttp://hub.hku.hk/bib/B48199539-
dc.subject.lcshComposition (Music)-
dc.titleStructural ordering in contemporary music: the perceptibility factor reconsidered-
dc.typePG_Thesis-
dc.identifier.hkulb4819953-
dc.description.thesisnameMaster of Philosophy-
dc.description.thesislevelMaster-
dc.description.thesisdisciplineMusic-
dc.description.naturepublished_or_final_version-
dc.identifier.doi10.5353/th_b4819953-
dc.date.hkucongregation2012-

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