Th. Etat--Histoire de la musique et musicologie--Paris IV-Sorbonne--Ecole doctorale concepts et langages, 2004. / Bibliogr. p. 377-385.

Thesis (M.M.)--University of North Texas, 2002. / Includes bibliographical references (p. 78-80).

Thesis (M.A.)--York University, 2007. Graduate Programme in Music. / Typescript. Includes bibliographical references (leaves 60-67). Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:MR29275

Thesis (D.M.A.)--University of Illinois at Urbana-Champaign, 1993. / Vita. Includes bibliographical references (leaves 163-166).

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Made available in DSpace on 2014-06-11T19:27:26Z (GMT). No. of bitstreams: 0 Previous issue date: 2008-08-06Bitstream added on 2014-06-13T20:35:54Z : No. of bitstreams: 1 lancia_jc_me_ia.pdf: 1949570 bytes, checksum: de65c06be1d96f797a0b1521e72e719c (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / O minimalismo musical de La Monte Young, Terry, Riley, Steve Reich e Philip Glass foi chamado, entre outros rótulos, de música repetitiva, modular, de pulsação, de processos e estática – e, portanto, não-teleológica – antes que o termo minimalismo prevalecesse. Uma vez que tais termos não são infundados e refletem características percebidas no minimalismo, este trabalho tenta definir as idéias por trás desses rótulos. O trabalho também discute os procedimentos mais típicos adotados por cada um dos quatro compositores mencionados, apontando as mudanças de feições na produção desses compositores entre as décadas de 1960 e 70, período normalmente utilizado como referência para estudos. / The musical minimalism of La Monte Young, Terry, Riley, Steve Reich and Philip Glass had been called, among other labels, repetitive, modular, pulse, process, and static – and as a result, a-teleological – music before the name minimalism finally caught on. Since those labels reflect, at least in part, some of the features commonly found in the style, this study attempts to define the concepts behind such labels. This work also discusses some of the most typical procedures adopted by the four composers aforementioned, pointing their changing style during the 1960s and 70s, period often used as a reference for studies.

The compositions of Steve Reich and György Ligeti both contain periodic rhythmic structures. Although periods are not usually easily perceived, the listener may perceive their combinations in a hierarchy of rhythmic structures. This document is an attempt to develop an analytical method that can account for this hierarchy in periodic music. I begin with an overview of the features of Reich's and Ligeti's music that contribute to the property of periodicity. I follow with a discussion of the music and writings of Olivier Messiaen as a precedent for the periodic structures in the music of Reich and Ligeti. I continue by consulting the writings of the Israeli musicologist Simha Arom and describing the usefulness of his ideas and terminology in the development of my method. I explain the working process and terminology of the analytical method, and then I apply it to Reich's Six Pianos and Ligeti's Désordre.

It is not uncommon to read claims of music’s ability to affect our sense of time and its rate of passage. Indeed, such effects are often considered among the most distinctive and prized aspects of musical aesthetics. Yet when it comes to the similarly abstract notion of space and its manipulation by musical structures, theorists are generally silent. My dissertation addresses this gap in the literature and shows how music’s spatial effects arise through an affective engagement with musical works. In this study, I examine an eclectic selection of compositions to determine how the spaces we inhabit are transformed by the music we hear within them. Drawing on Maurice Merleau-Ponty’s theory of embodied perception, as well as research on acoustics, sound studies, and media theory, I deploy an affective model of spatial perception—a model that links the sense of space with the moment-to-moment needs and desires of the perceiver— to explain how these musical modulations of space occur. My claim is that the manner in which the music solicits our engagement affects how we respond, which in turn affects what we perceive. I begin by discussing the development of recording technology and how fixed media works deemed “spatial music” reinforce a particular conception of space as an empty container in which sound sources are arrayed in specific locations relative to a fixed listening position. After showing how innovative studio techniques have been used to unsettle this conventional spatial configuration, I then discuss examples of Renaissance vocal music, instrumental chamber music, and 20th century electronic music in order to develop a richer understanding of the range of spatial interactions that musical textures and timbres can provide. In my final chapter, I draw upon these varieties of affective engagement to construct a hermeneutic analysis of the spatial experience afforded by Steve Reich’s Electric Counterpoint, thereby modeling a phenomenological method for grounding interpretation in embodied, rather than strictly discursive, practices. By soliciting movement through the call for bodily action, music allows us an opportunity to fit together one world of possibilities with another, thereby providing an occasion for grasping new meanings presented through the work. The spatial aspect of music, therefore, does not consist in merely recognizing an environmental setting populated by individual sound sources. Through the embodied practices of music perception and the malleability of space they reveal, we are afforded an opportunity to reshape our understanding of the world around us.