Analysis and perception in post-tonal music: an example from Kurtág’s String Quartet Op. 1
Identifieur interne : 000617 ( Main/Exploration ); précédent : 000616; suivant : 000618Analysis and perception in post-tonal music: an example from Kurtág’s String Quartet Op. 1
Auteurs : Anna Rita Addessi [Italie] ; Roberto Caterina [Italie]Source :
- Psychology of music [ 0305-7356 ] ; 2005-01.
English descriptors
- Teeft :
- Addessi, Alte weise, Analyst, Atonal music, Baroni, Bars musicians, Basic framework, Bologna, Bologna university, Bridge passage, Caterina, Certain elements, Cognitive, Contemporary music, Contemporary music review, Cue, Experimental study, Fifth movement, First categories, First part, Formal balance, Gatm, Gatm group, Generative theory, Grammatical competence, Imberty, International congresses, Large number, Largest parts, Last part, Listener, Long pause, Macroform, Macroforms, Many subjects, Music analysis, Music education, Music perception, Music theory, Musical competence, Musical experience, Musical piece, Musical score, Musical structure, Ostinato, Other hand, Other parameters, Perceptual analysis, Perceptual approach, Possible macroforms, Present study, Professional music analysts, Psychology press, Range seconds, Real time, Results show, Rhythmic grouping, Rhythmicmelodic ostinato, Same macroform, Same ostinato, Second macroform, Seconds range, Segmentation, Segmentation point, Segmentation points, Significant difference, Significant differences, String quartet, Third part, Timbre, Timbre variation, Tonal music, Tonal piece, Tonal tradition, Various parts, Visual aspect.
Abstract
In this study, two different types of analysis of a piece of post-tonal music (the fifth movement of the String Quartet Op.1 (1959) by G. Kurtág) are compared: an analysis performed by seven professional music analysts using the musical score, and a perceptual analysis carried out by two groups of subjects (18 musicians and 25 non-musicians) while listening in real time. Three possible macroforms proposed by the analysts were compared with those perceived by the listeners. The results show that the macroforms hypothesized by the analysts represented the basic framework for those perceived by the listeners; moreover, the musical competence possessed by the musicians who took part in the listening exercise does not, on the whole, appear to have affected the perception of the macroform of a post-tonal piece of music.
Url:
DOI: 10.1177/0305735605048015
Affiliations:
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aspect</term></keywords></textClass><langUsage><language ident="en">en</language></langUsage></profileDesc></teiHeader><front><div type="abstract" xml:lang="en">In this study, two different types of analysis of a piece of post-tonal music (the fifth movement of the String Quartet Op.1 (1959) by G. Kurtág) are compared: an analysis performed by seven professional music analysts using the musical score, and a perceptual analysis carried out by two groups of subjects (18 musicians and 25 non-musicians) while listening in real time. Three possible macroforms proposed by the analysts were compared with those perceived by the listeners. The results show that the macroforms hypothesized by the analysts represented the basic framework for those perceived by the listeners; moreover, the musical competence possessed by the musicians who took part in the listening exercise does not, on the whole, appear to have affected the perception of the macroform of a post-tonal piece of music.</div></front></TEI><affiliations><list><country><li>Italie</li></country></list><tree><country name="Italie"><noRegion><name sortKey="Addessi, Anna Rita" sort="Addessi, Anna Rita" uniqKey="Addessi A" first="Anna Rita" last="Addessi">Anna Rita Addessi</name></noRegion><name sortKey="Caterina, Roberto" sort="Caterina, Roberto" uniqKey="Caterina R" first="Roberto" last="Caterina">Roberto Caterina</name></country></tree></affiliations></record>Pour manipuler ce document sous Unix (Dilib)
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