Musical timbre in context : the second Viennese school, 1909-1925
Musical timbre in context : the second Viennese school, 1909-1925
In most music analyses, timbral issues are rarely explored. The principal aim of this Thesis is to put discussion of timbre on an equal footing with discussion of other parameters; a conceptual model of musical timbre is proposed and issues of terminology and perception are addressed. In order to place the timbre model into a theoretical framework, methodological contexts are investigated with a focus on recent performance analysis studies.
The methodological issues are drawn into suggestions for a theory of timbre for music analysis. Interrelationships between timbre and pitch are discussed from an auditory streaming perspective; Huron's voice-leading Principles (forthcoming 2000) and Richard Parncutt's pitch salience algorithm (1993) are applied. A theory of timbral change is proposed with suggestions of possible governing principles.
The timbre model and proposed theory are absorbed into studies of music by Second Viennese School composers. In a study of Arnold Schoenberg's 'Farben' (1909) and Berg's Wozzeck timbral issues are broadened into a discussion of (extra-)musical allusion and narrative. An extensive study of Anton Webern's Five Orchestra Pieces Opus 10 follows, situating timbre and pitch within a yet wider context; the study focuses principally on timbral and pitch links, refers to issues of sketches and chronology, and proposes an interpretation of Opus 10 from an extra-musical perspective. In conclusion, timbral perspectives are judged to offer much insight into the perceptibility of musical structures, providing a range of possible schemata for listeners; they are potentially useful for the analysis of a variety of musics.
University of Southampton
Tsang, Lee
2da0c7d8-eca3-48c5-815e-9885db7b9321
2000
Tsang, Lee
2da0c7d8-eca3-48c5-815e-9885db7b9321
Tsang, Lee
(2000)
Musical timbre in context : the second Viennese school, 1909-1925.
University of Southampton, Doctoral Thesis.
Record type:
Thesis
(Doctoral)
Abstract
In most music analyses, timbral issues are rarely explored. The principal aim of this Thesis is to put discussion of timbre on an equal footing with discussion of other parameters; a conceptual model of musical timbre is proposed and issues of terminology and perception are addressed. In order to place the timbre model into a theoretical framework, methodological contexts are investigated with a focus on recent performance analysis studies.
The methodological issues are drawn into suggestions for a theory of timbre for music analysis. Interrelationships between timbre and pitch are discussed from an auditory streaming perspective; Huron's voice-leading Principles (forthcoming 2000) and Richard Parncutt's pitch salience algorithm (1993) are applied. A theory of timbral change is proposed with suggestions of possible governing principles.
The timbre model and proposed theory are absorbed into studies of music by Second Viennese School composers. In a study of Arnold Schoenberg's 'Farben' (1909) and Berg's Wozzeck timbral issues are broadened into a discussion of (extra-)musical allusion and narrative. An extensive study of Anton Webern's Five Orchestra Pieces Opus 10 follows, situating timbre and pitch within a yet wider context; the study focuses principally on timbral and pitch links, refers to issues of sketches and chronology, and proposes an interpretation of Opus 10 from an extra-musical perspective. In conclusion, timbral perspectives are judged to offer much insight into the perceptibility of musical structures, providing a range of possible schemata for listeners; they are potentially useful for the analysis of a variety of musics.
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Published date: 2000
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Local EPrints ID: 464434
URI: http://eprints.soton.ac.uk/id/eprint/464434
PURE UUID: c6bc0207-86ff-4c4e-bb37-e96799eb71ce
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Date deposited: 04 Jul 2022 23:37
Last modified: 16 Mar 2024 19:31
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Author:
Lee Tsang
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