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Motivic Similarity and Form in Boulez's Anthèmes

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Motivic Similarity and Form in Boulez's Anthèmes Motivic similarity and form in Boulez’s Anthèmes Cecilia Taher Music Theory Area, Department of Music Research Schulich School of Music, McGill University Montreal, Canada June 2016 A thesis submitted to McGill University in partial fulfillment of the requirements for the degree of Doctor of Philosophy. © 2016 Cecilia Taher i To the memory of the musical genius Pierre Boulez (1925-2016), whose music and words inspired the very genesis of this research project. ii iii Abstract This dissertation combines theoretical, analytical, and empirical methods to study aspects of motivic similarity and form in Boulez’s Anthèmes. The concept of similarity is central to the definition of motives and musical form. Nevertheless, little is known about the perception of motivic relationships and form while listening to post-tonal music. The most traditional theoretical methods used for post-tonal analysis (such as pitch-class set theory) have tended to emphasize abstract similarity relations based on local pitch and interval structures, disregarding features other than pitch as well as larger formal levels. However, experimental research has demonstrated that the perception of these pitch relationships in post-tonal music is secondary and extremely difficult. According to the empirical evidence, the kinds of structures that are particularly salient during music listening (including post-tonal music listening) are defined by both local- and global-level relationships involving surface features such as articulation and rhythm. This marks a gap between theoretical and perceptual research agendas. Boulez seemed to be aware of this disconnect, as he explicitly intended to reconcile perception with compositional practice. He described the form of Anthèmes in terms of constantly changing yet clearly recognizable motives, with surface features acting as large-scale formal markers. The two versions of Anthèmes—Anthèmes 1 (1992) for violin and Anthèmes 2 (1997) for violin and electronics—can be understood as two different formal and timbral settings for the same motivic materials. This dissertation aims to begin filling the gap that separates theory and perception in the scholarship of post-tonal music. Chapter 1 introduces the topic of motivic similarity and its relationship to form, reviewing previous literature within the context of Boulez’s ideas about music. Chapter 2 investigates aspects of motivic categorization and similarity in Anthèmes out of the context of the piece. Two theoretical analyses of Anthèmes 1 combined with the results of three perceptual experiments show that (1) motivic materials can be grouped in families with different degrees of internal consistency, and (2) the perception of similarity relationships is highly dependent on the surface features of the materials and the conditions under which those materials are heard. Chapter 3 integrates formal and feature analyses with findings from two perceptual experiments to study the perception of motivic relationships while listening to Anthèmes 1 and Anthèmes 2. I propose that predictability, formal-unit blend (due to a lack of surface contrast), and elapsed musical time (resulting from the development and organization of materials) shift the listeners’ attention to different formal levels. A basic model of form perception is sketched based on these findings. Chapter 4 concludes the dissertation with a discussion about the effects of the musical context on motivic similarity perception, and an overview of the limitations and possibilities for future research on this topic. iv Résumé Cette thèse combine des méthodes théoriques, analytiques et empiriques afin d'étudier les aspects mis en œuvre dans Anthèmes de Boulez concernant la similitude motivique et la forme. Le concept de similitude est central dans la définition des motifs et de la forme musicale. Néanmoins, les connaissances sur la perception des relations motiviques et de la forme pendant l'écoute de la musique post-tonale sont encore très limitées. Les méthodes théoriques les plus traditionnellement employées pour l'analyse post-tonale (telle que la théorie des ensembles de classes de hauteurs) ont eu tendance à mettre l'emphase sur les relations de similitudes abstraites fondées sur les structures locales de hauteurs et d'intervalles, ignorant ainsi tous les paramètres autres que ceux liés à la hauteur et aux niveaux de forme à plus grande échelle. Cependant, la recherche expérimentale a mis en évidence que la perception de ces relations entre hauteurs dans la musique post-tonale était secondaire et extrêmement difficile. Les résultats empiriques révèlent que les types de structures les plus saillantes pendant l'écoute (y compris l'écoute de la musique post-tonale) sont définis à la fois par les relations locales et globales qui impliquent des traits de surface tels que l'articulation et le rythme. Ceci souligne l'existence d'un écart entre les programmes de recherche théorique et perceptif. Boulez semblait être conscient de cette coupure et cherchait en effet explicitement à réconcilier la perception avec sa pratique compositionnelle. Il décrivit la forme d'Anthèmes en termes de motifs changeant continuellement tout en restant clairement reconnaissables, les traits de surface agissant ainsi comme marqueurs de la forme à grande échelle. Les deux versions d'Anthèmes—Anthèmes 1 (1992) pour violon et Anthèmes 2 (1997) pour violon et électronique live—peuvent être interprétées comme deux manifestations de forme et de timbre des mêmes matériaux motiviques. Cette thèse a pour objectif de commencer à combler le vide séparant la théorie et la perception dans l'étude de la musique post-tonale. Le premier chapitre introduit le thème de la similitude motivique et de sa relation avec la forme au regard de la littérature existante et dans le contexte des idées de Boulez sur la musique. Le deuxième chapitre étudie différents aspects concernant la catégorisation et la similitude des motifs en dehors du contexte de l'œuvre. Deux analyses théoriques d'Anthèmes 1, combinées avec les résultats de trois expériences perceptives montrent que (1) les matériaux motiviques peuvent être classés en familles ayant des degrés de cohérence interne différents et (2) la perception des relations de similitude dépend fortement des traits de surface des matériaux ainsi que des conditions dans lesquelles ils sont écoutés. Le troisième chapitre intègre l'analyse de la forme et celle des traits avec les résultats de deux expériences perceptives afin d’étudier la perception des relations motiviques pendant l'écoute d'Anthèmes 1 et 2. Nous proposons que le caractère prévisible, l'intégration des unités de forme (due à un manque de contraste de la surface) et le temps musical écoulé (conséquence du développement et de l'organisation des matériaux) déplace l'attention de l'auditeur sur des niveaux de forme différents. Le quatrième chapitre conclut la thèse avec une discussion concernant les effets du contexte musical sur la perception de la similitude motivique, ainsi qu'avec un aperçu des limites et perspectives de recherches concernant ce sujet. v Acknowledgements This dissertation is only one humble mark of the many gifts I have received as a student at the Schulich School of Music. First and foremost, I thank my supervisors Robert Hasegawa and Stephen McAdams, for their constant dedication and support. Their brilliant work, commitment to excellence, and devotion to education are the main inspiration for this dissertation. Their example, their respect for my ideas, and their confidence in me are as invaluable for the completion of this project as they are for my integral professional development. Prof. Hasegawa has motivated me to rediscover my passion for post-tonal theory and analysis. Prof. McAdams has been my mentor since my arrival to McGill in the fall of 2012, accompanying me in every step and struggle. I admire their professionalism as much as I value the innumerable ways in which they have had an immensely positive impact on my career. Very special thanks to Bennett K. Smith, for programming the experiments and providing not only technical but also spiritual support. His unconditional desire to help was essential for finishing this work promptly. I am grateful to the members of the Music Perception and Cognition Lab, all of whom have contributed to this project in a number of ways, from participating in pilot experiments to suggesting improvements. It has been an honor to be part of a team that operates on the basis of restless mutual cooperation and support. Special thanks to Ira Braus, Song Hui Chon, Meghan Goodchild, Eddy Kazazis, Sven-Amin Lembke, Jason Noble, Joseph Plazak, David Sears, Kit Soden, Kai Siedenburg, Moe Touizrar, and Leigh VanHandel, for their encouragement and many fascinating conversations about music and perception, and to Dominique Beauregard Cazabon, Yinan Cao, Lorraine Chuen, Béatrice Copps, Shrinkhala Dawadi, Chelsea Douglas, Sarah Gates, Pierre Gianferrara, Kiray Jones-Mollerup, Emma Kast, Auroora Kiiski, Rachel Kim, Min-Jee Kim, Ian Lou, Sophia Metcalf, Jocelyn Micallef, Rasmus Nielsen, Kyra Parker, Channey Phung, Henri Rabalais, Jordana Saks, Jake Spitzer, Jack Tokarz, Ayla Tse, Tudor Vrinceanu, Grace Wang, Jamie Webber, Emily Wilson, Chris Wood, and Charlene Zhang, for the many unforgettable moments shared in the lab. I am indebted to Etienne Thoret for proofreading the French version of the abstract. Thanks to Darryl Cameron, for assisting with mechanical problems. I am also grateful for the continuous support of and
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