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Perceptual and Semantic Dimensions of Sound Mass

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Perceptual and Semantic Dimensions of Sound Mass PERCEPTUAL AND SEMANTIC DIMENSIONS OF SOUND MASS Jason Noble Composition Area Department of Music Research Schulich School of Music McGill University, Montreal April 2018 A dissertation submitted to McGill University in partial fulfillment of the requirements of the degree of Doctor of Philosophy © Jason Noble 2018 In memory of Eleanor Stubley, Clifford Crawley, and James Bradley, for whose guidance and inspiration I am eternally grateful Table of Contents Abstract ...............................................................................................................................v Résumé ................................................................................................................................viii Acknowledgments................................................................................................................xi Contributions of Authors ......................................................................................................xiii List of Figures ......................................................................................................................xiv List of Tables .......................................................................................................................xvii Introduction ....................................................................................................................1 Chapter 1: Perceptual Dimensions of Sound Mass .............................................5 1.1 Introduction: Defining ‘Sound Mass’ .........................................................................5 1.2 Sound Mass and Perceptual Principles .......................................................................8 1.2.1 Toneness Principle. ............................................................................................10 1.2.2 Principle of Temporal Continuity. ......................................................................13 1.2.3 Minimum Masking Principle. .............................................................................17 1.2.4 Tonal Fusion Principle. ......................................................................................19 1.2.5 Pitch Proximity Principle. ...................................................................................21 1.2.6 Pitch Co-Modulation Principle. ..........................................................................23 1.2.7 Onset Synchrony Principle .................................................................................26 1.2.8 Principle of Limited Density...............................................................................29 1.2.9 Timbral Differentiation Principle ........................................................................30 1.2.10 Source Location Principle. ................................................................................32 1.3 Source Bonding .........................................................................................................33 1.4 Sound Mass Parameters .............................................................................................33 1.5 Summary ...................................................................................................................34 Chapter 2: Empirical Research on Sound Mass Perception ........................ 35 2.1 Introduction ...............................................................................................................35 2.2 Ligeti’s Continuum ...................................................................................................36 2.3 Experiment 1 .............................................................................................................44 2.3.1 Introduction ..........................................................................................................44 2.3.2 Method ...............................................................................................................44 2.3.2.1 Participants .................................................................................................44 2.3.2.2 Stimuli ........................................................................................................45 2.3.2.3 Procedure ....................................................................................................45 2.3.3 Results ...............................................................................................................46 2.3.4 Discussion ..........................................................................................................49 2.4 Experiment 2 .............................................................................................................51 2.4.1 Introduction ........................................................................................................51 2.4.2 Method ...............................................................................................................51 2.4.2.1 Participants .................................................................................................51 2.4.2.2 Stimuli ........................................................................................................51 2.4.2.3 Procedure ....................................................................................................52 i 2.4.3 Results ...............................................................................................................53 2.4.4 Discussion ..........................................................................................................57 2.5 Experiment 3 .............................................................................................................58 2.5.1 Introduction ........................................................................................................58 2.5.2 Method ...............................................................................................................58 2.5.2.1 Participants.............................................................................................58 2.5.2.2 Stimuli ...................................................................................................58 2.5.2.3 Procedure ...............................................................................................61 2.5.3 Results ...............................................................................................................62 2.5.4 Discussion ..........................................................................................................65 2.6 Supplementary Pilot Study .........................................................................................66 2.6.1 Introduction ........................................................................................................66 2.6.2 Method ...............................................................................................................66 2.6.3 Results ...............................................................................................................67 2.7 General Discussion and Conclusions ..........................................................................68 Chapter 3: Semantic Dimensions of Sound Mass ......................................... 72 3.1 Introduction ...............................................................................................................72 3.2 The Anxiety of Reference ..........................................................................................72 3.2.1 Ethics of Listening .............................................................................................74 3.2.2 Sound Mass and the Aftermath of Serialism .......................................................75 3.2.3 Sound Mass and the Programmatic-Absolute Distinction ....................................78 3.3 Music Semiotics and Extramusical Meaning ..............................................................83 3.3.1 Metaphor Theory, Cognitive Semiotics, and Extramusical Meaning ...................84 3.3.2 Metaphor and Absolute Music: A MUSICAL WORK IS A WORLD .................87 3.3.3 MEANING IS CONTENT .................................................................................88 3.3.4 Extramusical Meaning, Attribute Selection, Homology, and Sound Mass ...........90 3.3.5 Topic Theory and Sound Mass ...........................................................................94 3.4 Xenakis, Metastaseis (1954); Penderecki, Polymorphia (1961) ..................................96 3.4.1 Metastaseis ........................................................................................................96 3.4.2 Polymorphia.......................................................................................................100 3.5 Metaphors, Associations, and Poetics of Sound Mass ................................................102 3.5.1 Spatial Metaphors...............................................................................................102 3.5.2 Material Metaphors ............................................................................................109 3.5.3 Behavioural Metaphors ......................................................................................113 3.5.4 Cross-Modal Metaphors .....................................................................................114 3.5.5 Naturalistic Metaphors .......................................................................................116 3.5.6 Technological Metaphors ...................................................................................117
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