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Relation of Structure, Form and Perception in Post-Tonal Music Analysis of Compositions by Pierre Boulez, Jean Barraqué, Karel Goeyvaerts and Michel Fano

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Relation of Structure, Form and Perception in Post-Tonal Music Analysis of Compositions by Pierre Boulez, Jean Barraqué, Karel Goeyvaerts and Michel Fano Relation of Structure, Form and Perception in Post-tonal Music Analysis of Compositions by Pierre Boulez, Jean Barraqué, Karel Goeyvaerts and Michel Fano Doctoral forum, SS 2020 Ana Rebrina 1st presentation 12th June 2020 Advisors: Christian Utz, Christa Brüstle, Mark Delaere (KU Leuven) Corpus of Study (readjusted) Webern Variations for Piano Op. 27 (1936) Babbitt Three Compositions for Piano (1947) Goeyvaerts Fano Boulez Stockhausen Sonata for Two Pianos (1951) Sonata for Two Pianos (1952) Structures I (1952) Klavierstücke I-IV (1952) Zimmermann Nilsson Perspektiven (1955) Quantitäten (1957) Current State of Research • analysis of music = analysis of the • performance analysis score? (CHARM’s publications; Cook, 2013; Leech- Wilkinson, 2009; Rink, 2015) Rethinking Rethinking Music, edited by Nicholas Cook and Mark Everist • sound- and perception-based Rewriting analysis Rewriting Recent Music History: The Development of (Mosch, 2004; Utz, 2017; CTPSO and PETAL Early Serialism 1947-1957, edited by Mark Delaere publications) • no way of knowing if one is “hearing • music psychology – perception the right notes” theories and empirical research (Taruskin, 2015, p. 36) Research Question perception What influences the perception of serial music and why? Is perception influenced by structure? Is macro-form important for structure repertoire performance perception? Do these connections differ in different performances? form Methodology • auditive analysis of musical surface • performance “imagined in their minds” (Leech Wilkinson, 2009, p. 791) • performance analysis • formal and structural analysis • historical background • compositions • recordings Overview of first year • literature review • perception theories • writings on serialism • analyses • score-based • perception-based • different performances • list of recordings Point music • each note is individual unit • “static music” • no dynamic tensoin Goeyvaerts, Sonata for Two Pianos, movement II Perception Details from musical surface – micro-segmentation • streaming – integration of sound into lines (Bregman, 1990) Goeyvaerts, Sonata for Two Pianos, movement II, measure 6-7 Inge Spinette & Jan Michiels A B A B heptachords underlying structure in m. 6-7 pitch duration dynamic artuculation pp p mf f 1 2 3 4 1 2 2+3+1+1=7 Boulez, Structures Ia, measure 83-87 Alfons & Aloys Kontarsky RI2 mf RI11 f R7 ppp R8 mp • theory of cue abstraction cue - “…salient element that is prominent at the musical surface.” (Deliège, 2001, p. 237) measure 1 measure 4 measure 28 Babbitt, Three Compositions for Piano, movement II Robert Taub Macro-form • form is defined by serial procedures • Webern, Babbitt, and Zimmermann – more traditional approach A A Macro-form I IIa IIb IIc III I II III IV V Boulez, Structures Ia, section I-III Fano, Sonata for Two Pianos, section I-V I.I I.II Boulez, Structure Ic, section Ia-b • formal boundaries: • in structure – exhaustion of series • in sound – rests, changes in texture, cues • experiments (Addessi & Caterina, 2005; Addessi, 2010) Alfons & Aloys Kontarsky Pi-Hsien Chen & Ian Pace Boulez, Structure Ic Next Step • focus on performers How pianists approach this music? • performers’ working material • reconstruction of performance from performance scores What influence performers’ interpretations? • performances of less performed pieces How performers’ decisions influence • rehearsal process perception? • experiment – listening sessions with students References Addessi, A. R., & Caterina, R. (2005). Analysis and perception in post-tonal music: an example from Kurtág’s String Quartet Op. 1., Psychology of Music, 33(1), 94-116. Addessi, A. R. (2010). Auditive Analysis of the Quartetto per Archi in Due Tempi (1955) by Bruno Maderna. Musicae Scientiae, 14(2_suppl), 225–249. Bregman, Albert S. (1990). Auditory Scene Analysis: The Perceptual Organization of Sound. Cambridge: MIT Press. Cook, N., & Everist, M. (1999). Rethinking music. Oxford: Oxford University Press. Cook, Nicholas (2013). Beyond the Score: Music as Performance. Oxford: Oxford University Press. Delaere, M. (2011). Rewriting recent music history : the development of early serialism, 1947-1957 . Peeters. Deliège, Irène (2001). Introduction: Similarity Perception – Categorization – Cue Abstraction. Music Perception 18(3), 233–43. Huron, D. (2006). Sweet anticipation: Music and the psychology of expectation. The MIT Press. Iddon, M. (2013). New Music at Darmstadt: Nono, Stockhausen, Cage, and Boulez (Music since 1900). Cambridge: Cambridge University Press. Leech-Wilkinson, D. (2009). Musicology and performance, in Music’s Intellectual History: Founders, Followers and Fads, ed. Zdravko Blazekovic, New York: RILM. Mosch, U. (2004). Musikalisches Hören serieller Musik: Untersuchungen am Beispiel von Pierre Boulez' 'Le Marteau sans maître'. Saarbrücken: Pfau-Verlag. Rink, J. (2015). The (F)utility of Performance Analysis, in: Artistic Practice as Research in Music: Theory, Criticism, Practice, ed. M. Doğantan Dack, Aldershot, 127–147. Olano, Tomás (2013, February 9). Lecture 7 [Part 3/3] Karlheinz Stockhausen - MANTRA (1973) British Lectures [Video file]. Retrieved from https://www.youtube.com/watch?v=XHmcJgJiVe8 Sabbe, H. (1994). Goeyvaerts and the Beginnings of 'Punctual' Serialism and Electronic Music. Revue Belge De Musicologie / Belgisch Tijdschrift Voor Muziekwetenschap, 48, 55-94. Utz, C. (2013). Entwürfe zu einer Theorie musikalischer Syntax, in: Musik-Sprachen, ed. Chr. Utz, D. Kleinrath and C. Gadenstätter, Saarbrücken, 61–101. Utz, C. (2017). Zum performativen Hören serieller Musik. Analyse und Aufführung von Pierre Boulez’ Structures Ia (1951) und Polyphonie X (1951), in: Symposiumsbericht »Wider den Fetisch der Partitur. Hörprobleme serieller und post-serieller Musik«, hrsg. von Susanne Kogler und Martin Zenck (=Beitragsarchiv des Internationalen Kongresses der Gesellschaft für Musikforschung, Mainz 2016 – »Wege der Musikwissenschaft«, hrsg. von Gabriele Buschmeier und Klaus Pietschmann Taruskin, R (n.d.). Chapter 1 Starting from Scratch. In Oxford University Press, Music in the Late Twentieth Century. New York, USA. Zagorski, M. (2009). Material and History in the Aesthetics of 'Serielle Musik'. Journal of the Royal Musical Association, 134(2), 271-317. Thank You!.
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