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Listening inside the memory palace (...

Joyce, William Brooke.

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Listening inside the memory palace (Ralph Vaughan Williams, England, Morton Feldman, Gyorgy Kurtag, Hungary).

Record Type:	Electronic resources : Monograph/item
Title/Author:	Listening inside the memory palace (Ralph Vaughan Williams, England, Morton Feldman, Gyorgy Kurtag, Hungary)./
Author:	Joyce, William Brooke.
Description:	146 p.
Notes:	Source: Dissertation Abstracts International, Volume: 65-11, Section: A, page: 4040.
Contained By:	Dissertation Abstracts International65-11A.
Subject:	Music. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3154541
ISBN:	0496150928

Listening inside the memory palace (Ralph Vaughan Williams, England, Morton Feldman, Gyorgy Kurtag, Hungary).
Joyce, William Brooke.

Listening inside the memory palace (Ralph Vaughan Williams, England, Morton Feldman, Gyorgy Kurtag, Hungary). - 146 p.

Source: Dissertation Abstracts International, Volume: 65-11, Section: A, page: 4040.

Thesis (Ph.D.)--Princeton University, 2005.

The ephemeral and temporal qualities of performed music lead us to engage more often with our memory of a musical experience rather than with its physical sound. Despite the presence of a score or some ancillary representation of sound, we as listeners can only experience music, either live or recorded, in the restricted time domain that it establishes. Once the music stops sounding, we are left to engage with our memory of the sound, its residue quickly disintegrating in our minds. "Listening Inside the Memory Palace," explores the various ways that we experience music through the lens of memory. The ancient Greeks devised the memory palace to aid in the memorization of words and facts through visual memory cues. In my essay, I suggest that the memory palace can also be utilized as a guide for listening to music. By establishing real or virtual spaces that can contain sonic information, we ascribe to music a tactile presence that makes it easier to analyze and enjoy. Furthermore, I believe that some composers deploy specific musical techniques that intentionally lead the listener to recall the past, perhaps through the quotation of a preexisting musical object or through reference to an historical musical style. I am interested in exploring how listeners make sense of music that seems to exist both as a musical force of the present as well as an artifact of the past. My goal is to encourage listeners to approach musical experiences with an enhanced awareness of their own musical memories. Individual chapters consider music by Ralph Vaughan Williams (Fantasia on a theme by Thomas Tallis), Morton Feldman (Rothko Chapel) and Gyorgy Kurtag (... quasi una fantasia...) in light of a listening experience guided by the architecture of a memory palace. Throughout my discussion I make several detours into the realm of compositional process as seen through the lens of memory, focusing on several contemporary composers including myself.

ISBN: 0496150928Subjects--Topical Terms:

516178
Music.

Listening inside the memory palace (Ralph Vaughan Williams, England, Morton Feldman, Gyorgy Kurtag, Hungary).
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245 1 0 $a Listening inside the memory palace (Ralph Vaughan Williams, England, Morton Feldman, Gyorgy Kurtag, Hungary).
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500 $a Source: Dissertation Abstracts International, Volume: 65-11, Section: A, page: 4040.
500 $a Adviser: Barbara White.
502 $a Thesis (Ph.D.)--Princeton University, 2005.
520 $a The ephemeral and temporal qualities of performed music lead us to engage more often with our memory of a musical experience rather than with its physical sound. Despite the presence of a score or some ancillary representation of sound, we as listeners can only experience music, either live or recorded, in the restricted time domain that it establishes. Once the music stops sounding, we are left to engage with our memory of the sound, its residue quickly disintegrating in our minds. "Listening Inside the Memory Palace," explores the various ways that we experience music through the lens of memory. The ancient Greeks devised the memory palace to aid in the memorization of words and facts through visual memory cues. In my essay, I suggest that the memory palace can also be utilized as a guide for listening to music. By establishing real or virtual spaces that can contain sonic information, we ascribe to music a tactile presence that makes it easier to analyze and enjoy. Furthermore, I believe that some composers deploy specific musical techniques that intentionally lead the listener to recall the past, perhaps through the quotation of a preexisting musical object or through reference to an historical musical style. I am interested in exploring how listeners make sense of music that seems to exist both as a musical force of the present as well as an artifact of the past. My goal is to encourage listeners to approach musical experiences with an enhanced awareness of their own musical memories. Individual chapters consider music by Ralph Vaughan Williams (Fantasia on a theme by Thomas Tallis), Morton Feldman (Rothko Chapel) and Gyorgy Kurtag (... quasi una fantasia...) in light of a listening experience guided by the architecture of a memory palace. Throughout my discussion I make several detours into the realm of compositional process as seen through the lens of memory, focusing on several contemporary composers including myself.
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