東華大學圖書館 |

語系: 繁體中文

說明(常見問題)

回圖書館首頁

手機版館藏查詢

登入

回首頁

切換: 標籤 | MARC模式 | ISBD

FindBook

Google Book

Amazon

博客來

Voice of the Cathedral: Sound and Space in Twelfth-Century Notre-Dame of Paris.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Voice of the Cathedral: Sound and Space in Twelfth-Century Notre-Dame of Paris./
作者:	Morgan, Kacie.
出版者:	Ann Arbor : ProQuest Dissertations & Theses, : 2021,
面頁冊數:	347 p.
附註:	Source: Dissertations Abstracts International, Volume: 82-10, Section: A.
Contained By:	Dissertations Abstracts International82-10A.
標題:	Music history. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=28323130
ISBN:	9798597007052

Voice of the Cathedral: Sound and Space in Twelfth-Century Notre-Dame of Paris.
Morgan, Kacie.

Voice of the Cathedral: Sound and Space in Twelfth-Century Notre-Dame of Paris. - Ann Arbor : ProQuest Dissertations & Theses, 2021 - 347 p.

Source: Dissertations Abstracts International, Volume: 82-10, Section: A.

Thesis (Ph.D.)--University of California, Los Angeles, 2021.

This item must not be sold to any third party vendors.

My dissertation project examines the relation between sound and space of twelfth-century polyphony in Notre-Dame cathedral during its construction. Beginning in the second half of the twelfth century, a dramatic shift in rhythmic organization in the polyphonic repertoire at Notre-Dame cathedral occured, moving from Gregorian chant to a highly rhythmic note-to-note texture of discant polyphony. In order to analyze the connection between rhythm and acoustics, my project incorporates methods from sound studies, art history, and the digital humanities with historical musicology. My research enables the reconfiguration of sound as an interactive process between the performing body, the vibration of sound waves, and the physical space that contains the performance. I use digital tools and recent research in art history to reconstruct Notre-Dame cathedral as it might have stood at the end of the twelfth century to examine the material condition in the changing performance space and to test the acoustics of the space. My re-analysis demonstrates how the material conditions of the cathedral throughout construction directly impacted the sound production and performance within the cathedral, requiring new musical setting and performance practices. To examine the connection between architecture, acoustics, rhythmic developments, and performance conditions, each chapter examines a new facet of sound and space. In chapter one, I ground a sound-based analysis in the score, and consider the vibrational actualization of notated music to reanalyze polyphonic settings from Wolfenbuttel 1 and the Florence Manuscript. I analyze how rhythmic and textural elements could have functioned as techniques of sound production, the emission of vibrations, and/or sonic emphasis, musical elements designed to highlight, or resound a melodic, harmonic, or rhythmic gesture, in response to the new cathedral acoustics. In chapter two, I investigate the construction history of the cathedral and how the physical and material conditions, including noise and the addition and subtraction of materials, affected performance practice. In chapter three, I analyze the acoustics of the cathedral choir through digital modeling and acoustic simulation, to test elements such as reverberation time, clarity, echo, and sound levels to better understand how the number of singers and the location of singers and listeners affected aural feedback. Finally, in chapter four I analyze the aural feedback of singers and listeners as well as the sonic effects of each polyphonic texture within the acoustics of the choir. All four chapters culminate in this final analysis of how each polyphonic texture sounded to listeners throughout the choir, to provide a new understanding of how the acoustics impacted polyphonic performance.

ISBN: 9798597007052Subjects--Topical Terms:

3342382
Music history.
Subjects--Index Terms:

Digital humanities

Voice of the Cathedral: Sound and Space in Twelfth-Century Notre-Dame of Paris.
LDR:03995nmm a2200373 4500 001 2351002
005 20221107085228.5
008 241004s2021 ||||||||||||||||| ||eng d
020 $a 9798597007052
035 $a (MiAaPQ)AAI28323130
035 $a AAI28323130
040 $a MiAaPQ $c MiAaPQ
100 1 $a Morgan, Kacie. $3 3690543
245 1 0 $a Voice of the Cathedral: Sound and Space in Twelfth-Century Notre-Dame of Paris.
260 1 $a Ann Arbor : $b ProQuest Dissertations & Theses, $c 2021
300 $a 347 p.
500 $a Source: Dissertations Abstracts International, Volume: 82-10, Section: A.
500 $a Advisor: Eidsheim, Nina;Upton, Elizabeth.
502 $a Thesis (Ph.D.)--University of California, Los Angeles, 2021.
506 $a This item must not be sold to any third party vendors.
520 $a My dissertation project examines the relation between sound and space of twelfth-century polyphony in Notre-Dame cathedral during its construction. Beginning in the second half of the twelfth century, a dramatic shift in rhythmic organization in the polyphonic repertoire at Notre-Dame cathedral occured, moving from Gregorian chant to a highly rhythmic note-to-note texture of discant polyphony. In order to analyze the connection between rhythm and acoustics, my project incorporates methods from sound studies, art history, and the digital humanities with historical musicology. My research enables the reconfiguration of sound as an interactive process between the performing body, the vibration of sound waves, and the physical space that contains the performance. I use digital tools and recent research in art history to reconstruct Notre-Dame cathedral as it might have stood at the end of the twelfth century to examine the material condition in the changing performance space and to test the acoustics of the space. My re-analysis demonstrates how the material conditions of the cathedral throughout construction directly impacted the sound production and performance within the cathedral, requiring new musical setting and performance practices. To examine the connection between architecture, acoustics, rhythmic developments, and performance conditions, each chapter examines a new facet of sound and space. In chapter one, I ground a sound-based analysis in the score, and consider the vibrational actualization of notated music to reanalyze polyphonic settings from Wolfenbuttel 1 and the Florence Manuscript. I analyze how rhythmic and textural elements could have functioned as techniques of sound production, the emission of vibrations, and/or sonic emphasis, musical elements designed to highlight, or resound a melodic, harmonic, or rhythmic gesture, in response to the new cathedral acoustics. In chapter two, I investigate the construction history of the cathedral and how the physical and material conditions, including noise and the addition and subtraction of materials, affected performance practice. In chapter three, I analyze the acoustics of the cathedral choir through digital modeling and acoustic simulation, to test elements such as reverberation time, clarity, echo, and sound levels to better understand how the number of singers and the location of singers and listeners affected aural feedback. Finally, in chapter four I analyze the aural feedback of singers and listeners as well as the sonic effects of each polyphonic texture within the acoustics of the choir. All four chapters culminate in this final analysis of how each polyphonic texture sounded to listeners throughout the choir, to provide a new understanding of how the acoustics impacted polyphonic performance.
590 $a School code: 0031.
650 4 $a Music history. $3 3342382
650 4 $a Medieval history. $3 3173905
650 4 $a Art history. $3 2122701
653 $a Digital humanities
653 $a Discant
653 $a Notre-Dame of Paris
653 $a Polyphony
653 $a Sound studies
690 $a 0208
690 $a 0581
690 $a 0377
710 2 $a University of California, Los Angeles. $b Musicology 0604. $3 2095980
773 0 $t Dissertations Abstracts International $g 82-10A.
790 $a 0031
791 $a Ph.D.
792 $a 2021
793 $a English
856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=28323130