Use this URL to cite or link to this record in EThOS: https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.783425
Title: Acousmatic experience and musical movement : a pluralistic conception
Author: Jacob, Salomé
ISNI:       0000 0004 7969 0154
Awarding Body: Durham University
Current Institution: Durham University
Date of Award: 2019
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Abstract:
This thesis attempts to reconcile the intuition that musical experience involves physical movement, such as bowing movement, with the acousmatic thesis. The first intuition is part of what I call the Datum. The acousmatic thesis, most notably defended by Roger Scruton (1999; 2009), holds that musical sounds are heard as detached from their sources of production. While the acousmatic thesis has conceptual force, it seems unable to honour the Datum. Chapter 1 sets out in more details this apparent dichotomy between the Datum and the acousmatic thesis defended by Scruton. Chapter 2 draws on points of historical interest - from Aristotle, Newton, Leibniz, and Descartes - that may help to explain what conception of musical movement we hold. Chapter 3 is pivotal to illustrate some of the points raised in previous chapters as well as to shed light on the complexity of musical movement (in particular melodic and sound-producing movement), and various forms of acousmatic experience. The acousmatic thesis that I gesture at at the end of the thesis elaborates upon the descriptive phenomenology of the beginning of Rachmaninoff's Second Piano Concerto and Ligeti's Atmosphères. Chapter 4 critically engages with the debate on the nature of melodic movement, while Chapter 5 examines how we can perceive, through audition, sound-producing movement. In Chapter 6, I argue that Scruton's acousmatic thesis can accommodate the perception and aesthetic significance of some kinds of sound-producing movements. However, his view faces certain limitations, which leads me to suggest a modified acousmatic thesis. Chapter 7 seeks to finesse this modified acousmatic thesis, focusing on the spatiality of music and on the combination of melodic and sound-producing movement in the listening experience (Rachmaninoff's concerto). The notion of imbrication is, I think, a promising avenue to make sense of this fusion of two kinds of movement.
Supervisor: Not available Sponsor: Not available
Qualification Name: Thesis (Ph.D.) Qualification Level: Doctoral
EThOS ID: uk.bl.ethos.783425  DOI: Not available
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