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TUTTI! - Music Composition as Dialogue

TUTTI! - Music Composition as Dialogue

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Title: TUTTI! - Music Composition as Dialogue
Author: Dupuis-Desormeaux, Nathalie
Abstract: As an engineer, when I could not comprehend a physical phenomenon, I turned to mathematics. As a mathematician, when I could not link sciences to humanity, I turned to music. As a music composer, I no longer see things, I see others.
The novel method of music composition presented herein is a first comprehensive framework, system and architectonic template relying on the ideologies of Mikhail Bakhtin's dialogism as well as on research in auditory perception and cognition to create music dialogue as a means of including and engaging participants in musical communication. Beyond immediate artistic intent, I strive to compose music that fosters inclusiveness and collaboration as a relational social gesture in hope that it might incite people and society to embrace their differences and collaborate with the 'others' around them.
After probing aesthetics, communication studies and sociology, I argue that dialogism reveals itself well-suited to the aims of the current research. With dialogism as a guiding philosophy, the chapters then look at the relationship between music and language, perception as authorship, intertextuality, the interplay of imagination and understanding, means of arousal in music, mimesis, motion in music and rhythmic entrainment. Employing findings from Gestalt psychology, psychoacoustics, auditory scene analysis, cognition and psychology of expectation, the remaining chapters propose a cognitively informed polyphonic music composition method capable of reproducing the different constituents of dialogic communication by creating and organizing melodic, harmonic, rhythmic and structural elements. Music theory and principles of orchestration then move to music composition as examples demonstrate how dialogue scored between voice-parts provides opportunities for performers to interact with each other and, consequently, engage listeners experiencing the collaboration.
As dialogue can be identified in various works, I postulate that the presented Dialogical Music Composition Method can also serve as a method of music analysis. This personal method of composition also supplies tools that other musicians can opt to employ when endeavouring to build balanced dialogue in music.
If visibility is key to identity, then composing music that potentially enters into dialogue which each and every voice promotes 'humanity' through inclusivity, yielding a united Tutti !
Subject: Cognitive psychology
Keywords: Music composition
Polyphonic music composition
Cognitively informed polyphonic music composition
Dialogical Music Composition Method
Dialogic music composition method
Music theory
Dialogic contrapuntal harmony
Orchestration
Melody
Harmony
Polyphony
Counterpoint
Rhythm
Form
Growth
Music architecture
Music analysis
Dialogue
Music dialogue
Dialog
Music dialog
Dialogism
Bakhtin
Reception theory
Gadamer
Kant
Hegel
Adorno
Schoenberg
Stravinsky
Hindemith
Toch
Huron
Bregman
Francès
Dialogic communication
Music communication
Musical communication
Compelling music
Inclusion
Inclusivity
Inclusiveness
Participation
Participatory music
Music as society
Music as community
Music sociology
Engaging music
Engagement
Collaboration
Balanced dialogue in music
Biophony
Niche discrimination
Krause
Communication studies
Language
Music aesthetics
Aesthetics
Philosophy of music
Musicology
Cognitive psychology
Auditory perception
Music cognition
Cognition
Psychology of perception
Reception
Music reception
Auditory streaming
Auditory scene analysis
Gestalt psychology
Authorship
Imagination
Intertextuality
Mimesis
Appropriation
Appropriative authorship
Authoring
Re-authoring
Imagination as creation
Psychoacoustics
Expectation theory
Theory of expectation
Expectation
Psychology of expectation
Tutti
Music arousal
Intellectual arousal
Emotional arousal
Sensory arousal
Entrainment
Physicality
Stability
Variety
Closure
Uniqueness
Sequential dialogue
Collaborative dialogue
Disjoint dialogue
Surprise
Drama
Dramatic structure
Structure of drama
Dramatic work
Freitag
Representation
Memory
Repetition
Experience
Anticipation
Pointing
Anchoring
Anchor
Tonality
Tonal anchor
Close neighbors
Individuality
Collectivity
Formalism
Functionalism
Subjectivity
Structuralism
Cohen
Marburg
Auditory learning
Style
Conventions
Acculturation
Semiotics
Dynamic expectation
Schematic expectation
Veridical expectation
Symmetry
Motivic repetition
Thematic repetition
Style analysis
Modulation
Modulation tools
Memory as experience
Familiarity
Redundancy
Compositional acculturation
Rimsky-Korsakov
Gevaert
Rameau
Bimodality
Bi-modality
Diatonic
Overtones
Perceptual motion
Pitch proximities
Harmonic motion
Polytonality
Polyrhythm
Contemporary music
Art-music
Western art music
Neoclassicism
Modernism
Inclusive dialogue
What makes music compelling?
Selection and Structuring of Music Parameters to Create Inclusive
Engaging and Participatory Dialogue in Music Composition
Performance
Performativity
Small
Musicking
DeNora
Include
Engage
Listener
Audience
Interpretation
Play
Interaction
Interactive
Performer
Conductor
Orchestra
Orchestral music
Instrumental music
Absolute music
Tone painting
Word painting
Singing
Empathy
Mirror neuron
Music meaning
Music expression
Hanslick
Meyer
Langer
Type: Electronic Thesis or Dissertation
Rights: Author owns copyright, except where explicitly noted. Please contact the author directly with licensing requests.
URI: http://hdl.handle.net/10315/34488
Supervisor: Coghlan, Michael
Degree: PhD - Doctor of Philosophy
Program: Music
Exam date: 2017-09-15
Publish on: 2018-05-28

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