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Orchestral Gestures: Music-Theoretical Perspectives and Emotional Responses.

Record Type:	Electronic resources : Monograph/item
Title/Author:	Orchestral Gestures: Music-Theoretical Perspectives and Emotional Responses./
Author:	Goodchild, Meghan.
Published:	Ann Arbor : ProQuest Dissertations & Theses, : 2016,
Description:	323 p.
Notes:	Source: Dissertations Abstracts International, Volume: 82-10, Section: A.
Contained By:	Dissertations Abstracts International82-10A.
Subject:	Psychology. -
Online resource:	https://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=28251461
ISBN:	9798597037424

Orchestral Gestures: Music-Theoretical Perspectives and Emotional Responses.
Goodchild, Meghan.

Orchestral Gestures: Music-Theoretical Perspectives and Emotional Responses. - Ann Arbor : ProQuest Dissertations & Theses, 2016 - 323 p.

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

Thesis (Ph.D.)--McGill University (Canada), 2016.

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

This dissertation employs novel interdisciplinary approaches to the study of orchestral gestures through music-theoretical investigations and perceptual listening experiments. It provides a foundation for a theory of orchestral gestures that incorporates listener experiences and considers the structural and expressive role of orchestration-a topic that is currently underdeveloped in music research.In the first music-theoretical investigation, the development of the orchestral crescendo and other types of orchestral shaping were explored through a historical discussion of orchestral effects and textures. As a starting point for inquiry, I proposed a typology of orchestral gestures defined by changes in instrumentation based on the time course (gradual or sudden changes) and direction (additive or reductive changes). The four types relate to the descriptions in the literature of an orchestral crescendo (gradual addition), the reverse process (gradual reduction), and timbral contrasts including a rapid switch to tutti forces (sudden addition) and the drop-off to a contrast choir or soloist (sudden reduction). The conceptualization of orchestral shaping as a type of musical gesture, rather than as an effect or technique, captures its goal-directed sense of motion and expressive agency as a carrier of emotional force.As a counterpart to the theoretical work, an exploratory perceptual experiment investigated listeners' responses to orchestral gestures. The results revealed that the response profiles differ for the four types, including a lingering effect of high emotional intensity for the gradual and sudden reduction gestures. I developed a new type of graphical visualization that provides a synoptic view of the gesture by assembling score-based and performance-based musical features. The visualizations prove to be a crucial music-theoretical and analytical tool, assisting in examining the evolution of listeners' emotional reactions in response to changes in musical features.In the second music-theoretical investigation, the prevailing informal use of recomposition was developed into a hypothesis-testing method, which can also be used to explore the role of orchestration. In a case study, recompositions were created to examine specific structural and orchestral features of the sudden reduction gesture type. The method was employed on a large-scale level to test a hypothesis related to the connection between emotional valence and timbral brightness. Expert reorchestrations of orchestral gestures were created to study the effects of independently modifying instrumentation to adjust the relative brightness. Using the Digital Orchestra Simulator (DOSim), realistic acoustical renderings preserved performance timings and dynamic variations across the original excerpts and their reorchestrations.In the accompanying listening experiment, subjective (arousal and valence responses) and objective (biosensor) measures were recorded continuously while participants listened to original and reorchestrated versions. Activity analysis, a new type of analytical approach, was employed to investigate response coordination and areas of high activity across the original, bright, and dark versions. Whereas the arousal measures were mainly invariant to changes in orchestration, the valence measures differed for brightened and darkened versions, although not always in the predicted direction. This research indicates that the brightness of the orchestration leading up to an expressive event dramatically shapes the resulting experience.

ISBN: 9798597037424Subjects--Topical Terms:

519075
Psychology.
Subjects--Index Terms:

Orchestral gestures

Orchestral Gestures: Music-Theoretical Perspectives and Emotional Responses.
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100 1 $a Goodchild, Meghan. $3 3556291
245 1 0 $a Orchestral Gestures: Music-Theoretical Perspectives and Emotional Responses.
260 1 $a Ann Arbor : $b ProQuest Dissertations & Theses, $c 2016
300 $a 323 p.
500 $a Source: Dissertations Abstracts International, Volume: 82-10, Section: A.
500 $a Advisor: Wild, Jonathan;McAdams, Stephen.
502 $a Thesis (Ph.D.)--McGill University (Canada), 2016.
506 $a This item must not be sold to any third party vendors.
520 $a This dissertation employs novel interdisciplinary approaches to the study of orchestral gestures through music-theoretical investigations and perceptual listening experiments. It provides a foundation for a theory of orchestral gestures that incorporates listener experiences and considers the structural and expressive role of orchestration-a topic that is currently underdeveloped in music research.In the first music-theoretical investigation, the development of the orchestral crescendo and other types of orchestral shaping were explored through a historical discussion of orchestral effects and textures. As a starting point for inquiry, I proposed a typology of orchestral gestures defined by changes in instrumentation based on the time course (gradual or sudden changes) and direction (additive or reductive changes). The four types relate to the descriptions in the literature of an orchestral crescendo (gradual addition), the reverse process (gradual reduction), and timbral contrasts including a rapid switch to tutti forces (sudden addition) and the drop-off to a contrast choir or soloist (sudden reduction). The conceptualization of orchestral shaping as a type of musical gesture, rather than as an effect or technique, captures its goal-directed sense of motion and expressive agency as a carrier of emotional force.As a counterpart to the theoretical work, an exploratory perceptual experiment investigated listeners' responses to orchestral gestures. The results revealed that the response profiles differ for the four types, including a lingering effect of high emotional intensity for the gradual and sudden reduction gestures. I developed a new type of graphical visualization that provides a synoptic view of the gesture by assembling score-based and performance-based musical features. The visualizations prove to be a crucial music-theoretical and analytical tool, assisting in examining the evolution of listeners' emotional reactions in response to changes in musical features.In the second music-theoretical investigation, the prevailing informal use of recomposition was developed into a hypothesis-testing method, which can also be used to explore the role of orchestration. In a case study, recompositions were created to examine specific structural and orchestral features of the sudden reduction gesture type. The method was employed on a large-scale level to test a hypothesis related to the connection between emotional valence and timbral brightness. Expert reorchestrations of orchestral gestures were created to study the effects of independently modifying instrumentation to adjust the relative brightness. Using the Digital Orchestra Simulator (DOSim), realistic acoustical renderings preserved performance timings and dynamic variations across the original excerpts and their reorchestrations.In the accompanying listening experiment, subjective (arousal and valence responses) and objective (biosensor) measures were recorded continuously while participants listened to original and reorchestrated versions. Activity analysis, a new type of analytical approach, was employed to investigate response coordination and areas of high activity across the original, bright, and dark versions. Whereas the arousal measures were mainly invariant to changes in orchestration, the valence measures differed for brightened and darkened versions, although not always in the predicted direction. This research indicates that the brightness of the orchestration leading up to an expressive event dramatically shapes the resulting experience.
520 $a En s'appuyant sur une approche pluridisciplinaire innovante, cette these aborde le probleme des gestes orchestraux a travers des investigations basees sur la theorie de la musique et des experiences perceptives. Ces travaux definissent les bases d'une theorie des gestes orchestraux integrant l'experience de l'auditeur tout en considerant le role structurant et expressif de l'orchestration, sujet encore tres peu developpe dans le contexte de la recherche musicale.Au cours d'une premiere etude theorique, le developpement des crescendos et d'autres types de d'arrangements orchestraux a ete aborde dans une discussion sur l'histoire des textures et des effets orchestraux. Comme point de depart, une typologie des gestes orchestraux a ete proposee. Elle est caracterisee par les changements dans l'instrumentation bases sur l'evolution temporelle (graduelle ou soudaine) et sur la direction (changements additifs ou reducteurs). Les quatre types de gestes definis font ainsi reference a des descriptions issues de la litterature sur les crescendos orchestraux (augmentation graduelle), les decrescendos (diminution graduelle), et les contrastes de timbre incluant soit un changement rapide vers le mode tutti (addition soudaine), soit au contraire la diminution vers un choeur ou un soliste (reduction soudaine). Ainsi, la conceptualisation de l'arrangement orchestral comme un type de geste musical plutot qu'un effet ou une technique integre a la fois son intention dirigee vers le sens du mouvement et son caractere expressif vecteur d'emotions.En contrepartie du travail theorique precedent, une experience exploratoire a etudie les reponses des auditeurs aux gestes orchestraux. Les resultats ont mis en evidence que les profils de reponses des auditeurs different en fonction des quatre types de gestes, incluant en particulier un effet persistant d'intensite emotionnelle elevee pour les gestes en reduction graduelle et soudaine Un nouveau type de visualisation graphique permettant une vision synoptique des gestes en combinant des caracteristiques issues des partitions et des performances musicales a egalement ete developpe. Ces visualisations se sont revelees etre un outil analytique et theorique crucial permettant d'evaluer l'evolution des reponses emotionnelles en fonction des changements musicaux.Dans la seconde etude theorique, l'utilisation informelle de la recomposition a ete developpee pour un test d'hypothese, pouvant egalement etre utilisee pour explorer le role de l'orchestration. Au cours d'une etude de cas, des recompositions ont ete creees afin d'etudier l'influence des caracteristiques structurelles et orchestrales specifiques dans le cas des reductions soudaines. Cette methode a ensuite ete utilisee a plus grande echelle dans le but d'evaluer une hypothese sur les relations entre la valence emotionnelle et la brillance sonore. Des reorchestrations expertes de gestes orchestraux ont ete creees afin d'etudier les effets independants d'une modification de l'instrumentation pour l'ajustement relatif de la brillance. Afin de garder un rendu sonore realiste preservant aussi bien le tempo que les variations dynamiques entre les extraits originaux et leurs reorchestrations, le simulateur d'orchestre numerique DOSim (Digital Orchestra Simulator) a ete utilise.Dans l'experience perceptive accompagnant cette seconde etude theorique, des mesures subjectives (reponses d'eveil et de valence) et objectives (biocapteurs) ont ete enregistrees continument pendant que les sujets ecoutaient les versions originales et reorchestrees. Un nouveau type d'approche analytique, l'analyse d'activite, a ete utilisee pour evaluer la coordination des reponses et les zones de haute activite entre versions originale, brillante, et sombre. Alors que les mesures d'eveil sont restees globalement invariantes aux changements d'orchestration, les mesures de valences se sont averees differentes entre les versions brillante et sombre, bien qu'elles ne differaient pas toujours dans la direction attendue initialement. Cette etude met donc en evidence que la brillance de l'orchestration conduisant a un evenement expressif sculpte de facon dramatique l'experience perceptive resultante.
590 $a School code: 0781.
650 4 $a Psychology. $3 519075
650 4 $a Orchestras. $3 3556292
650 4 $a Emotions. $3 524569
650 4 $a Musicology. $3 575902
650 4 $a Cognition & reasoning. $3 3556293
650 4 $a Music theory. $3 547155
653 $a Orchestral gestures
653 $a Orchestral shaping
690 $a 0221
710 2 $a McGill University (Canada). $3 1018122
773 0 $t Dissertations Abstracts International $g 82-10A.
790 $a 0781
791 $a Ph.D.
792 $a 2016
793 $a English
856 4 0 $u https://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=28251461