Full Description
Traditional music theory struggles to provide a framework for the complex sonic structures of 21st-century music, often overlooking the structural roles of noise, timbre, and space. This book introduces a unified analytical framework based on Complex Systems Theory and Entropy to understand musical form.
The core premise is that our perception of music is not an isolated phenomenon but is rooted in our everyday experience of our surroundings, which is governed by entropic processes. The book argues that the classical idea of cadence may have evolved beyond the strict use of pitch parameters. Drawing from original empirical psychoacoustic studies, it suggests that listeners may perceive cadence in the transition from order to disorder - in movements from structured pitches to high-entropy noise or in the perception of discontinuities in spatial sound. The book applies these concepts to analyze works by Varèse, Ligeti, Saariaho, Berio, Roads, and others, offering composers and scholars a powerful, non-ethnocentric toolkit. It is essential reading for music professionals and all readers interested in cutting-edge research on the relationships between music and nature.
This book provides a theoretical foundation for music created since the mid-20th century. While contemporary composition has extensively adopted noise, inharmonicity, and spatialization as primary structural materials, analytical frameworks to account for their formal function (beyond mere timbre description) have been lacking.
By transplanting concepts from physics and natural science, the book offers a solid framework to discuss emerging musical and aesthetic approaches, including Acoustic Ecology and Sound Studies. By empirically investigating the notion of musical cadence in relation to these entropic processes, the book directly bridges the historical gap between pitch-centric theory and the aesthetics of sound studies, providing a powerful tool for future musicological and compositional research.
Contents
1 An Experimental Music Theory? 1.1 Introduction1.2 From Musicology to Sound Studies1.3 What Is Music? 2 Theory or Theories? 2.1 Music Theory or Music Theories? 2.2 Contemporary Approaches 2.2.1 Timbre2.2.2 Temporality 2.2.3 Space 2.2.4 Overarching and Meta-Musical Topics 2.3 Emerging Topics and Open Questions 3 Perceiving the World 3.1 The Relationship Between Music and Nature 3.1.1 From the Harmony of the Spheres to Representing Nature 3.1.2 Focus on Mental Processes and the Subjective Experience 3.1.3 Recording Technology and the New Interest in Nature 3.2 Complex Systems, Emergent Properties, Entropy 3.2.1 Introducing Complex Systems 3.2.2 Music as a Complex System 3.2.3 The Crisp Edges of Reality 4 Entropy 4.1 Introduction to Entropy 4.2 Entropy in Music Theory and Musicology4.3 Entropy in Spectrum, Temporality, and Space 4.3.1 Timbre 4.3.2 Temporality 4.3.3 Space 4.4 Noise and Silence 4.5 The Inevitable March Towards Disorder5 Building Complexity 5.1 The World Is a Complex System 5.2 The Paradox of Entropy and Complexity 5.3 The Inverted-U Relationship 5.4 Order, Density, and the Emergence of Complexity 5.5 Repetition as the Simplest Form of Organization 5.5.1 Timbre 5.5.2 Temporality 5.5.3 Space 5.6 Complexity Is Fragile 6 Cadence 6.1 Order and Prediction: The Role of Expectancy 6.2 Can We Speak of Cadence Today? 6.3 Perception of Closure in Atonal Domains 6.3.1 The Relationship of Pitch to Noise 6.3.2 Perception of Cadence in A Spatial Environment 6.4 Cadential Patterns in Twenty-First CenturyMusic 6.4.1 György Ligeti: Atmosphères 6.4.2 Kaija Saariaho: Lichtbogen 6.4.3 Helmut Lachenmann: Pression 6.4.4 Salvatore Sciarrino: 6 Capricci Per Violino, Mov. 1 6.4.5 Sofia Gubaidulina: Offertorium 6.5 Four Electroacoustic Music Works 6.5.1 Natasha Barrett: Animalcules6.5.2 Jonty Harrison: Klang 6.5.3 Curtis Roads: Half Life6.5.4 Annette Vande Gorne: Bois 6.6 On Global and Local Closes 6.6.1 Edgard Varèse: Intégrales6.6.2 Luciano Berio: Sequenza Ii Per Arpa 7 Conclusions
