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pierre-boulez

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Journal Articles
Music Perception. 2018; 36177–97 doi: https://doi.org/10.1525/mp.2018.36.1.77
Published: 01 September 2018
... similarity motivic variation Pierre Boulez Notes 1. For participants listening to Anthèmes 1 , each of these five blocks was itself performed three times, using the same stimuli, so that participants completed the same tasks with the stimuli belonging to one motivic family three times in direct...
Includes: Supplementary data
Journal Articles
Music Perception. 2018; 354475–501 doi: https://doi.org/10.1525/mp.2018.35.4.475
Published: 01 April 2018
Journal Articles
Music Perception. 2017; 35160–76 doi: https://doi.org/10.1525/mp.2017.35.1.60
Published: 01 September 2017
...). Participants listened to the music over AKG headphones at a comfortable loud- ness level. The recording was Igor R. Stravinsky s original 1920 version of Symphonies of Wind Instruments (9 min 16 s) played by the Berlin Philharmonic Orchestra and conducted by Pierre Boulez (Stravinsky, 1920/1999, track 1...
Journal Articles
Music Perception. 2015; 324434–436 doi: https://doi.org/10.1525/mp.2015.32.4.434
Published: 01 April 2015
... 1970s at Michigan State University subsequently found many applications related to research in the area of audio descriptors and led to a musical research posi- tion at the Institut de recherche et coordination acous- tique/musique (IRCAM) in Paris at the invitation of Pierre Boulez in 1976. He was...
Journal Articles
Music Perception. 2001; 183233–243 doi: https://doi.org/10.1525/mp.2001.18.3.233
Published: 01 March 2001
... captures the main fea- tures of all the presentations while still effecting this simplification of the musical environment (for details, see Deliège, 2001). Recently, during a meeting that Pierre Boulez devoted to the analysis of his latest work Sur Incises, it occurred to me that the two fundamental...
Journal Articles
Music Perception. 2001; 183297–324 doi: https://doi.org/10.1525/mp.2001.18.3.297
Published: 01 March 2001
... considered as an instance of the superordinate level The roles of the cue abstraction mechanism have been tested, with adult musicians and nonmusicians, using pieces from the contemporary reper- toire (by Reich: Deliège, 1991; by Berio: Deliège, 1989; Deliège & El Ahmadi, 1990; and by Boulez: Deliège, 1989...
Journal Articles
Music Perception. 2001; 183275–296 doi: https://doi.org/10.1525/mp.2001.18.3.275
Published: 01 March 2001
... and categorization.2 References Anagnostopoulou, C., & Smaill, A. (2000). Similarity and categorisation in Boulez Parenthese from the Third Piano Sonata: A formal analysis. Proceedings of the 6th ICMPC, Keele, U.K. Andrews, M. W., & Dowling, W. J. (1991). The development of perception of interleaved...
Journal Articles
Music Perception. 1988; 6240285427 doi: https://doi.org/10.2307/40285427
Published: 01 December 1988
...) : Luciano Berio Benoit Mernier (organ) : Olivier Messiaen Susanna Mildonian (harp) : Frank Martin Dominque Mols (soprano) : Georges Benjamin Tristan Murail (ondes Martenot) : Tristan Murail Jean-Pierre Peuvion (clarinet) : Pierre Boulez, Baudouin de Jaer, Giacinto Scelsi Marianne Pousseur (singing) : R...
Journal Articles
Music Perception. 1992; 10183–91 doi: https://doi.org/10.2307/40285540
Published: 01 October 1992
... makes some sense. A few works, Maintenance of Passive Auditory Attention 87 such as the well-known Bolero by Maurice Ravel or Pli Selon Pli by Pierre Boulez appear to be structured in a way consistent with this view. Indeed, a large number of musical works appear to be organized as extended Crescendos...
Journal Articles
Music Perception. 1990; 73213–251 doi: https://doi.org/10.2307/40285462
Published: 01 April 1990
... which would involve an increased memory component. Deliège's method was to play commercial recordings of a performance of Sequenza VI for solo viola by the contemporary Italian composer Luciano Berio and of the orchestral work Eclat by Pierre Boulez. In the course of three complete hearings, subjects...