The emancipation of discordance

dc.contributor.advisorDrott, Eric, 1972-
dc.creatorCox, Daniel Nathanen
dc.date.accessioned2014-10-09T20:31:17Zen
dc.date.issued2014-05en
dc.date.submittedMay 2014en
dc.date.updated2014-10-09T20:31:17Zen
dc.descriptiontexten
dc.description.abstractThis study proposes a primarily esthesic, listener-oriented approach to discussing music that is "out of tune" or discordant. The paper is divided into two main sections: in part one I work to define discordance as a type of qualia experienced when a hypothetical listener perceives something as "out of tune." I then present a classification scheme for categorizing different varieties of discordance qualia, based on the perceived intentionality behind discordant events. This system details three primary categories of discordance: 1) incidental, whereby discordance is introduced via a performer's mistake or oversight; 2) expressive, which includes discordances introduced intentionally by a performer; and 3) structural, whereby the discordance is systemic, resulting from factors outside the control of any individual performer. In part two, I present an analytic essay on a movement from Easley Blackwood's 1980 Twelve Microtonal Etudes, a work that invokes structural discordance qualia in listeners enculturated in twelve-tone equal temperament. This analysis explores Blackwood's attempt to mimic functional tonal syntax in nineteen-tone equal temperament, and describes the impact of the structural discordance qualia on familiar varieties of tonal ambiguity.en
dc.description.departmentMusicen
dc.format.mimetypeapplication/pdfen
dc.identifier.urihttp://hdl.handle.net/2152/26420en
dc.language.isoenen
dc.subjectDiscordanceen
dc.subjectQualiaen
dc.subjectTuningen
dc.subjectTemperamenten
dc.titleThe emancipation of discordanceen
dc.typeThesisen
thesis.degree.departmentMusicen
thesis.degree.disciplineMusicen
thesis.degree.grantorThe University of Texas at Austinen
thesis.degree.levelMastersen
thesis.degree.nameMaster of Musicen

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