The present study on Maderna’s quartet aims to compare the “macroform” (the large-scale structure of a musical piece) perceived by subjects while listening to the piece in real time, and the “macroform” as perceived by analysts. The study also examines the correlation between “macroform” and perception of tension/relaxation. Two groups of subjects took part in the experiment: 25 non-musicians and 32 musicians. The experiment was carried out both in Bologna and in Edinburgh. We made use of a special computer program, which allows each subject to listen to a piece through head-phones and indicate the points of division and the tension/relaxation perceived while listening in real time. The experiment lasted approximately 60 minutes and involved various steps and tasks. After an initial listening which served to become familiar with the piece and with the computer program, the subjects had to listen to the piece again and identify its main sections. They then had to indicate the criteria they used in formulating their solutions. In the next listening they had to indicate the largest zones of tension and relaxation they perceived. The macroforms perceived by the subjects were compared with 4 macroforms indicated by professional analysts based on listening rather than on analytical theories. The data showed higher correlation between macroforms perceived by the subjects and only 2 macroforms indicated by the analysts, and correlation between the macroforms and tension/relaxation perceived by subjects. The differences between musicians and non musicians and Italian and Edinburgh groups were not significant.
Auditive analysis of the Quartetto per Archi in due tempi (1955) by Bruno Maderna
ADDESSI, ANNA RITA
2010
Abstract
The present study on Maderna’s quartet aims to compare the “macroform” (the large-scale structure of a musical piece) perceived by subjects while listening to the piece in real time, and the “macroform” as perceived by analysts. The study also examines the correlation between “macroform” and perception of tension/relaxation. Two groups of subjects took part in the experiment: 25 non-musicians and 32 musicians. The experiment was carried out both in Bologna and in Edinburgh. We made use of a special computer program, which allows each subject to listen to a piece through head-phones and indicate the points of division and the tension/relaxation perceived while listening in real time. The experiment lasted approximately 60 minutes and involved various steps and tasks. After an initial listening which served to become familiar with the piece and with the computer program, the subjects had to listen to the piece again and identify its main sections. They then had to indicate the criteria they used in formulating their solutions. In the next listening they had to indicate the largest zones of tension and relaxation they perceived. The macroforms perceived by the subjects were compared with 4 macroforms indicated by professional analysts based on listening rather than on analytical theories. The data showed higher correlation between macroforms perceived by the subjects and only 2 macroforms indicated by the analysts, and correlation between the macroforms and tension/relaxation perceived by subjects. The differences between musicians and non musicians and Italian and Edinburgh groups were not significant.I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.
