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Sound mass, auditory perception, and ‘post-tone’ music

Bibliographic Data

ID14872111
AuthorsJason Noble (0000-0003-0131-3095, McGill University, corresponding author), Stephen Mcadam (0000-0002-6744-9035, McGill University), Stephen McAdams
Year2020
Volume49
Issue3
Pages231-251
Publication date2020-05-26
Peer ReviewedYes
Open AccessNo
TypeARTICLE
VenueJournal of New Music Research (JOURNAL)
Journal identifiersISSN: 0929-8215 • E-ISSN: 1744-5027
PublisherInforma UK Limited (PUBLISHER • GB)
DOI10.1080/09298215.2020.1749673
OpenAlexW3017349250
LanguageEN
Citations received3
References cited26

The term ‘post-tonal’ embodies a broad distinction between musical explorations of new combinations of tones (‘post-tonality’) and explorations of sonic resources other than tones (‘post-tone’). A significant turning-point in post-tone thinking occurred when some composers replaced notes with masses of notes, or sound masses, as musical units. Existing definitions of sound mass are reviewed and a new definition drawing on empirical evidence is offered. The perceptual principles that are involved in the perception of polyphonic music are demonstrated to also ground sound mass perception, with opposite aesthetic goals achieved through radically different musical organisation

Acoustics · Art · Auditory perception · Cognitive psychology · Linguistics · Music Perception · Music psychology · Musical · Musical tone · Perception · Physics · Polyphony · Soundscape · Tonality · Visual arts · Computer Science · Hearing Loss and Rehabilitation · Music Technology and Sound Studies · Neuroscience and Music Perception · Philosophy · Psychology

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Unique citing works3
Citations per year0,5
Citation span2020 - 2021 (2)
Citation velocityhistorical
Highly citedNo
Citation typesNeutral: 1

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