Anticipating the Unknown: Applications of Expectation Theory to Rhythm in Barber's Sonata for Piano

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dc.contributor.advisorBrandt, Anthony K.en_US
dc.contributor.committeeMemberRoux, Roberten_US
dc.contributor.committeeMemberLoewen, Peteren_US
dc.contributor.committeeMemberLogan, Jessica M.en_US
dc.creatorOliver, Jennifer Eileenen_US
dc.date.accessioned2014-10-03T14:50:17Zen_US
dc.date.available2014-10-03T14:50:17Zen_US
dc.date.created2014-05en_US
dc.date.issued2014-04-24en_US
dc.date.submittedMay 2014en_US
dc.date.updated2014-10-03T14:50:17Zen_US
dc.description.abstractThe music of American composer Samuel Barber (1910-1981) emerged from a transformative era in which the rise of modernism systematically dismantled the musical traditions of previous centuries and revolutionized the musical experience of its audience by challenging their established expectations--the collective experiences and cognitive associations that predispose individuals to anticipate certain musical events over others. While the thorough application of modernism overturned the familiar expectations used by listeners to process their musical experiences, Barber’s music moderates the perceptual challenges of more rigorous modernism by embracing various aspects of modernism but doing so in a manner that consciously incorporates rather than subverts the core elements of traditional composition, thereby gradually transitioning the listeners’ expectations from the familiarity of the traditional vernacular to a more modern rhetoric. Drawing on an understanding of the cognitive process behind creating and applying musical expectations, this study demonstrates how Barber's Sonata for Piano, Op. 26 supports, departs from, or disguises the basic principles of expectation in the area of rhythm, a compelling topic since rhythm is one of the most readily accessible fundamentals of music and one that generates equally powerful expectations. The cumulative result of this study illustrates how Barber merges the contrasting norms of classicism and modernism, skillfully interweaving these two dialects while alternately supporting or challenging traditional rhythmic expectations.en_US
dc.format.mimetypeapplication/pdfen_US
dc.identifier.citationOliver, Jennifer Eileen. "Anticipating the Unknown: Applications of Expectation Theory to Rhythm in Barber's Sonata for Piano." (2014) Diss., Rice University. <a href="https://hdl.handle.net/1911/77380">https://hdl.handle.net/1911/77380</a>.en_US
dc.identifier.urihttps://hdl.handle.net/1911/77380en_US
dc.language.isoengen_US
dc.rightsCopyright is held by the author, unless otherwise indicated. Permission to reuse, publish, or reproduce the work beyond the bounds of fair use or other exemptions to copyright law must be obtained from the copyright holder.en_US
dc.subjectSamuel Barberen_US
dc.subjectSonata for pianoen_US
dc.subjectCognitionen_US
dc.subjectExpectation theoryen_US
dc.subjectPiano performanceen_US
dc.titleAnticipating the Unknown: Applications of Expectation Theory to Rhythm in Barber's Sonata for Pianoen_US
dc.typeThesisen_US
dc.type.materialTexten_US
thesis.degree.departmentMusicen_US
thesis.degree.disciplineMusicen_US
thesis.degree.grantorRice Universityen_US
thesis.degree.levelDoctoralen_US
thesis.degree.nameDoctor of Musical Artsen_US
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