The Perception of Frozen Intervals in Anton Webern’s Concerto for Nine Instruments, Op. 24, Third Movement

Many have described twelve-tone music as difficult to aurally comprehend (e.g., Huron, 2006; Meyer, 1967). This study addresses such claims by investigating what listeners can implicitly learn when hearing a recording of a twelve-tone composition. Krumhansl (1990) has argued that listeners unfamilia...

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Veröffentlicht in:	Music theory spectrum 2020-04, Vol.42 (1), p.38-53
1. Verfasser:	BROWN, JENINE
Format:	Artikel
Sprache:	eng
Online-Zugang:	Volltext
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