Mind, Body, and Time: A Bergsonian Theory of Musical Impressionism

dc.contributor.advisorFine, Abigail
dc.contributor.authorBopp, Emily
dc.date.accessioned2024-08-07T22:02:24Z
dc.date.available2024-08-07T22:02:24Z
dc.date.issued2024-08-07
dc.description.abstractTraditional style histories of midcentury musicology tend to reduce Musical Impressionism to color, light, and debussyste conventions, over-emphasizing visuality and limiting its purview to a scant few composers. To expand our understanding of atmospheric effects in French Musical Impressionism, I trace an alternative intellectual history through the music criticism of the period, which reveals philosophical sensibilities that recontextualize the significance of Impressionist music as more than mere sensation. More specifically, prominent music critics engaged with nascent perception theories and the process philosophy of Henri Bergson as Impressionism gained traction, finding this music to be an ample opportunity for reconfiguring the senses; that is, our sensory perception, sense of Self, and sense of time. Accordingly, I propose a new frame for Musical Impressionism, in which the composers aim not solely to create an atmosphere, but to render time indistinct for the listener as a means of reunifying mind and body.en_US
dc.identifier.urihttps://hdl.handle.net/1794/29786
dc.language.isoen_US
dc.publisherUniversity of Oregon
dc.rightsAll Rights Reserved.
dc.subjectBergsonen_US
dc.subjectDebussyen_US
dc.subjectImpressionismen_US
dc.subjectIntellectual Historyen_US
dc.subjectSymbolismen_US
dc.subjectSynesthesiaen_US
dc.titleMind, Body, and Time: A Bergsonian Theory of Musical Impressionism
dc.typeElectronic Thesis or Dissertation
thesis.degree.disciplineSchool of Music and Dance
thesis.degree.grantorUniversity of Oregon
thesis.degree.levelmasters
thesis.degree.nameM.A.

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