Concealing to Reveal: Musical Masking as a Compositional Strategy.

다국어 초록 (Multilingual Abstract)

Musical masking, a compositional technique derived from auditory perception principles, involves the deliberate obscuring or alteration of sonic elements to manipulate listener focus and challenge conventional auditory expectations. This dissertation posits that musical masking serves as a powerful tool for composers to deconstruct familiar sound objects, recontextualize acoustic experiences, and expand the boundaries of musical expression. By strategically employing masking techniques, composers can create complex auditory landscapes that invite listeners to engage more deeply with sound, transcending traditional notions of timbre, texture, and form. This approach not only enriches the sonic palette available to contemporary composers but also prompts a reevaluation of the relationship between sound, perception, and meaning in musical contexts. The first half of the dissertation introduces the theoretical foundations of musical masking. It begins by examining Schaeffer's concept of the sound object and reduced listening, as well as Bregman's rhythmic masking release in auditory scene analysis. Building upon these two theories, the dissertation introduces three primary methods of musical masking: defamiliarization, focus shift, and distortion. The latter half of the dissertation presents these techniques comparatively analyzed against various artistic realms, including visual arts and architecture, to demonstrate their potential for disrupting familiar perceptual modes and revealing hidden sonic possibilities. To further illustrate these concepts, I use my compositions as practical examples of how masking techniques can be applied to music by exploring extended techniques, uncommon instrumental objects, and performance practices. The dissertation also invites us to consider masking as a philosophy of perception and interaction, both in the arts and in human experience.By synthesizing insights from interdisciplinary approaches and applying them to my compositions, this paper contributes to the ongoing dialogue about the nature of sound, listening, and artistic expression in contemporary music. Ultimately, my exploration of musical masking attempts to challenge music anticipations and function as an analytical tool to expand the boundaries of musical expression, therefore inviting a deeper appreciation for the multifaceted nature of our sensory awareness.