In order for musical structure to be understood and appreciated as coherent design the raw material must be shaped and clarified by the listener’s perceptual processes of selection and organization. Going beyond the boundaries of traditional analytic observation Barbara Barry explores the concept of experiential time in a specifically musical and philosophic context delving into the aspects of perceptual process (the interrelationship between subjective and objective perception of musical compositions and performance). A wealth of published experimental findings and writings on music theory and the philosophy of time are cited accompanied by numerous musical examples here brought together in a supporting interpretation and theoretical exemplification.
Professor of Musicology at the Conservatory of Music at Lynn University. She has five degrees in music пїЅ two in piano performance from Trinity College of Music, London, and three in music history and theory from the University of London, including PhD awarded пїЅmagna cum laudeпїЅ. Prior coming to the United States, Barbara Barry was on the music faculty of the Music Department at University of London GoldsmithsпїЅ College and Chair of Music History at the Guildhall School of Music and Drama, one of EuropeпїЅs foremost conservatories in the Barbican Arts Center in London. She has been Chair of Music History at the Longy School of Music in Cambridge, MA, and taught at Clark University, New England Conservatory of Music, the Radcliffe Seminars and at Harvard University. A trained pianist in the Leschetizky tradition, Barbara Barry is the author of five books, as well as many articles on music history. She has been awarded two Fellowships by the National Endowment for the Humanities, the Fran Steinberg Memorial Prize for outstanding non-fiction, and was the first recipient of the Kathleen Cheek-Milby Endowed Faculty Fellowship at Lynn University. She is also a noted writer of young peopleпїЅs fantasy fiction with the books The Firestone and MephistoпїЅs Revenge.