Eve Poudrier
I completed my doctoral studies in music theory at The Graduate Center of the City University of New York (CUNY). My Ph.D. dissertation "Toward a General Theory of Polymeter: Polymetric Potential and Realization in Elliott Carter's Solo and Chamber Instrumental Works After 1980" (https://drive.google.com/file/d/183eUfxQj05o6_e_TZQSls24yHirRcxFo/view?usp=sharing) presented a conceptual framework for the analysis of polymetric structures and explored issues of performance and perception. During my studies at The Graduate Center, I also received an Elebash Dissertation Award to conduct research on music in New York, including a series of interviews with expert performers. Two grants from the Graduate Research Grants Program funded a listening experiment that used a polymetric texture from Carter's 90+ for piano (1994) and sketch studies at the Paul Sacher Foundation in Basel, Switzerland.
My previous teaching appointments in music theory were at Hunter College (2003-2006) and then at Yale University (2008-2015). I have taught courses on the music of Elliott Carter, rhythm in twentieth-century music, the cognition of musical rhythm, and Schenkerian analysis. I have also collaborated with Bruno Repp at Haskins Laboratories on a series of experiments aimed at tackling issues in the perception of polymeter, in particular how highly trained musicians track the competing beats in a polymetric structure. I am one of the co-founders of the Northeast Music Cognition Group (NEMCOG), a group created to facilitate interaction among researchers and students interested in all areas of music cognition, to discuss research in the field, and to identify topics of joint interest and areas for potential collaboration. On-going projects include research on polymeter in contemporary musical practices and further studies in the perception and cognition of complex rhythmic structures, in particular questions pertaining to expertise.
I also hold a B.A./M.A. in music (piano/composition) from Hunter College of CUNY as well as a Diplôme d'Études Collégiales in classical music (piano performance) from the Collège Lionel-Groulx (Québec).
Supervisors: Joseph N. Straus
My previous teaching appointments in music theory were at Hunter College (2003-2006) and then at Yale University (2008-2015). I have taught courses on the music of Elliott Carter, rhythm in twentieth-century music, the cognition of musical rhythm, and Schenkerian analysis. I have also collaborated with Bruno Repp at Haskins Laboratories on a series of experiments aimed at tackling issues in the perception of polymeter, in particular how highly trained musicians track the competing beats in a polymetric structure. I am one of the co-founders of the Northeast Music Cognition Group (NEMCOG), a group created to facilitate interaction among researchers and students interested in all areas of music cognition, to discuss research in the field, and to identify topics of joint interest and areas for potential collaboration. On-going projects include research on polymeter in contemporary musical practices and further studies in the perception and cognition of complex rhythmic structures, in particular questions pertaining to expertise.
I also hold a B.A./M.A. in music (piano/composition) from Hunter College of CUNY as well as a Diplôme d'Études Collégiales in classical music (piano performance) from the Collège Lionel-Groulx (Québec).
Supervisors: Joseph N. Straus
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Papers by Eve Poudrier
Human Perception and Performance 21:293–307,
1995, showed that a temporal perturbation is easier to
detect in a 3:2 polyrhythm than in a single-stream isochronous
baseline condition if the two isochronous pulse
streams forming the polyrhythm are perceptually integrated:
integration creates shorter inter-onset interval (IOI)
durations that facilitate perturbation detection. The present
study examined whether this beneWt of integration outweighs
the potential costs imposed by the greater IOI heterogeneity
and memory demands of more complex
polyrhythms. In “Experiment 1”, musically trained participants
tried to detect perturbations in 3:5, 4:5, 6:5, and 7:5
polyrhythms having one of two diVerent pitch separations
between pulse streams, as well as in an isochronous baseline
condition. “Experiment 2” included an additional 2:5
polyrhythm, additional pitch separations, and instructions
to integrate or segregate the two pulse streams. In both
experiments, perturbation detection scores for polyrhythms
were below baseline, decreased as polyrhythm complexity
increased, and tended to be lower at a smaller pitch separation,
with little eVect of instructions. Clearly, polyrhythm
complexity was the main determinant of detection performance,
which is attributed to the interval heterogeneity and/
or memory demands of the pattern formed by the integrated
pulse streams. In this task, perceptual integration was disadvantageous,
but apparently could not be avoided.
Human Perception and Performance 21:293–307,
1995, showed that a temporal perturbation is easier to
detect in a 3:2 polyrhythm than in a single-stream isochronous
baseline condition if the two isochronous pulse
streams forming the polyrhythm are perceptually integrated:
integration creates shorter inter-onset interval (IOI)
durations that facilitate perturbation detection. The present
study examined whether this beneWt of integration outweighs
the potential costs imposed by the greater IOI heterogeneity
and memory demands of more complex
polyrhythms. In “Experiment 1”, musically trained participants
tried to detect perturbations in 3:5, 4:5, 6:5, and 7:5
polyrhythms having one of two diVerent pitch separations
between pulse streams, as well as in an isochronous baseline
condition. “Experiment 2” included an additional 2:5
polyrhythm, additional pitch separations, and instructions
to integrate or segregate the two pulse streams. In both
experiments, perturbation detection scores for polyrhythms
were below baseline, decreased as polyrhythm complexity
increased, and tended to be lower at a smaller pitch separation,
with little eVect of instructions. Clearly, polyrhythm
complexity was the main determinant of detection performance,
which is attributed to the interval heterogeneity and/
or memory demands of the pattern formed by the integrated
pulse streams. In this task, perceptual integration was disadvantageous,
but apparently could not be avoided.