Abstract
This paper presents the following subject matter: First, a brief explanation is given of how “perceptual approach to musical form” is to be understood. Then hypotheses relating to the psychological mechanisms involved are proposed, along with predicted results and experimental methods employed (choice of works, subjects, and procedures). The results of three experiments, accompanied by a brief description of the musical passages as compared to these results, lead finally to a discussion of the hypotheses put forward. Musical works used in the experiment were: Sequenza VI (for solo viola) by Luciano Berio, performed by Walter Trampler (RCA SB 6846, 1971) and Eclat by Pierre Boulez, performed by the Ensemble Intercontemporain conducted by the composer (Le Temps Musical 1, a Radio France/IRCAM cassette).
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