Open Access. Powered by Scholars. Published by Universities.®
- Keyword
-
- Alvin Lucier (1)
- American Experimental Music (1)
- Authenticity (1)
- Critical social theory (1)
- DJ Screw (1)
-
- Electronic Music (1)
- Elliott Carter (1)
- Ethnography (1)
- Eubie Blake (1)
- Foucault (1)
- Graphic Notation (1)
- Historical materialism (1)
- Houston (1)
- Indeterminacy (1)
- Joseph Schillinger (1)
- Louis Andriessen (1)
- Merleau-Ponty (1)
- Modernism (1)
- Modernist aesthetics (1)
- OOO (1)
- Opera (1)
- Philosophy of music (1)
- Place and space (1)
- Popular music (1)
- Sade (1)
- Schema theory (1)
- Science Studies (1)
- Southern hip hop (1)
- Temporality in music (1)
- Theodor W. Adorno (1)
Articles 1 - 5 of 5
Full-Text Articles in Musicology
The Music Of Sylvano Bussotti And Its Interpretation: Biopolitics, Intersubjectivity, And Modernist Canon Formation, Charles A. Rudig
The Music Of Sylvano Bussotti And Its Interpretation: Biopolitics, Intersubjectivity, And Modernist Canon Formation, Charles A. Rudig
Dissertations, Theses, and Capstone Projects
The music of Italian composer Sylvano Bussotti (1931–2021) presents intentional challenges to interpretation and canonization. These particular challenges and Bussotti’s reasoning for implementing them are interrogated in this dissertation by reading the score to Bussotti’s La Passion selon Sade (1966) through contemporaneous European social theory, philosophy, and political developments. La Passion selon Sade is a theatre piece for a chamber ensemble, with a primary vocal and dramatic role written for mezzo-soprano Catherine Berberian, with whom Bussotti frequently collaborated. Like much of Bussotti’s music from the 1950s and 1960s, the discourse surrounding the piece and its reception largely relates to its …
Negative Dialectics In Elliott Carter: Toward An Adornian Aesthetics Of Carter's Music, Gregory J. Menillo
Negative Dialectics In Elliott Carter: Toward An Adornian Aesthetics Of Carter's Music, Gregory J. Menillo
Dissertations, Theses, and Capstone Projects
This dissertation is an attempt to lay the groundwork for an Adornian aesthetics of Elliott Carter’s music. The first chapter suggests that Theodor W. Adorno’s negative dialectics is the most appropriate paradigm for understanding the material antagonisms that characterize Carter’s music over a quasi-Hegelian “unity of opposites” as suggested in the Carter scholarship. Chapter Two demonstrates this through an Adornian reading of key aspects of the first movement of Carter’s 1948 Sonata for Cello and Piano, the watershed work for Carter’s mature style. The third chapter addresses the issue of musical time in Carter from a philosophical perspective; it discusses …
All Day In The Trey-Fold: Sound, Objecthood, And Place In The Mixtapes Of Dj Screw, Matthew K. Carter
All Day In The Trey-Fold: Sound, Objecthood, And Place In The Mixtapes Of Dj Screw, Matthew K. Carter
Dissertations, Theses, and Capstone Projects
This dissertation traces the impact of the mixtapes of DJ Screw on the emergence of Houston hip hop culture in the 1990s. The relationship between these “screwtapes” and local culture resists demonstration through conventional modes of representational analyses, due in part to the screwtape’s preponderant use of hip hop tracks that originally represent other places. I suggest that representation itself is the result of the structuring tension emerging from a threefold field of representation of sound, objecthood, and place, and that when a hip hop artist or critic or fan claims to "represent" Houston (or any other constituted and constituting …
The Modes Of Intervention In Alvin Lucier’S I Am Sitting In A Room, Daniel Fox
The Modes Of Intervention In Alvin Lucier’S I Am Sitting In A Room, Daniel Fox
Dissertations, Theses, and Capstone Projects
Alvin Lucier’s I am sitting in a room (1969) is an icon of experimental music and sound art. The sizable literature addressing the aesthetic and philosophical implications of this piece rarely discusses the performance practice beyond what is indicated in the score itself. This is problematic for two reasons: 1) The meaning that is derived from the piece often hinges not just on what sounds are obtained, but on how they are obtained. 2) Over the past 50 years, changes in the performance practice have altered what constitutes the work: magnetic tape was used until 2000 when it was replaced …
Object-Oriented Musicology: Some Implications Of Graham Harman's Philosophy For Music Theory, History, And Criticism, Eric Taxier
Object-Oriented Musicology: Some Implications Of Graham Harman's Philosophy For Music Theory, History, And Criticism, Eric Taxier
Dissertations, Theses, and Capstone Projects
This dissertation brings the ideas of the philosopher Graham Harman (b. 1968) into a musicological context. His “object-oriented ontology” is widely known in continental philosophy, but it has not yet entered rigorous contact with musicology. Certain factors pose difficulties at first glance, such as Harman’s focus on metaphysical issues (originating in his critique of Martin Heidegger) and his rehabilitation of the widely criticized concept of aesthetic autonomy. But these are also sources of novelty that could make an object-oriented encounter with musicology fruitful. In the first chapter, I outline the main features of Harman’s thought. He critiques assumptions about the …