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Toward a Postmodern Avant-Garde: Labour, Virtuosity, and Aesthetics in an American New Music Ensemble

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Toward a Postmodern Avant-Garde: Labour, Virtuosity, and Aesthetics in an American New Music Ensemble Western University Scholarship@Western Electronic Thesis and Dissertation Repository 9-10-2014 12:00 AM Toward a Postmodern Avant-Garde: Labour, Virtuosity, and Aesthetics in an American New Music Ensemble John R. Pippen The University of Western Ontario Supervisor Dr. Emily Ansari The University of Western Ontario Graduate Program in Music A thesis submitted in partial fulfillment of the equirr ements for the degree in Doctor of Philosophy © John R. Pippen 2014 Follow this and additional works at: https://ir.lib.uwo.ca/etd Part of the Ethnomusicology Commons, Labor Economics Commons, Musicology Commons, and the Social and Cultural Anthropology Commons Recommended Citation Pippen, John R., "Toward a Postmodern Avant-Garde: Labour, Virtuosity, and Aesthetics in an American New Music Ensemble" (2014). Electronic Thesis and Dissertation Repository. 2446. https://ir.lib.uwo.ca/etd/2446 This Dissertation/Thesis is brought to you for free and open access by Scholarship@Western. It has been accepted for inclusion in Electronic Thesis and Dissertation Repository by an authorized administrator of Scholarship@Western. For more information, please contact [email protected]. Toward a Postmodern Avant-Garde: Labour, Virtuosity, and Aesthetics in an American New Music Ensemble (Thesis format: Monograph) by John Robison Pippen Graduate Program in Music A thesis submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Music The School of Graduate and Postdoctoral Studies The University of Western Ontario London, Ontario, Canada © John Pippen 2014 Abstract This dissertation examines the aesthetic beliefs and labour practices of the American new music ensemble eighth blackbird (lower-case intentional). Drawing on ethnographic research conducted with the ensemble for the past six years, I show how the ensemble responds to specific cultural pressures endemic to the classical music scene, its new music vanguard, and to the contemporary United States. eighth blackbird, I argue, has created an ensemble identity and performance style designed to satisfy numerous audience positions, from experts well-versed in the intricacies of musical techniques to lay-persons unacquainted with the values and practices of new or classical music. This attempt to satisfy such a range of perspectives has lead to an oscillation between modernist values traditionally associated with art music culture and postmodern values typically found within more profit-driven musical practices. Modernism—partially defined here as a belief in a linear and stable history, structural listening, musical virtuosity, and restrained performer movement—is foundational to eighth blackbird’s work. At the same time, ensemble members embrace postmodern values including a celebratory mix of musical styles, attempts to provide accessible concerts, and an adoption of post-Fordist branding wherein personality and the display of labour figures as part of a marketing strategy. By examining the specific rationalizations of and objections to eighth blackbird’s practices, I theorize the existence of a “postmodern avant-garde,” a subculture of musicians and arts workers who attempt to remake avant-garde music into a more accessible and profitable enterprise. ii Keywords Avant-garde, new music, classical music, modernism, postmodernism, virtuosity, branding, labour, aesthetics, eighth blackbird, ethnography, performance, choreography, iii Acknowledgments I would like to thank the members of eighth blackbird: Matthew Duvall, Lisa Kaplan, Yvonne Lam, Tim Munro Michael Maccaferri, Nick Photinos, Kyle Vegter, Ryan Ingebritsen, and Rachel Wood and (formerly) Jen Richards and Matt Albert. These individuals put up with many obtuse questions, occasionally asked an importune times, and I am forever grateful for their time and efforts. I spoke with other musicians and composers, and arts workers, as well, including Alan Pierson, Gavin Chuck, Amy Beth Kirsten, Lacey Capps, David Skidmore, Robert Dillon, Christie Reside, Conrad Kehn, Nina Hebink, Amy Briggs, and Adam Marks. Many thanks to them all for their willingness to speak with me, often for long sessions about new music and their experiences performing. I am grateful especially to my good friends Sarah Gibson, Jeremy Sment, and David Ferrell, who, in addition to sitting for formal interviews, endured many questions about specific issues and occasional conversations that happened when we should have been drinking. The faculty members and staff at the Don Wright School of Music have been wonderfully supportive of my work. In particular, I am so grateful for the ongoing work of my advisor, Dr. Emily Ansari, who saw this project from an initial and very scattered stage to the focused and finished product you are reading. Everyone should be so lucky to enjoy the kind of mentoring provided by Dr. Ansari. Dr. Jonathan Burston read the entire document and provided crucial help with my understandings of labour, commodification, modernism, and postmodernism. I am grateful for all his help and the numerous meetings we had to discuss the project. Dr. Paul Sanden’s virtuosity seminar, for which I was the only student, has proven to be an unending resource. It was in his class that I first began to study virtuosity, and Paul helped me iv think through many issues central to this project. Other faculty members were extremely supportive of my research, especially Dr. Norma Coates, Dr. Kevin Mooney, Dr. Jonathan DeSouza, Dr. Richard Semmens, Dr. Betty Anne Younker, and Dr. Catherine Nolan. Vice-Provost Dr. John Doerksen, Dr. Richard Parks, and Dr. Kari Veblen helped secure funding that made the research for this dissertation possible. Many thanks for their enthusiastic backing of my work. I am thankful as well to Audrey Yardley-Jones, who made arrangements for the defense. My colleagues at UWO and other schools have also been a source encouragement and critical comments. In particular I would like to thank Matthew Toth, who reminded me to be nuanced and attentive to detail. I gained much from long conversations with Ian Siess, Emily Wang, and Christopher Culp. Peter Lea, Patrick Nichelson, Katie Walshaw, Emily Adamowicz, Emily Marshall, Maxime O’Bomsawin- Bégin, and Kristen Wallentinsen all offered important comments along the way. Additional thanks go to my mentors and colleagues from my Master’s program at the University of Tennessee, Knoxville. Dr. Les Gay and Rachel Golden were and continue to be very supportive of my work, and it was from them that I first learned to work of a scholar. I was fortunate to study with a rich cohort including Jonah Chambers, Paula Probst, Alex Newton, Erica Watson, and Ed Hill. All of them saw and improved my early forays into new music and ethnography. I wish to thank my family for everything they’ve done to help me. My mother, Julie, and step-father, Keith, have been incredibly encouraging, and pushed me to persevere. My in-laws, Andy and Janet Shupe, were extremely supportive. I’m especially grateful to Janet, who has contributed in ways that only family can. Janet’s sister, Becky Bonoma, put me up and fed while I conducted research in Chicago in v 2011. Without her, I’m not sure how I would have done the research for Chapters 1 and 4. Finally, I wish to thank my wife, Abby Shupe, who read everything at many stages, helped me stop working, and occasionally swooped in to save the day. Without her this dissertation would have taken much longer and been much harder. vi Table of Contents Abstract ......................................................................................................................... ii Acknowledgments ........................................................................................................ iv Table of Contents ........................................................................................................ vii List of Figures .............................................................................................................. ix Introduction .................................................................................................................. 1 Literature Review ............................................................................................................... 20 Methodology ....................................................................................................................... 31 Chapter Outline .................................................................................................................. 41 Chapter 1 Branding eighth blackbird: Labour, Cultural Values, and Friendly Virtuosity .................................................................................................................... 47 Branding within Post-Fordism .......................................................................................... 49 A Brief History of Virtuosity ............................................................................................. 58 Constructing Musical Virtuosity ....................................................................................... 63 New Music in the Twentieth and Twenty-First Centuries ............................................... 74 Becoming Friendly and Accessible .................................................................................... 83 Branding, Post-Fordist Art Music, and Postmodern Virtuosity .................................... 103 Chapter 2 Cartesian Dualism, Modernist Musical Experience, and Making New Music Postmodern ...................................................................................................
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