To Repeat Or Not to Repeat, That Is the Question1 by Kyle Gann
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Temporal Disunity and Structural Unity in the Music of John Coltrane 1965-67
Listening in Double Time: Temporal Disunity and Structural Unity in the Music of John Coltrane 1965-67 Marc Howard Medwin A dissertation submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music. Chapel Hill 2008 Approved by: David Garcia Allen Anderson Mark Katz Philip Vandermeer Stefan Litwin ©2008 Marc Howard Medwin ALL RIGHTS RESERVED ii ABSTRACT MARC MEDWIN: Listening in Double Time: Temporal Disunity and Structural Unity in the Music of John Coltrane 1965-67 (Under the direction of David F. Garcia). The music of John Coltrane’s last group—his 1965-67 quintet—has been misrepresented, ignored and reviled by critics, scholars and fans, primarily because it is a music built on a fundamental and very audible disunity that renders a new kind of structural unity. Many of those who study Coltrane’s music have thus far attempted to approach all elements in his last works comparatively, using harmonic and melodic models as is customary regarding more conventional jazz structures. This approach is incomplete and misleading, given the music’s conceptual underpinnings. The present study is meant to provide an analytical model with which listeners and scholars might come to terms with this music’s more radical elements. I use Coltrane’s own observations concerning his final music, Jonathan Kramer’s temporal perception theory, and Evan Parker’s perspectives on atomism and laminarity in mid 1960s British improvised music to analyze and contextualize the symbiotically related temporal disunity and resultant structural unity that typify Coltrane’s 1965-67 works. -
ZGMTH - the Order of Things
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Bangor University Research Portal The Order of Things. Analysis and Sketch Study in Two Works by Steve ANGOR UNIVERSITY Reich Bakker, Twila; ap Sion, Pwyll Zeitschrift der Gesellschaft für Musiktheorie DOI: 10.31751/1003 PRIFYSGOL BANGOR / B Published: 01/06/2019 Publisher's PDF, also known as Version of record Cyswllt i'r cyhoeddiad / Link to publication Dyfyniad o'r fersiwn a gyhoeddwyd / Citation for published version (APA): Bakker, T., & ap Sion, P. (2019). The Order of Things. Analysis and Sketch Study in Two Works by Steve Reich. Zeitschrift der Gesellschaft für Musiktheorie, 16(1), 99-122. https://doi.org/10.31751/1003 Hawliau Cyffredinol / General rights Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. • Users may download and print one copy of any publication from the public portal for the purpose of private study or research. • You may not further distribute the material or use it for any profit-making activity or commercial gain • You may freely distribute the URL identifying the publication in the public portal ? Take down policy If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim. 09. Oct. 2020 ZGMTH - The Order of Things https://www.gmth.de/zeitschrift/artikel/1003.aspx Inhalt (/zeitschrift/ausgabe-16-1-2019/inhalt.aspx) Impressum (/zeitschrift/ausgabe-16-1-2019/impressum.aspx) Autorinnen und Autoren (/zeitschrift/ausgabe-16-1-2019/autoren.aspx) Home (/home.aspx) Bakker, Twila / ap Siôn, Pwyll (2019): The Order of Things. -
Drone Music from Wikipedia, the Free Encyclopedia
Drone music From Wikipedia, the free encyclopedia Drone music Stylistic origins Indian classical music Experimental music[1] Minimalist music[2] 1960s experimental rock[3] Typical instruments Electronic musical instruments,guitars, string instruments, electronic postproduction equipment Mainstream popularity Low, mainly in ambient, metaland electronic music fanbases Fusion genres Drone metal (alias Drone doom) Drone music is a minimalist musical style[2] that emphasizes the use of sustained or repeated sounds, notes, or tone-clusters – called drones. It is typically characterized by lengthy audio programs with relatively slight harmonic variations throughout each piece compared to other musics. La Monte Young, one of its 1960s originators, defined it in 2000 as "the sustained tone branch of minimalism".[4] Drone music[5][6] is also known as drone-based music,[7] drone ambient[8] or ambient drone,[9] dronescape[10] or the modern alias dronology,[11] and often simply as drone. Explorers of drone music since the 1960s have included Theater of Eternal Music (aka The Dream Syndicate: La Monte Young, Marian Zazeela, Tony Conrad, Angus Maclise, John Cale, et al.), Charlemagne Palestine, Eliane Radigue, Philip Glass, Kraftwerk, Klaus Schulze, Tangerine Dream, Sonic Youth,Band of Susans, The Velvet Underground, Robert Fripp & Brian Eno, Steven Wilson, Phill Niblock, Michael Waller, David First, Kyle Bobby Dunn, Robert Rich, Steve Roach, Earth, Rhys Chatham, Coil, If Thousands, John Cage, Labradford, Lawrence Chandler, Stars of the Lid, Lattice, -
Experimental
Experimental Discussão de alguns exemplos Earle Brown ● Earle Brown (December 26, 1926 – July 2, 2002) was an American composer who established his own formal and notational systems. Brown was the creator of open form,[1] a style of musical construction that has influenced many composers since—notably the downtown New York scene of the 1980s (see John Zorn) and generations of younger composers. ● ● Among his most famous works are December 1952, an entirely graphic score, and the open form pieces Available Forms I & II, Centering, and Cross Sections and Color Fields. He was awarded a Foundation for Contemporary Arts John Cage Award (1998). Terry Riley ● Terrence Mitchell "Terry" Riley (born June 24, 1935) is an American composer and performing musician associated with the minimalist school of Western classical music, of which he was a pioneer. His work is deeply influenced by both jazz and Indian classical music, and has utilized innovative tape music techniques and delay systems. He is best known for works such as his 1964 composition In C and 1969 album A Rainbow in Curved Air, both considered landmarks of minimalist music. La Monte Young ● La Monte Thornton Young (born October 14, 1935) is an American avant-garde composer, musician, and artist generally recognized as the first minimalist composer.[1][2][3] His works are cited as prominent examples of post-war experimental and contemporary music, and were tied to New York's downtown music and Fluxus art scenes.[4] Young is perhaps best known for his pioneering work in Western drone music (originally referred to as "dream music"), prominently explored in the 1960s with the experimental music collective the Theatre of Eternal Music. -
Tuning in Opposition
TUNING IN OPPOSITION: THE THEATER OF ETERNAL MUSIC AND ALTERNATE TUNING SYSTEMS AS AVANT-GARDE PRACTICE IN THE 1960’S Charles Johnson Introduction: The practice of microtonality and just intonation has been a core practice among many of the avant-garde in American 20th century music. Just intonation, or any system of tuning in which intervals are derived from the harmonic series and can be represented by integer ratios, is thought to have been in use as early as 5000 years ago and fell out of favor during the common practice era. A conscious departure from the commonly accepted 12-tone per octave, equal temperament system of Western music, contemporary music created with alternate tunings is often regarded as dissonant or “out-of-tune,” and can be read as an act of opposition. More than a simple rejection of the dominant tradition, the practice of designing scales and tuning systems using the myriad options offered by the harmonic series suggests that there are self-deterministic alternatives to the harmonic foundations of Western art music. And in the communally practiced and improvised performance context of the 1960’s, the use of alternate tunings offers a Johnson 2 utopian path out of the aesthetic dead end modernism had reached by mid-century. By extension, the notion that the avant-garde artist can create his or her own universe of tonality and harmony implies a similar autonomy in defining political and social relationships. In the early1960’s a New York experimental music performance group that came to be known as the Dream Syndicate or the Theater of Eternal Music (TEM) began experimenting with just intonation in their sustained drone performances. -
City Research Online
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by City Research Online City Research Online City, University of London Institutional Repository Citation: Pace, I. ORCID: 0000-0002-0047-9379 (2019). The Historiography of Minimal Music and the Challenge of Andriessen to Narratives of American Exceptionalism (1). In: Dodd, R. (Ed.), Writing to Louis Andriessen: Commentaries on life in music. (pp. 83-101). Eindhoven, the Netherlands: Lecturis. ISBN 9789462263079 This is the published version of the paper. This version of the publication may differ from the final published version. Permanent repository link: http://openaccess.city.ac.uk/22291/ Link to published version: Copyright and reuse: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. City Research Online: http://openaccess.city.ac.uk/ [email protected] The Historiography of Minimal Music and the Challenge of Andriessen to Narratives of American Exceptionalism (1) Ian Pace Introduction Assumptions of over-arching unity amongst composers and compositions solely on the basis of common nationality/region are extremely problematic in the modern era, with great facility of travel and communications. Arguments can be made on the bases of shared cultural experiences, including language and education, but these need to be tested rather than simply assumed. Yet there is an extensive tradition in particular of histories of music from the United States which assume such music constitutes a body of work separable from other concurrent music, or at least will benefit from such isolation, because of its supposed unique properties. -
“Classical” Minimalism
from Richard Taruskin, “Oxford History of Western Music Volume V: Music in the Late Twentieth Century; Chapter 8: A Harmonious Avant-Garde?”. Retrieved 4/29/2011 from oxfordwesternmusic.com. “CLASSICAL” MINIMALISM For many listeners, the most characteristic and style-defining aspect of In C is the constant audible eighth-note pulse that underlies and coordinates all of the looping, and that seems, because it provides a constant pedal of Cs, to be fundamentally bound up with the work's concept. Like much modernist practice since at least Stravinsky, it puts the rhythmic spotlight on the “subtactile” level, accommodating and facilitating the free metamorphosis of the felt beat —for example, from quarters to dotted quarters at the twenty-second module of In C—and allows their multiple presence to be felt as levels within a complex texture. It may be surprising, therefore, to learn that the constant C-pulse was an afterthought, adopted in rehearsal for what seemed at the time a purely utilitarian purpose (simply to keep the group together in lieu of a conductor), and that it was not even Riley's idea. It was Reich's. Steve Reich came from a background very different from Young's and Riley's. Where they had a rural, working-class upbringing on the West Coast, Reich was born into a wealthy, professional- class family in cosmopolitan New York. Like most children of his economic class, Reich had traditional piano lessons and plenty of exposure to what in later years he mildly derided as the “bourgeois classics.” He had an elite education culminating in a Cornell baccalaureate with a major in philosophy. -
Chapter Three Minimal Music
72 Chapter Three Minimal music This chapter begins with a brief outline of minimal music in the United States, Europe and Australia. Focusing on composers and stylistic characteristics of their music, plus aspects of minimal music pertinent to this study, it helps the reader situate the compositions, composers and events referred to throughout the thesis. The chapter then outlines reasons for engaging students aged 9 to 18 years in composing activities drawn from projects with minimalist characteristics, reasons often related to compositional or historical aspects of minimal music since the late 1960s. A number of these reasons are educational, concerned with minimalism as an accessible teaching resource that draws on students’ current musical knowledge and offers a bridge from which to explore musics of other cultures and other contemporary art musics. Other reasons are concerned with the performance capabilities of students, with the opportunity to introduce students to a contemporary aesthetic, to different structural possibilities and collaboration and subject integration opportunities. There is also an educational need for a study investigating student composing activities to focus on these activities in relation to contemporary art music. There are social reasons for engaging students in minimalist projects concerned with introducing students to contemporary arts practice through ‘the new tonality’, involving students with a contemporary music which is often controversial, and engaging students with minimalism at a time of particular activity and expansion in the United States and in Australia. 3.1 Minimalism Minimalism is an aesthetic found across a number of different art forms – architecture, dance, visual art, theatre, design and music - and at the beginning of the twenty-first century, it is still strongly influential on many contemporary artists. -
PROBES #2 Devoted to Exploring the Complex Map of Sound Art from Different Points of View Organised in Curatorial Series
Curatorial > PROBES With this section, RWM continues a line of programmes PROBES #2 devoted to exploring the complex map of sound art from different points of view organised in curatorial series. All the ‘normal’ music we listen to is out of tune, especially when it’s ‘in tune’. Curated by Chris Cutler, PROBES takes Marshall McLuhan’s So, should music be in harmony with the laws of physics, or adjusted to fit the conceptual contrapositions as a starting point to analyse and wishful thinking of stave notation? expose the search for a new sonic language made urgent after the collapse of tonality in the twentieth century. The series looks at the many probes and experiments that were 01. Summary launched in the last century in search of new musical resources, and a new aesthetic; for ways to make music In the late nineteenth century two facts conspired to change the face of music: adequate to a world transformed by disorientating the collapse of common practice tonality (which overturned the certainties technologies. underpinning the world of Art music), and the invention of a revolutionary new form of memory, sound recording (which redefined and greatly empowered the Curated by Chris Cutler world of popular music). A tidal wave of probes and experiments into new musical resources and new organisational practices ploughed through both disciplines, bringing parts of each onto shared terrain before rolling on to underpin a new PDF Contents: aesthetics able to follow sound and its manipulations beyond the narrow confines 01. Summary of ‘music’. This series tries analytically to trace and explain these developments, 02. -
Untersuchungen Zu Steve Reichs Music for 18 Musicians
Untersuchungen zu Steve Reichs Music for 18 Musicians vorgelegt von Diplom-Musikerzieher John Leigh aus Palo Alto, Kalifornien von der Fakultät I – Geisteswissenschaften der Technischen Universität Berlin zur Erlangung des akademischen Grades Doktor der Philosophie - Dr. phil. - genehmigte Dissertation Promotionsausschuss: Vorsitzender: Prof. Dr. W. Sendlmeier Berichter: Prof. Dr. C.M. Schmidt Berichterin: Prof. Dr. H. de la Motte-Haber Tag der wissenschaftliche Aussprache: 22. Januar 2010 Berlin 2010 D 83 Inhaltsverzeichnis Vorwort i I. Klangorganisation Besetzung und Instrumentation 1 Gliederung 3 Die Übergänge 20 Die Prozesse 25 Prozess I 28 Die Teilprozesse Ia-Ij 45 Pattern I 56 Prozess II 69 Pattern II 77 Prozess IIIA 77 Prozess IIIB 79 Prozess /Pattern IV 80 Die Prozesse I bis IV 83 Die Vibraphoneinsätze 100 Harmonik 112 Versuch einer Interpretation der harmonischen Beziehungen 127 Versuch einer Interpretation der formalen Beziehungen 131 II. Theoretische Interpretation Music for 18 Musicians in der Evolution der Reichschen Kompositionstechnik Besetzung/Instrumentation 138 Formale Gliederung 142 Die Übergänge 146 Schichtung 145 Die Prozesse 151 Rhythmische Modi 162 Modus 165 Harmonik 171 Momente der Tradition in Music for 18 Musicians 177 Music for 18 Musicians und der „Minimalismus“: Steve Reichs Music for 18 Musicians, Terry Rileys In C und Philip Glass’ Music in Twelve Parts 210 Teil III. Empirische Untersuchung: Ein Vergleich zwischen Section II aus Steve Reichs Music for 18 Musicians und Bourreaux de solitude aus Pierre Boulez -
Notions of Minimalism and the Design of Interactive Systems
Where »less« is »more« – notions of minimalism and the design of interactive systems: A constructive analysis of products & processes of human-computer-interaction design from a minimalist standpoint Dissertation zur Erlangung des Doktorgrades an der MIN-Fakultät Department Informatik der Universität Hamburg vorgelegt von Hartmut Obendorf Hamburg 2007 Genehmigt von der MIN-Fakultät Department Informatik der Universität Hamburg auf Antrag von Prof. Dr. Horst Oberquelle Erstgutachter(in)/Doktorvater Prof. Dr. Horst Oberquelle Zweitgutachter(in) Hamburg, den _______________ Datum der Disputation 4.4.2007 Prof. Dr. ____________________________ Leiter Department Informatik (Prof. Dr. N. Ritter) OVERVIEW 1 Designing for an Age of Complexity 11 Computing has added complexity to our lives. The search for machine beauty motivates the transfer of the notion of minimalism from art and music to the design of interactive systems, trying to explain simplicity, and to differentiate paths of reduction. For a concise example, four notions of minimalism are presented and discussed. 2 In Search of ‚Minimalism‘ – Roving in art history, music and elsewhere 21 Examples of works in art, music and literature that were collectively described with the label of Minimalism by contemporary criticism and art history are revisited. This chapter follows a historical rather than a conceptual order and aims not at a single definition of Minimalism, but instead tries to illustrate both the breadth of concepts underlying works characterized as minimal, and the recurrence of attributes of minimal art in different disciplines. 3 A Role for Minimalism in the Use-Centered Design of Interactive Systems 61 Based on these shared aspects of minimalism, four principles, namely functional, structural, constructional and compositional minimalism, are introduced. -
Clever Children: the Sons and Daughters of Experimental Music?
Clever Children: The Sons and Daughters of Experimental Music Author Carter, David Published 2009 Thesis Type Thesis (PhD Doctorate) School Queensland Conservatorium DOI https://doi.org/10.25904/1912/1356 Copyright Statement The author owns the copyright in this thesis, unless stated otherwise. Downloaded from http://hdl.handle.net/10072/367632 Griffith Research Online https://research-repository.griffith.edu.au Clever Children: The Sons and Daughters of Experimental Music? David Carter B.Music / Music Technology (Honours, First Class) Queensland Conservatorium Griffith University A dissertation submitted in fulfilment of the requirements for the award of the degree Doctor of Philosophy 19 June 2008 Keywords Contemporary Music; Dance Music; Disco; DJ; DJ Spooky; Dub; Eight Lines; Electronica; Electronic Music; Errata Erratum; Experimental Music; Hip Hop; House; IDM; Influence; Techno; John Cage; Minimalism; Music History; Musicology; Rave; Reich Remixed; Scanner; Surface Noise. i Abstract In the late 1990s critics, journalists and music scholars began referring to a loosely associated group of artists within Electronica who, it was claimed, represented a new breed of experimentalism predicated on the work of composers such as John Cage, Karlheinz Stockhausen and Steve Reich. Though anecdotal evidence exists, such claims by, or about, these ‘Clever Children’ have not been adequately substantiated and are indicative of a loss of history in relation to electronic music forms (referred to hereafter as Electronica) in popular culture. With the emergence of the Clever Children there is a pressing need to redress this loss of history through academic scholarship that seeks to document and critically reflect on the rhizomatic developments of Electronica and its place within the history of twentieth century music.