DOCSLIB.ORG

A Performer's Guide to the Prepared Piano of John Cage

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
A Performer's Guide to the Prepared Piano of John Cage A Performer’s Guide to the Prepared Piano of John Cage: The 1930s to 1950s. A document submitted to the Graduate School of the University of Cincinnati in partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS in the Keyboard Studies Division of the College-Conservatory of Music By Sejeong Jeong B.M., Sookmyung Women’s University, 2011 M.M., Illinois State University, 2014 ________________________________ Committee Chair : Jeongwon Joe, Ph. D. ________________________________ Reader : Awadagin K.A. Pratt ________________________________ Reader : Christopher Segall, Ph. D. ABSTRACT John Cage is one of the most prominent American avant-garde composers of the twentieth century. As the first true pioneer of the “prepared piano,” Cage’s works challenge pianists with unconventional performance practices. In addition, his extended compositional techniques, such as chance operation and graphic notation, can be demanding for performers. The purpose of this study is to provide a performer’s guide for four prepared piano works from different points in the composer’s career: Bacchanale (1938), The Perilous Night (1944), 34'46.776" and 31'57.9864" For a Pianist (1954). This document will detail the concept of the prepared piano as defined by Cage and suggest an approach to these prepared piano works from the perspective of a performer. This document will examine Cage’s musical and philosophical influences from the 1930s to 1950s and identify the relationship between his own musical philosophy and prepared piano works. The study will also cover challenges and performance issues of prepared piano and will provide suggestions and solutions through performance interpretations. By understanding how playing the prepared piano is different from conventional performance, pianists will enhance their musical and intellectual interpretations of these works. i Copyright © 2018 by Sejeong Jeong. All rights reserved. ii ACKNOWLEDGMENTS I give thanks to God who have led, provided, and guided my life until now. Without his endless love and grace, it would not be possible for me to devote my life to piano. Also, I want to give special thanks to my dear professor, Awadagin Pratt for his musical guidance, inspiration, and encouragement. Without his teaching, I would have remained a young music student lost in vast world of music. He inspired me to be a strong independent pianist. I also greatly appreciate my committee chair, Dr. Jeongwon Joe and committee member Dr. Christopher Segall for their advice and effort on my final document. Special thanks go to Dr. Jessica C. Hajek, who helped me with lecture recital and assisted me with the document proposal throughout spring and summer of 2018. Their passion and dedication gave me a sense of what kind of a teacher I want to be. Lastly, my deepest appreciation and thanks go to my family and relatives who constantly supported me with endless prayers and love during six years of study abroad. Without their faith and prayers, I would not have been able to finish my doctoral study. Additionally, special thanks go to my dear husband, Jaehoon Ha, who has been supportive, trusting, and loving over the last few years. Without his encouragement and care, I could not have continued this persistent race to finish the degree. iii iv TABLE OF CONTENTS COPYRIGHT PERMISSIONS.................................................................................................... 5 LIST OF TABLES ...................................................................................................................... 6 LIST OF MUSICAL EXAMPLES .............................................................................................. 7 LIST OF PICTURES ................................................................................................................... 10 CHAPTER 1. INTRODUCTION Purpose of this study Literature Review Methodology Document outline 2. JOHN CAGE’s MUSICAL AND PHILOSPHICAL INFLUENCES (1930s- 1950s) ............................................................................................................................. 10 3. BACCHANALE (1938): EARLY PERIOD ............................................................. 19 4. THE PERILOUS NIGHT (1944): MIDDLE PERIOD ................................................... 38 5. 34'46.776" FOR A PIANIST AND 31'57.9864" FOR A PIANIST (1954): LATE PERIOD ........................................................................................................................ 63 6. CONCLUSION .............................................................................................................. 80 BIBLIOGRAPHY....................................................................................................................... 84 v COPYRIGHT PERMISSIONS Bacchanale by John Cage. Copyright © 1960 by Henmar Press Inc. Sole Selling Agents: C.F. Peters Corporation, 373 Park Avenue South, New York, NY 10016, International Copyright Secured. All Rights Reserved. The Perilous Night by John Cage. Copyright © 1960 by Henmar Press Inc. Sole Selling Agents: C.F. Peters Corporation, 373 Park Avenue South, New York, NY 10016, International Copyright Secured. All Rights Reserved. 31'57.9864" For a Pianist by John Cage. Copyright © 1960 by Henmar Press Inc., Sole Selling Agents: C.F. Peters Corporation, 373 Park Ave. S.O., New York 16, N.Y. 34'46.776" For a Pianist by John Cage. Copyright © 1960 by Henmar Press Inc., Sole Selling Agents: C.F. Peters Corporation, 373 Park Ave. S.O., New York 16, N.Y. vi LIST OF TABLES Example 1 Table of Preparations of Bacchanale ………………………………………………. 32 Example 2 Table for Structure of Bacchanale …………………………………………………. 33 Example 3 Comparison of three metronome tempi for Bacchanale ………………………. 44-45 Example 4 Table of preparations for The Perilous Night …………………………………….. 52 Example 5 Table of each movement’s tempo and phrase measures ………………………….. 53 Example 43 Table of preparations for 34'46.776" ……………………………………………... 77 Example 44 Table of preparations for 31'57.9864" ……………………………………………. 78 vii LIST OF MUSICAL EXAMPLES Example 6 Instances of colotomic structure (mm. 1, 16, 30, and 132 in Bacchanale) ………... 34 Example 7 Motivic rhythm in the left hand (m. 21 in Bacchanale) …………………………… 40 Example 8 Instances of cross rhythm and polyrhythm (mm. 3 and 27-28 in Bacchanale) …..... 41 Example 9 Instances of irregular accents (mm.3-5 and mm.62-64 in Bacchanale) ………... 41-42 Example 10 Instances of transition of time signatures (mm. 144-150 in Bacchanale) ………... 43 Example 11 Beginning of the B section (mm. 74-82 in Bacchanale) ………………………..... 43 Example 12 Sampling of descriptive tempo markings (mm. 1,10,74, 87 and 108 in Bacchanale) ………………………………………………………………………………………. 43-44 Example 13 Correlation between dance and fermatas (mm. 9-10, and mm.42-43 in Bacchanale) ………………………………………………………………………………………….. 46 Example 14 Example of phrases structure (mm. 1-10 of the first movement in The Perilous Night) ……………………………………………………………………..………….... 54 Example 15 Example of phrase structure (mm.91-100 of the first movement in The Perilous Night) …………………………………………………………………………………... 55 Example 16 Example of ostinato and repeated two notes (mm.1-8 of the fourth movement in The Perilous Night) …………………………………………………………………………. 56 viii Example 30 Performing a precise dynamic range (mm.75 -79 of the first movement in The Perilous Night) …………………………………………………………………………. 62 Example 31 Performing contrasting dynamics representing Cage’s emotional state (mm.7-10 and mm.31-35 of the first movement in The Perilous Night) ………………………………. 63 Example 32 Timbral pallet (mm. 1-3 of the second movement in The Perilous Night) ……….. 64 Example 33 Performing a pitched and non-pitched passage (mm. 25-36 of the second movement in The Perilous Night) ………………………………………………………………….. 65 Example 34 Dynamic markings with and without the una corda pedal (mm.1-4 of the third movement in The Perilous Night) ……………………………………………………… 66 Example 35 Example of slurred passage (mm.100-108 of the third movement in The Perilous Night ……………………………………………………………………………………. 66 Example 36 Example of natural decay (mm.41-49 of the fourth movement in The Perilous Night) ………………………………………………………………………………………...… 67 Example 37 Contrasting dynamic characters between the hands (mm.1-9 of the fifth movement in The Perilous Night) ………………………………………………………………….. 68 Example 38 Emphatic dynamic markings (mm.20-24 of the fifth movement in The Perilous Night) …………………………………………………………………………………... 69 Example 39 Independence of sounds and dynamics between the hands (mm.1-8 of the sixth movement in The Perilous Night) ……………………………………………………… 69 ix Example 40 Performing balanced dynamic (mm.69-72 of the sixth movement in The Perilous Night) …………………………………………………………………………………... 70 Example 41 Example of counting quintuplet notes (mm. 125-132 of the sixth movement in The Perilous Night) …………………………………………………………………………. 71 Example 42 Floating cadence (mm.145-162 of the sixth movement in The Perilous Night) …. 72 Example 45 Example of graphical notation (excerpt from 34'46.776") ……………………….. 81 Example 46 Performing numerous dots (excerpt from 31’57. 9864”) ………………………… 82 Example 47 Example of blank space for timings (excerpt from 31’57. 9864) ……………….... 83 Example 48 Instances of ‘A’ and ‘H’ notations (excerpt from 31’57. 9864") ……………….... 84 Example 49 Example of rhythmic notations (excerpt from 31’57. 9864") ……………………. 86 Example 50 Example of rhythmic notation (excerpt from 31’57. 9864") ……………………... 86 Example 51 My personal markings for actual
Load more

Recommended publications
  • The Compositional Procedures Used in John Cage's Six Short Inventions , First Construction (In Metal) , and Spontaneous Earth
    THE COMPOSITIONAL PROCEDURES USED IN JOHN CAGE'S SIX SHORT INVENTIONS , FIRST CONSTRUCTION (IN METAL) , AND SPONTANEOUS EARTH Jesse James Guessford, D.M.A Department of Music University of Illinois at Urbana-Champaign, 2004 Sever Tipei, Advisor This study describes the processes that John Cage used in the composition of Six Short Inventions , First Construction (in Metal) , and Spontaneous Earth . With a lack of interest in John Cage’s early works, this study sheds light on the way in which these three early works are composed. In this study, the development of Cage’s square-root or micro-macrocosmic form is explored and then traced from the forms genesis to later modifications of the form. The centerpiece of the article is a description of the techniques used to create First Construction (in Metal) . Using Cage’s correspondence with Pierre Boulez as a starting point, the organizational tools and methods are uncovered and traced throughout the piece. Six Short Inventions is found to be an embryonic piece that holds traces of many of the techniques that come into existence in First Construction (in Metal) . Spontaneous Earth is used to follow the maturation of these techniques in Cage’s hands. © 2004 by Jesse James Guessford. All rights reserved THE COMPOSITIONAL PROCEDURES USED IN JOHN CAGE'S SIX SHORT INVENTIONS , FIRST CONSTRUCTION (IN METAL) , AND SPONTANEOUS EARTH BY JESSE JAMES GUESSFORD B.S., West Chester University, 1995 M.M., Potsdam College, State University of New York, 1997 DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in Music in the Graduate College of the University of Illinois at Urbana-Champaign, 2004 Urbana, Illinois Abstract This study describes the processes that John Cage used in the composition of Six Short Inventions, First Construction (in Metal), and Spontaneous Earth.
    [Show full text]
  • University Microiilms, a XERQ\Company, Ann Arbor, Michigan
    71-18,075 RINEHART, John McLain, 1937- IVES' COMPOSITIONAL IDIOMS: AN INVESTIGATION OF SELECTED SHORT COMPOSITIONS AS MICROCOSMS' OF HIS MUSICAL LANGUAGE. The Ohio State University, Ph.D., 1970 Music University Microiilms, A XERQ\Company, Ann Arbor, Michigan © Copyright by John McLain Rinehart 1971 tutc nTccrSTATmil HAS fiEEM MICROFILMED EXACTLY AS RECEIVED IVES' COMPOSITIONAL IDIOMS: AM IMVESTIOAT10M OF SELECTED SHORT COMPOSITIONS AS MICROCOSMS OF HIS MUSICAL LANGUAGE DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy 3n the Graduate School of The Ohio State University £ JohnfRinehart, A.B., M«M. # # * -k * * # The Ohio State University 1970 Approved by .s* ' ( y ^MrrXfOor School of Music ACm.WTji.D0F,:4ENTS Grateful acknov/ledgement is made to the library of the Yale School of Music for permission to make use of manuscript materials from the Ives Collection, I further vrish to express gratitude to Professor IJoman Phelps, whose wise counsel and keen awareness of music theory have guided me in thi3 project. Finally, I wish to acknowledge my wife, Jennifer, without whose patience and expertise this project would never have come to fruition. it VITA March 17, 1937 • ••••• Dorn - Pittsburgh, Pennsylvania 1959 • • • • • .......... A#B#, Kent State University, Kent, Ohio 1960-1963 . * ........... Instructor, Cleveland Institute of Music, Cleveland, Ohio 1 9 6 1 ................ • • • M.M., Cleveland Institute of ITu3ic, Cleveland, Ohio 1963-1970 .......... • • • Associate Professor of Music, Heidelberg College, Tiffin, Ohio PUBLICATIONS Credo, for unaccompanied chorus# New York: Plymouth Music Company, 1969. FIELDS OF STUDY Major Field: Theory and Composition Studies in Theory# Professor Norman Phelps Studies in Musicology# Professors Richard Hoppin and Lee Rigsby ill TAPLE OF CC NTEKTS A C KI JO WLE DGEME MT S ...............................................
    [Show full text]
  • THE CLEVELAN ORCHESTRA California Masterwor S
    ����������������������� �������������� ��������������������������������������������� ������������������������ �������������������������������������� �������� ������������������������������� ��������������������������� ��������������������������������������������������� �������������������� ������������������������������������������������������� �������������������������� ��������������������������������������������� ������������������������ ������������������������������������������������� ���������������������������� ����������������������������� ����� ������������������������������������������������ ���������������� ���������������������������������������� ��������������������������� ���������������������������������������� ��������� ������������������������������������� ���������� ��������������� ������������� ������ ������������� ��������� ������������� ������������������ ��������������� ����������� �������������������������������� ����������������� ����� �������� �������������� ��������� ���������������������� Welcome to the Cleveland Museum of Art The Cleveland Orchestra’s performances in the museum California Masterworks – Program 1 in May 2011 were a milestone event and, according to the Gartner Auditorium, The Cleveland Museum of Art Plain Dealer, among the year’s “high notes” in classical Wednesday evening, May 1, 2013, at 7:30 p.m. music. We are delighted to once again welcome The James Feddeck, conductor Cleveland Orchestra to the Cleveland Museum of Art as this groundbreaking collaboration between two of HENRY COWELL Sinfonietta
    [Show full text]
  • Kyle Gann, the Music of Conlon Nancarrow, the Music
    Preface My first thanks must go to Stuart Smith, who got me started on this project and spent tremendous unrecompensed time reading and ofFering suggestions. 1 I profusely thank H. Wiley Hitchcock for his help, advice, and encouragement in this project as in so many other?. Trimpin became my comrade in Nancarrow scholarship, giving me pages and pages of helpful computerized charts over steins The music: general considerations German beer. Peter Garland, Sylvia Srmth, and Don Gillespie provided me with scores, James Tenney with the unpublished works and some helpful analytical advice. Charles Amirkhanian smoothed my way to a composer reputed to be difficult to approach. Eva Soltes, Helen Zimbler, WiUiam Duckworth, and Carlos Sandoval contributed valuable information. Doug Simmons provided expert editing advice. Penny Souster made the book possible. My wife Nancy Cook, Compared to the musical traditions of Africa, India, and Indonesia, European who became a “Nancarrow widow” the way some women become football wid classical music has always been rhythmically limited. As sOon as American com ows, accepted my idee fixe witfc humor and love. Yoko Seguira, Mrs Nancarrow, posers broke away firom Europe following World War I, they made an aggressive was a warm, funny, and helpful informant, and a gracious hostess. And Charles attempt to remedy this deficiency. They found themselves thwarted, however, Nancarrow, since departed, treated me to a defightful evening of reminiscence. first by the difficulty of notating extreme rhythmic complexity,-then by the greater Most of all I thank C)onlon Nancarrow for cooperating in every possible obstacle of getting performers to execute their rhythms acfcurately.
    [Show full text]
  • The William Paterson University Department of Music Presents New
    The William Paterson University Department of Music presents New Music Series Peter Jarvis, director Featuring the Velez / Jarvis Duo, Judith Bettina & James Goldsworthy, Daniel Lippel and the William Paterson University Percussion Ensemble Monday, October 17, 2016, 7:00 PM Shea Center for the Performing Arts Program Mundus Canis (1997) George Crumb Five Humoresques for Guitar and Percussion 1. “Tammy” 2. “Fritzi” 3. “Heidel” 4. “Emma‐Jean” 5. “Yoda” Phonemena (1975) Milton Babbitt For Voice and Electronics Judith Bettina, voice Phonemena (1969) Milton Babbitt For Voice and Piano Judith Bettina, voice James Goldsworthy, Piano Penance Creek (2016) * Glen Velez For Frame Drums and Drum Set Glen Velez – Frame Drums Peter Jarvis – Drum Set Themes and Improvisations Peter Jarvis For open Ensemble Glen Velez & Peter Jarvis Controlled Improvisation Number 4, Opus 48 (2016) * Peter Jarvis For Frame Drums and Drum Set Glen Velez – Frame Drums Peter Jarvis – Drum Set Aria (1958) John Cage For a Voice of any Range Judith Bettina May Rain (1941) Lou Harrison For Soprano, Piano and Tam‐tam Elsa Gidlow Judith Bettina, James Goldsworthy, Peter Jarvis Ostinato Mezzo Forte, Opus 51 (2016) * Peter Jarvis For Percussion Band Evan Chertok, David Endean, Greg Fredric, Jesse Gerbasi Daniel Lucci, Elise Macloon Sean Dello Monaco – Drum Set * = World Premiere Program Notes Mundus Canis: George Crumb George Crumb’s Mundus Canis came about in 1997 when he wanted to write a solo guitar piece for his friend David Starobin that would be a musical homage to the lineage of Crumb family dogs. He explains, “It occurred to me that the feline species has been disproportionately memorialized in music and I wanted to help redress the balance.” Crumb calls the work “a suite of five canis humoresques” with a character study of each dog implied through the music.
    [Show full text]
  • Insan Sesi, Vurmali Sazlar, Piyano Ve Arp
    Dicle Üniversitesi Sosyal Bilimler Enstitüsü Dergisi Kasım 2014 YIL-6 S.12 (DÜSBED) ISSN : 1308-6219 İNSAN SESİ, VURMALI ÇALGILAR, PİYANO VE ARP ÇALGILARINDAKİ YENİ İCRA TEKNİKLERİNİN 20. YÜZYILDAN GÜNÜMÜZE TARİHSEL GELİŞİMİ VE BU TEKNİKLERİN NOTASYONU Rohat CEBE ÖZ Müzisyenler, 20. yüzyılın başlarından itibaren çalgısal tekniklerin ve yeni ses kaynaklarının gelişmesinde başka hiçbir müzik tarihi döneminde olmadığı kadar önemli bir rol oynamaya başlamışlardır. Müzik besteci tarafından yazılır. Besteci yaratıcılığını, imkanlar çerçevesinde kullanacağı çalgı ya da çalgı gruplarının teknik ve fiziksel özelliklerini dikkate alarak neticelendirir. Bu bir gereksinimdir. Bu gereksinim 20. yüzyılın başlarında kültürel, siyasal ve teknolojik gelişmeler paralelinde en hareketli ve bekli de en yaratıcı seviyelere ulaşmıştır. Çalgısal tekniklerin ve yeni ses kaynaklarının gelişimi, yeni yazım ve çalım tekniklerini de beraberinde getirmiştir. Bu dönemde yaşayan besteciler eserlerinde çalgılardan o ana kadar var olan tınıların dışında farklı tınılar ve renkler elde etme arayışına girmiş, bir grup besteci de geçmişten gelen mirası ret ederek elektronik tekniklerle geliştirilmiş yeni çalgıların yapımına ve bu çalgılardan farklı sesler elde etme çabasına girmişlerdir. Yeni çalgılar yaratma fikri bir yana var olan çalgılardan yeni tınılar elde etme çabası, beraberinde klasik notalamadan farklı bir notalama biçiminin ortaya çıkmasına sebebiyet vermiştir. Bu dönemde, yeniyi arama ve bulunan yenilikleri uygulama sadece besteciler tarafından değil aynı zamanda birçok solist çalgıcının kendi çalgısının ses kabiliyetini belirleme ve keşfetmesiyle de en yüksek seviyelerine ulaşmıştır. Bu makale; başta insan sesindeki gelişmeler olmak üzere, vurmalı çalgılar, piyano ve arp çalgılarındaki yeni çalım tekniklerini, eser örnekleri ve yeni yazım tekniklerinin notalanması da gösterilerek, 20. yüzyılın ilk çeyreğinden başlayıp günümüze kadar gelen süreç içerisindeki gelişmeleri incelenmeye çalışılmıştır.
    [Show full text]
  • 4' 33'': John Cage's Utopia of Music
    STUDIA HUMANISTYCZNE AGH Tom 15/2 • 2016 http://dx.doi.org/10.7494/human.2016.15.2.17 Michał Palmowski* Jagiellonian University in Krakow 4’ 33’’: JOHN CAGE’S UTOPIA OF MUSIC The present article examines the connection between Cage’s politics and aesthetics, demonstrating how his formal experiments are informed by his political and social views. In 4’33’’, which is probably the best il- lustration of Cage’s radical aesthetics, Cage wanted his listeners to appreciate the beauty of accidental noises, which, as he claims elsewhere, “had been dis-criminated against” (Cage 1961d: 109). His egalitarian stance is also refl ected in his views on the function of the listener. He wants to empower his listeners, thus blurring the distinction between the performer and the audience. In 4’33’’ the composer forbidding the performer to impose any sounds on the audience gives the audience the freedom to rediscover the natural music of the world. I am arguing that in his experiments Cage was motivated not by the desire for formal novelty but by the utopian desire to make the world a better place to live. He described his music as “an affi rmation of life – not an at- tempt to bring order out of chaos nor to suggest improvements in creation, but simply a way of waking up to the very life we’re living, which is so excellent once one gets one’s mind and desires out of its way and lets it act of its own accord” (Cage 1961b: 12). Keywords: John Cage, utopia, poethics, silence, noise The present article is a discussion of the ideas informing the radical aesthetics of John Cage’s musical compositions.
    [Show full text]
  • Kaikhosru Shapurji Sorabji's Quintet for Piano and Four Stringed Instruments and Its Intended Performance by Norah Drewett and the Hart House String Quartet
    91 Kaikhosru Shapurji Sorabji's Quintet for Piano and Four Stringed Instruments and its intended performance by Norah Drewett and the Hart House String Quartet Marc-AndrC Roberge Abstract This article attempts to reconstruct the history of what was to be the first per- formance of Kaikhosru Shapurji Sorabji's Quintet for Piano and Four Stringed Instruments (1919-20), which was scheduled to be given on 29 November 1925 at Aeolian Hall in New York by the pianist Norah Drewett and the University of Toronto's Hart House String Quartet as part of a concert sponsored by Edgard Varese's International Composers' Guild. The performance never took place for reasons that are not entirely clear but have to do mostly with the work's difficul- ties. The article also provides an introduction to the work itself, which Sorabji dedicated to his friend, the composer Philip Heseltine. Most people who have heard of Kaikhosru Shapurji Sorabji (1892-1988), the Parsi composer and pianist active who lived as a recluse in England for most of his career, know that performances of his often massive and extremely difficult works have been extremely rare as a result of a so-called ban.l The thirteen scores that Sorabji published between 1921 and 1931 contain the following warning: "All rights including that of performance, reserved for all countries by the composer." The score of his 248-page Opus clavicembalisticum (1929-30), his longest and most often cited work, contains the additional admonition: "Public performance prohibited unless by express consent of the composer." Various statements in letters make it possible to say that, in the late thirties, Sorabji had decided to turn down all requests for public performance either by himself or by others.
    [Show full text]
  • John Cage's Entanglement with the Ideas Of
    JOHN CAGE’S ENTANGLEMENT WITH THE IDEAS OF COOMARASWAMY Edward James Crooks PhD University of York Music July 2011 John Cage’s Entanglement with the Ideas of Coomaraswamy by Edward Crooks Abstract The American composer John Cage was famous for the expansiveness of his thought. In particular, his borrowings from ‘Oriental philosophy’ have directed the critical and popular reception of his works. But what is the reality of such claims? In the twenty years since his death, Cage scholars have started to discover the significant gap between Cage’s presentation of theories he claimed he borrowed from India, China, and Japan, and the presentation of the same theories in the sources he referenced. The present study delves into the circumstances and contexts of Cage’s Asian influences, specifically as related to Cage’s borrowings from the British-Ceylonese art historian and metaphysician Ananda K. Coomaraswamy. In addition, Cage’s friendship with the Jungian mythologist Joseph Campbell is detailed, as are Cage’s borrowings from the theories of Jung. Particular attention is paid to the conservative ideology integral to the theories of all three thinkers. After a new analysis of the life and work of Coomaraswamy, the investigation focuses on the metaphysics of Coomaraswamy’s philosophy of art. The phrase ‘art is the imitation of nature in her manner of operation’ opens the doors to a wide- ranging exploration of the mimesis of intelligible and sensible forms. Comparing Coomaraswamy’s ‘Traditional’ idealism to Cage’s radical epistemological realism demonstrates the extent of the lack of congruity between the two thinkers. In a second chapter on Coomaraswamy, the extent of the differences between Cage and Coomaraswamy are revealed through investigating their differing approaches to rasa , the Renaissance, tradition, ‘art and life’, and museums.
    [Show full text]
  • Vasyl Tsanko O Uso Das Técnicas Expandidas No Início Da Aprendizagem De Um Instrumento: O Caso Particular Do Piano
    Universidade de Aveiro Departamento de Comunicação e Arte 2020 VASYL TSANKO O USO DAS TÉCNICAS EXPANDIDAS NO INÍCIO DA APRENDIZAGEM DE UM INSTRUMENTO: O CASO PARTICULAR DO PIANO Universidade de Aveiro Departamento de Comunicação e Arte 2020 VASYL TSANKO O USO DAS TÉCNICAS EXPANDIDAS NO INÍCIO DA APRENDIZAGEM DE UM INSTRUMENTO: O CASO PARTICULAR DO PIANO Relatório realizado no âmbito da disciplina de Prática Ensino Supervisionada apresentado à Universidade de Aveiro para cumprimento dos requisitos necessários à obtenção do grau de Mestre em Ensino de Música, realizado sob a orientação científica da Professora Doutora Helena Maria da Silva Santana, Professora Auxiliar do Departamento de Comunicação e Arte da Universidade de Aveiro. Dedico este trabalho a quem procure ser melhor que ontem o júri Presidente Doutor António Manuel Chagas Rosa Professor Auxiliar, Universidade Aveiro Vogal – Arguente principal Doutor Luís dos Santos Cardoso Diretor Pedagógico, Escola de Artes da Bairrada Vogal – Orientador Doutora Helena Maria da Silva Santana Professora Auxiliar, Universidade de Aveiro agradecimentos Ao tempo que me foi atribuído para viver neste mundo. Aos meus pais, à irmã e às avós por serem o meu “porto de abrigo” e por me fazerem ser quem sou. Ao Diogo e a sua família por se terem tornado a minha família em Portugal. À Professora Doutora Helena Santana por me ter aturado e por ter dedicado uma imensidão de tempo ao aportuguesamento das minhas construções linguísticas. À família Vieira pelos seres maravilhosos que são. A todos os participantes do Projeto por terem tido coragem para desbravar as terras desconhecidas do mundo das técnicas expandidas.
    [Show full text]
  • Liner Notes, Visit Our Web Site
    “Music of Our Time” When I worked at Columbia Records during the second half of the 1960s, the company was run in an enlightened way by its imaginative president, Goddard Lieberson. Himself a composer and a friend to many writers, artists, and musicians, Lieberson believed that a major record company should devote some of its resources to projects that had cultural value even if they didn’t bring in big profits from the marketplace. During those years American society was in crisis and the Vietnam War was raging; musical tastes were changing fast. It was clear to executives who ran record companies that new “hits” appealing to young people were liable to break out from unknown sources—but no one knew in advance what they would be or where they would come from. Columbia, successful and prosperous, was making plenty of money thanks to its Broadway musical and popular music albums. Classical music sold pretty well also. The company could afford to take chances. In that environment, thanks to Lieberson and Masterworks chief John McClure, I was allowed to produce a few recordings of new works that were off the beaten track. John McClure and I came up with the phrase, “Music of Our Time.” The budgets had to be kept small, but that was not a great obstacle because the artists whom I knew and whose work I wanted to produce were used to operating with little money. We wanted to produce the best and most strongly innovative new work that we could find out about. Innovation in those days had partly to do with creative uses of electronics, which had recently begun changing music in ways that would have been unimaginable earlier, and partly with a questioning of basic assumptions.
    [Show full text]
  • Ryokoakamaexploringemptines
    University of Huddersfield Repository Akama, Ryoko Exploring Empitness: An Investigation of MA and MU in My Sonic Composition Practice Original Citation Akama, Ryoko (2015) Exploring Empitness: An Investigation of MA and MU in My Sonic Composition Practice. Doctoral thesis, University of Huddersfield. This version is available at http://eprints.hud.ac.uk/26619/ The University Repository is a digital collection of the research output of the University, available on Open Access. Copyright and Moral Rights for the items on this site are retained by the individual author and/or other copyright owners. Users may access full items free of charge; copies of full text items generally can be reproduced, displayed or performed and given to third parties in any format or medium for personal research or study, educational or not-for-profit purposes without prior permission or charge, provided: • The authors, title and full bibliographic details is credited in any copy; • A hyperlink and/or URL is included for the original metadata page; and • The content is not changed in any way. For more information, including our policy and submission procedure, please contact the Repository Team at: [email protected]. http://eprints.hud.ac.uk/ EXPLORING EMPTINESS AN INVESTIGATION OF MA AND MU IN MY SONIC COMPOSITION PRACTICE Ryoko Akama A commentary accompanying the publication portfolio submitted to the University of Huddersfield in partial fulfillment of the requirements for the degree of Doctor of Philosophy ! The University of Huddersfield School of Music, Humanities and Media April, 2015 Title: Exploring Emptiness Subtitle: An investigation of ma and mu in my sonic composition practice Name of student: Ryoko Akama Supervisor: Prof.
    [Show full text]