DOCSLIB.ORG

NAVIGATING MUSICAL POSSIBILITY SPACE Through COLOR DATA

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
NAVIGATING MUSICAL POSSIBILITY SPACE Through COLOR DATA Lawton Hall Music Composition and Technology LEANDER: NAVIGATING University of Wisconsin–Milwaukee 2400 E Kenwood Blvd. MUSICAL POSSIBILITY SPACE Milwaukee, Wisconsin 53211 United States through COLOR DATA SONIFICATION [email protected] Abstract Introduction fixed sounds or musical parameters, the color values are used as probability vectors Leander is an experimental film that sonifies Even in the dreariest early spring months, Lake representing the likelihood that particular color data to generate its musical soundtrack. Michigan seems to change its colors almost sound-events with particular characteristics The colors of Lake Michigan, captured in daily, reflecting the most minute changes will occur at each moment in the film. time lapse video, constitute ever-changing in the sky, tides, temperature, and other Leaving the moment-by-moment specifics probability vectors that govern the behavior atmospheric conditions in the appearance to weighted random chance means that of musical sound-events over time. This of its waves. To document this chameleonic no two realization of Leander are exactly stochastic, or probabilistic approach to data behavior, I took time-lapse videos of the lake alike, while maintaining an overall musical sonification imagines the musical experience from the same point on a cliff in Milwaukee structure and audio-visual synchronicity. as movement through a virtual possibility County, Wisconsin over a series of days in space, rather than the end result of a causal March 2020. Each video began thirty minutes Named after the young man of Greek myth process. This pictorial describes how color before sunset and ended thirty minutes after who swam nightly across the Dardanelles data guides the various musical parameters sunset. I also made audio recordings of the toward his lover Hero’s lighthouse, at play in Leander through weighted chance. surrounding environment. After gathering Leander is a guide for navigating a musical and assembling the footage, I extracted the landscape on a journey of patience and Authors Keywords quantifiable color data of the video using solitude. The lake and its colors provide a Processing into a table of timestamped color compass and bearing, but the specific path stochastic music, data sonification, values which can be read like a musical score taken is a product of chance and algorithms, information art, parameter space, time into the audio programming environment discovered only by experiencing the piece. lapse, SuperCollider, electronic music, SuperCollider, sonifying (or perhaps musifying) video art, modern composition the color data in sync with the video. The Leander can be viewed at film, in a sense, writes its own soundtrack. www.lawtonhall.com/leander. Rather than mapping the data directly to VISAP’20, Pictorials and annotated portfolios. VISAP’20, Pictorials Flowchart of the process of generating music from video through color Chance Music data sonification in Leander. Delegating compositional decisions to random, famously) I Ching divination to determine or aleatoric, chance is not a new technique musical parameters. Cage mapped these Saturation Brightness and the use of mechanized automation to chance techniques to musical parameters assist with musical chance procedures long (pitch, rhythm, etc.) much like the parametric predates the digital age. Musical games mapping in data visualization and sonification.5 (musikalisches würfelspiele) in which players COLOR build pieces of music by rolling dice to choose The sonic environment generates the musical Hue DATA Red from precomposed fragments were popular experience in some aleatoric works, much from video pixels in eighteenth-century Europe. A notable 1792 like how Leander generates music from its würfelspiel attributed to Mozart is capable of visual landscape. In Cage’s 1952 piece 4’33”, producing over 45 trillion different waltzes the solo performer is instructed to tacet (not from its possible combinations of measures.1 play) for the entire duration of the piece, Blue Green allowing the listener to focus exclusively on In 1821, Dutch-German inventor Diederich ambient sounds in the concert hall.6 Composer Nikolaus Winkel mechanized the earlier Alvin Lucier’s I Am Sitting in a Room from determines dice games with an instrument called the 1969 features a recording of his spoken voice Componium, a clockwork pipe organ that being played into an empty room and re- WEIGHTD PROBABILIT plays combinatorially-generated music recorded. This process is repeated numerous from material pre-programmed onto times,with the acoustic qualities of the pinned wooden cylinders like a music box.2 room becoming increasingly apparent with determines The Componium uses a roulette wheel-like each iteration until all that remains are the device to choose fragments randomly and resonant frequencies of the room itself.7 can produce over 53 trillion different pieces 3 Pitch Rhythm without the use of dice or human intervention. In the würfelspiele and more recent aleatoric works, the piece of music is not fixed entity, This proto-chance music failed to catch on but rather a possibility space (or parameter as music composition became increasingly space) that encompasses a large number of MSICAL complex and deterministic in the late possible outcomes that each occupy a discrete 4 8 Bells PARAMTRS Timbre nineteenth and twentieth centuries. In point within such a space. Every dynamic reaction to these modernist tendencies, musical parameter (i.e. parameters whose American composer John Cage championed values may change between realizations) chance procedures beginning in the 1950s. represents a dimension in possibility space Many of his works from this era, such as and the location of one particular outcome is Pads Soundscape Music of Changes, are almost entirely aleatoric, determined by the value of each parameter relying on coin flips, graphical scores, and (most at each moment as a piece is realized. VISAP’20, Pictorials and annotated portfolios. VISAP’20, Pictorials Random chance, then, drops the listener, may be lost when exploratory methods are medieval isorhythms and the probabilistic performer, or even composer into an strictly causal, but interactive algorithms methods of stochastic music. It is both a unexpected location within a possibility allow the composer, guided by her tastes and generative musical possibility space defined space without the personal biases that values, to take a hands-on role in finding by a small number of dynamic parameters, often blind us to out-of-the-box creative “good” trajectories through parameter space.12 and a wide, winding path through this space thinking. Each realization of an aleatoric In his 1963 book Formalized Music, Greek defined by the fixed-media visuals. The colors work provides a different view of a musical composer Iannis Xenakis detailed a synthesis of the time lapse video determine those regions landscape even when the full breadth of a of aleatoric and causal techniques by using in this musical landscape where listeners may possibility space is incomprehensibly vast. probability to narrow the range of possible find themselves at every moment in the piece. The results are often exciting and surprising outcomes in an aleatoric context and to and allow for the creation of works that make some outcomes more likely than are greater than the sum of their parts, others through statistical distribution. especially when the process is automated. Xenakis called this composition method stochastic music and demonstrated its use Of course, random chance is not the only way in Pithoprakta and many later works.13 to explore a possibility space. Composers of isorhythmic motets in the fourteenth century Complex natural phenomena, such as the used fixed, repeating cycles of pitches and summer songs of cicadas, can be imitated rhythms to explore the uncharted frontier musically by using statistical probability to of polyphonic music.9 In the twentieth determine the morphology and characteristics century, serialism and other modernist of large numbers of discrete sound-events. composition methods used rigid algorithms Each sound-event behaves independently of to avoid areas of musical possibility space the others but all are governed by the same that carried historical or extramusical probability distributions, allowing a composer baggage.10 Even Mozart’s würfelspiel could, to assert creative agency without the rigidity in theory, be explored systematically, e.g. by of causal determinism. Most importantly, choosing the fifth option every time instead the probabilities used in stochastic music are of rolling dice or by using an integer series. not fixed, but rather the primary dynamic variables that a composer uses to shape Such causal, deterministic algorithms pieces of music over time. The same vast are a means of locating those regions in a probability space exists for the duration of a possibility space that meet certain aesthetic work, but sound-events can be constrained criteria.11 Algorithms have the advantage of to specific subspaces as the music requires. tweakability; if one fails to produce pleasing results, it can simply be adjusted and repeated Leander hybridizes the combinatorial while avoiding having to manipulate musical indeterminacy of the würfelspiele, the parameters directly. The element of surprise deterministic clarity of data sonification and Camera placement for Leander VISAP’20, Pictorials and annotated portfolios. VISAP’20, Pictorials The Leander Possibility Space SIA PAAS Only three
Load more

Recommended publications
  • Music Sampling and Copyright Law
    CACPS UNDERGRADUATE THESIS #1, SPRING 1999 MUSIC SAMPLING AND COPYRIGHT LAW by John Lindenbaum April 8, 1999 A Senior Thesis presented to the Faculty of the Woodrow Wilson School of Public and International Affairs in partial fulfillment of the requirements for the degree of Bachelor of Arts. ACKNOWLEDGMENTS My parents and grandparents for their support. My advisor Stan Katz for all the help. My research team: Tyler Doggett, Andy Goldman, Tom Pilla, Arthur Purvis, Abe Crystal, Max Abrams, Saran Chari, Will Jeffrion, Mike Wendschuh, Will DeVries, Mike Akins, Carole Lee, Chuck Monroe, Tommy Carr. Clockwork Orange and my carrelmates for not missing me too much. Don Joyce and Bob Boster for their suggestions. The Woodrow Wilson School Undergraduate Office for everything. All the people I’ve made music with: Yamato Spear, Kesu, CNU, Scott, Russian Smack, Marcus, the Setbacks, Scavacados, Web, Duchamp’s Fountain, and of course, Muffcake. David Lefkowitz and Figurehead Management in San Francisco. Edmund White, Tom Keenan, Bill Little, and Glenn Gass for getting me started. My friends, for being my friends. TABLE OF CONTENTS Introduction.....................................................................................……………………...1 History of Musical Appropriation........................................................…………………6 History of Music Copyright in the United States..................................………………17 Case Studies....................................................................................……………………..32 New Media......................................................................................……………………..50
    [Show full text]
  • The New Aural Actuality: an Exploration of Music, Sound And
    THE NEW AURAL ACTUALITY: AN EXPLORATION OF MUSIC, SOUND AND MEANING IN THE COMPOSED FEATURE DOCUMENTARY PODCAST by Benjamin Richard Phillip Horner Canterbury Christ Church University Thesis submitted for the Degree of Doctor of Philosophy 2019 Abstract This practice-led thesis explores the creative techniques and philosophies used in composing feature documentary podcasts and how listeners engage with the material and make meaning from it. Podcasting as a medium presents a new and so far unexplored way of interfacing with audio documentary and this study works to demonstrate crucial differences from radio practice in terms of intention and expression, how material is made, consideration for its audience, and how its programmes are distributed. Using post-structural theory, specifically Deleuze and Guattari’s ideas on interconnected networks of affective transmission, podcasting’s relationship to radio is explored, as is how listeners make meaning through their interaction with both the heard material and the devices upon which it is accessed. These theories are then applied to the characteristically open remit of the audio documentary to study how speech, music, sound and silence may be understood to generate meaning, emotion and a sense of immersion in the listener. It is suggested that modes of programme access, listening customs, and interpretational symbolism work together to impart information vital to the ability to connote and denote what is being heard, and that in this way the composed feature can be situated very closely to musical practice and engagement. Taking cues from musical and cinematic analytical practice three podcast programmes are closely scrutinised for an understanding of their constituent material, structural shape, and potential affective transmissions, before interviews with their producers are presented to discuss conceptual intentions and execution.
    [Show full text]
  • Monterey Jazz Festival
    DECEMBER 2018 VOLUME 85 / NUMBER 12 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Reviews Editor Dave Cantor Contributing Editor Ed Enright Creative Director ŽanetaÎuntová Assistant to the Publisher Sue Mahal Bookkeeper Evelyn Oakes ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile Vice President of Sales 630-359-9345 [email protected] Musical Instruments & East Coast Schools Ritche Deraney Vice President of Sales 201-445-6260 [email protected] Advertising Sales Associate Grace Blackford 630-359-9358 [email protected] OFFICES 102 N. Haven Road, Elmhurst, IL 60126–2970 630-941-2030 / Fax: 630-941-3210 http://downbeat.com [email protected] CUSTOMER SERVICE 877-904-5299 / [email protected] CONTRIBUTORS Senior Contributors: Michael Bourne, Aaron Cohen, Howard Mandel, John McDonough Atlanta: Jon Ross; Austin: Kevin Whitehead; Boston: Fred Bouchard, Frank- John Hadley; Chicago: John Corbett, Alain Drouot, Michael Jackson, Peter Margasak, Bill Meyer, Mitch Myers, Paul Natkin, Howard Reich; Denver: Norman Provizer; Indiana: Mark Sheldon; Iowa: Will Smith; Los Angeles: Earl Gibson, Todd Jenkins, Kirk Silsbee, Chris Walker, Joe Woodard; Michigan: John Ephland; Minneapolis: Robin James; Nashville: Bob Doerschuk; New Orleans: Erika Goldring, David Kunian, Jennifer Odell; New York: Alan Bergman, Herb Boyd, Bill Douthart, Ira Gitler, Eugene Gologursky, Norm Harris, D.D. Jackson, Jimmy Katz, Jim Macnie, Ken Micallef, Dan Ouellette, Ted Panken, Richard Seidel, Tom Staudter, Jack Vartoogian, Michael Weintrob;
    [Show full text]
  • Current Directions in Ecomusicology
    Current Directions in Ecomusicology This volume is the first sustained examination of the complex perspectives that comprise ecomusicology—the study of the intersections of music/sound, culture/society, and nature/environment. Twenty-two authors provide a range of theoretical, methodological, and empirical chapters representing disciplines such as anthropology, biology, ecology, environmental studies, ethnomusicology, history, literature, musicology, performance studies, and psychology. They bring their specialized training to bear on interdisciplin- ary topics, both individually and in collaboration. Emerging from the whole is a view of ecomusicology as a field, a place where many disciplines come together. The topics addressed in this volume—contemporary composers and traditional musics, acoustic ecology and politicized soundscapes, mate- rial sustainability and environmental crisis, familiar and unfamiliar sounds, local places and global warming, birds and mice, hearing and listening, bio- music and soundscape ecology, and more—engage with conversations in the various realms of music study as well as in environmental studies and cultural studies. As with any healthy ecosystem, the field of ecomusicol- ogy is dynamic, but this edited collection provides a snapshot of it in a formative period. Each chapter is short, designed to be accessible to the non- specialist, and includes extensive bibliographies; some chapters also provide further materials on a companion website. An introduction and interspersed editorial summaries help guide readers through four current directions— ecological, fieldwork, critical, and textual—in the field of ecomusicology. Aaron S. Allen is Associate Professor of Musicology at the University of North Carolina at Greensboro, USA, where he is also director of the Envi- ronmental and Sustainability Studies Program.
    [Show full text]
  • Ambient Music the Complete Guide
    Ambient music The Complete Guide PDF generated using the open source mwlib toolkit. See http://code.pediapress.com/ for more information. PDF generated at: Mon, 05 Dec 2011 00:43:32 UTC Contents Articles Ambient music 1 Stylistic origins 9 20th-century classical music 9 Electronic music 17 Minimal music 39 Psychedelic rock 48 Krautrock 59 Space rock 64 New Age music 67 Typical instruments 71 Electronic musical instrument 71 Electroacoustic music 84 Folk instrument 90 Derivative forms 93 Ambient house 93 Lounge music 96 Chill-out music 99 Downtempo 101 Subgenres 103 Dark ambient 103 Drone music 105 Lowercase 115 Detroit techno 116 Fusion genres 122 Illbient 122 Psybient 124 Space music 128 Related topics and lists 138 List of ambient artists 138 List of electronic music genres 147 Furniture music 153 References Article Sources and Contributors 156 Image Sources, Licenses and Contributors 160 Article Licenses License 162 Ambient music 1 Ambient music Ambient music Stylistic origins Electronic art music Minimalist music [1] Drone music Psychedelic rock Krautrock Space rock Frippertronics Cultural origins Early 1970s, United Kingdom Typical instruments Electronic musical instruments, electroacoustic music instruments, and any other instruments or sounds (including world instruments) with electronic processing Mainstream Low popularity Derivative forms Ambient house – Ambient techno – Chillout – Downtempo – Trance – Intelligent dance Subgenres [1] Dark ambient – Drone music – Lowercase – Black ambient – Detroit techno – Shoegaze Fusion genres Ambient dub – Illbient – Psybient – Ambient industrial – Ambient house – Space music – Post-rock Other topics Ambient music artists – List of electronic music genres – Furniture music Ambient music is a musical genre that focuses largely on the timbral characteristics of sounds, often organized or performed to evoke an "atmospheric",[2] "visual"[3] or "unobtrusive" quality.
    [Show full text]
  • Loren Chasse Discipline: Sound Art
    EDUCATOR GUIDE Story Theme: The Bleeding Edge Subject: Loren Chasse Discipline: Sound Art SECTION I - OVERVIEW ......................................................................................................................2 SECTION II – CONTENT/CONTEXT ..................................................................................................3 SECTION III - RESOURCES ..................................................................................................................6 SECTION IV – VOCABULARY ............................................................................................................9 SECTION V – ENGAGING WITH SPARK........................................................................................ 11 Sound artist Loren Chasse recording “found” sounds. Still image from SPARK story, July 2004. SECTION I - OVERVIEW EPISODE THEME INSTRUCTIONAL OBJECTIVES The Bleeding Edge To introduce students to sound art To provide context for the understanding of sound SUBJECT art in relation to other forms of art and music Loren Chasse To inspire students to experiment with sound for expressive means GRADE RANGES K-12 & Post-secondary EQUIPMENT NEEDED SPARK story about sound artist Loren Chasse on CURRICULUM CONNECTIONS DVD or VHS, TV, and appropriate player Music, Science & Language Arts Computer with Internet access, navigation software, speakers and a sounds card, printer OBJECTIVE Cassette player, CD player, or computer audio To introduce students to sound art as an expressive program medium through the
    [Show full text]
  • Still SELF-UPDATING
    GE THE ORIGINS OF SYNTHETIC TIMBRE SERIALISM AND THE PARISIAN CONFLUENCE, 1949–52 by John-Philipp Gather October 2003 A dissertation submitted to the Faculty of the Graduate School of State University of New York at Buffalo in partial fulfillment of the requirements for the degree of Doctor of Philosophy Department of Music COPYRIGHT NOTE The first fifty copies were published by the author. Berlin: John-Philipp Gather, 2003. Printed by Blasko Copy, Hilden, Germany. On-demand copies are available from UMI Dissertation Services, U.S.A. Copyright by John-Philipp Gather 2003 ii ACKNOWLEDGEMENTS Many persons have contributed to the present work. I would like to name first and foremost my major advisor Christopher Howard Gibbs for his unfailing support and trust throughout the five-year writing period, guiding and accompanying me on my pathways from the initial project to the present study. At the State University of New York at Buffalo, my gratitude goes to Michael Burke, Carole June Bradley, Jim Coover, John Clough, David Randall Fuller, Martha Hyde, Cort Lippe, and Jeffrey Stadelman. Among former graduate music student colleagues, I would like to express my deep appreciation for the help from Laurie Ousley, Barry Moon, Erik Oña, Michael Rozendal, and Matthew Sheehy. A special thanks to Eliav Brand for the many discussion and the new ideas we shared. At the Philips Exeter Academy in New Hampshire, I am grateful to Jacquelyn Thomas, Peter Schulz, and Rohan Smith, who helped this project through a critical juncture. I also extend my warm thanks to Karlheinz Stockhausen, who composed the music at the center of my musicological research.
    [Show full text]
  • The Music of Steve Reich in Context, 1965–1968
    The University of York Illusion / Anti-Illusion: the Music of Steve Reich in Context, 1965–1968 A dissertation submitted for the degree of Master of Arts by Research in Musicology By Ross Graham Cole (102008550 / Y4777582) December 2010 ii © 2010 Ross Graham Cole All Rights Reserved iii TABLE OF CONTENTS Abstract iv List of Figures v Acknowledgements vi (1) 1 Process, Pendulums, and Links with the Plastic Arts [Contact with the impersonal...] (2) 27 Racial Politics, Tape, and San Francisco’s Cultural Nexus [Marching to a Manhattan tempo...] (3) 61 Intermezzo: Two Missing Links [Trapped in a lab...] (4) 74 Teleological Mechanics and the Phase-Shifting Pieces of 1967 [Millions of burgers sold...] (5) 105 Concluding Remarks: Context and Contradiction Resource List 112 iv Abstract ‘Illusion / Anti-Illusion: the Music of Steve Reich in Context, 1965–1968’ Ross Graham Cole (2010) Supervisor: Professor William Brooks This dissertation situates the work of Steve Reich during the mid-to-late 1960s in its intricate socio-cultural context. Exploring biographical, hermeneutic, aesthetic, and political implications, it attempts to shed light on the composer’s early years. The historical narrative concentrates on the period between the first instantiation of the phase-shifting technique in It’s Gonna Rain, or, Meet Brother Walter in Union Square after Listening to Terry Riley (1965) and the theoretical treatise ‘Music as a Gradual Process’ (1968). It reaches back, however, to the cultural nexus of San Francisco and ahead to the mercurial gallery scene in New York. In addition, modal compositions from 1966 and 1967 are subject to detailed analyses which question the boundary between ‘impersonal’ process and composerly intervention.
    [Show full text]
  • How Can We Use Digital Media in Music History Research and Our Teach
    Making and Learning with Environmental Sound: Maker Culture, Ecomusicology, and the Digital Humanities in Music History Pedagogy Kate Galloway, Wesleyan University ow can we use digital media in music history research and our teach- ing to tell stories, create visual art, perform stage works, and compose music about ecologies of climate change, and other pressing global Henvironmental issues in the twenty-first century in a way that reaches every- one? The adoption of digital humanities methods, tools, and values by ecomu- sicology is one potential answer to this question. As Yi-Fu Tuan suggests, when humans give meaning to spaces, places come into being.1 Tuan recognized that there is “an important distinction between the passive and active modes of experience: the sensations of the passive mode are locked inside individuals and have no public existence.”2 We come to understand places though their spa- tiality and the relationships we forge with their human and nonhuman senso- rial (including musical) content. We come to understand environments—their soundscapes and the environmental issues that shape them, as well as the music used to represent those environments—through acts of collective listening and making sound using recording technologies. To facilitate project-based learning, the classroom becomes a community maker space, one in which connections are made among people, ideas, and made things, and one that is informed by collective critical thinking about these connections.3 Makerspaces are “informal sites for creative production in art, science, and engineering where people of all ages blend digital and physical 1. Yi-Fu Tuan, Space and Place: The Perspective of Experience (Minneapolis: University of Minnesota Press, 1977).
    [Show full text]
  • Stefan Firca Dissertation
    Circles and Circuses: Carnivalesque Tropes in the Late 1960s Musical and Cultural Imagination DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of the Ohio State University by Stefan Firca , B.M., M.A. Graduate Program in Music The Ohio State University 2011 Dissertation Committee: Professor Arved Ashby, Advisor Professor Graeme Boone Professor Danielle Fosler-Lussier Copyright by Stefan Firca 2011 Abstract Circus, fairground, carousel, carnival imagery is everywhere during the late 1960s: in cover art, song lyrics, band names and song titles, music criticism, names of music venues, festivals, movies, literature. From circus tents to clowns, from jugglers to magicians, from carousels to parades, an entire carnivalesque lexis seems to be at play in what is generally termed “psychedelia.” The current study attempts to read and offer “thick description” (Geertz) of this vocabulary as part of a larger cultural and countercultural imagination, and integrate musical manifestations of the period (popular psychedelia and avant-garde / experimental music) in a semiotic network of metaphoric representation. If language is nothing more than a chain of metaphors (Lakoff), it is nevertheless true that we often take such metaphors as “rock ’n’ roll circus,” “song-carousel,” “riot of sound” for granted, since they are so widespread and culturally shared that an explanation of their meaning may appear pedantic. But what do these word-images actually mean? What is the range of their connotations? What is the relationship between them? Why are they so frequent in the late 1960s? And how are these tropes translated or suggested musically? One possible answer to the last question involves the broad concept of circularity , emblematic for the psychedelic era: a round melodic motive or harmonic progression, ii a cyclic phrase articulation, a motoric-recurrent riff, a spiraling or whirling waltz in triple time.
    [Show full text]
  • The Voice of New Music
    TOM Title The Voice of New Music by Tom Johnson New York City 1972-1982 JOHNSON A collection of articles originally published in the Village Voice Author Tom Johnson Drawings HE OICE Tom Johnson (from his book Imaginary Music, published by Editions 75, 75, rue T V de la Roquette, 75011 Paris, France) Publisher Editions 75 Editors OF NEW Tom Johnson, Paul Panhuysen Coordination HélènePanhuysen Word processing MUSIC Marja Stienstra NEW YORK CITY 1972 - 1982 File format translation Matthew Rogalski A COLLECTION OF ARTICLES ORIGINALLY PUBLISHED IN THE VILLAGE VOICE Digital edition Javier Ruiz Reprinted with permission of the author and the Village Voice ©1989 All rigths reserved [NEW DIGITQL EDITION BASED IN THE 1989 EDITION BY HET APOLLOHUIS] [Het Apollohuis edition: ISBN 90-71638-09-X] for all of those whose and for all that I ideas and energies learned from them became the voice of new music, Editions 75, 75 rue de la Roquette, 75011 PARIS http://www.tom.johnson.org/ Preface Index Introduction Index Index 1972 Index 1973 Index 1974 Index Index 1975 Index 1976 Index 1977 Index Index 1978 Index 1979 Index Index 1980 Index 1981 Index 1982 Music Columns in the Voice Editions 75, 75 rue de la Roquette, 75011 PARIS http://www.tom.johnson.org/ the Western musical tradition and to remove the barriers between different cultures and various artistic disciplines. That process is still in full swing. Therefore it is of interest today to read how that process was triggered. Tom Johnson has been the first champion of this new movement in music.
    [Show full text]
  • Redalyc.The Deconstruction of History, Music and the Autonomy Of
    Trans. Revista Transcultural de Música E-ISSN: 1697-0101 [email protected] Sociedad de Etnomusicología España Kaiero Claver, Ainhoa The deconstruction of history, music and the autonomy of art in the post-modern aesthetic Trans. Revista Transcultural de Música, núm. 12, julio, 2008 Sociedad de Etnomusicología Barcelona, España Available in: http://www.redalyc.org/articulo.oa?id=82201219 How to cite Complete issue Scientific Information System More information about this article Network of Scientific Journals from Latin America, the Caribbean, Spain and Portugal Journal's homepage in redalyc.org Non-profit academic project, developed under the open access initiative The deconstruction of history, music and the autonomy of art in the po... http://www.sibetrans.com/trans/trans12/art19.htm Revista Transcultural de Música Transcultural Music Review #12 (2008) ISSN:1697-0101 The deconstruction of history, music and the autonomy of art in the post-modern aesthetic Ainhoa Kaiero Claver Abstract ‘Post-modern music’ is an epistemological category which was created with the aim of drawing together and describing several contemporary tendencies which contradict the aesthetic premises that used to maintain modern art. As other terms that mark out our artistic vocabulary (neoclassicism, etc), this category is creating debates and a spread of different approaches and nuances. Opposite the globalizing definitions which bring up a new post-historical age, this article considers post-modernism as an aesthetic paradigm which is depicted by some specific conceptual and operating coordinates. In this way, what is being studied is the deconstruction that these expressions carry out in both the historical accounts 12 and the concepts of pure music and autonomous art which appear in modern music.
    [Show full text]