Frank Lloyd Wright
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Sine Waves and Simple Acoustic Phenomena in Experimental Music - with Special Reference to the Work of La Monte Young and Alvin Lucier
Sine Waves and Simple Acoustic Phenomena in Experimental Music - with Special Reference to the Work of La Monte Young and Alvin Lucier Peter John Blamey Doctor of Philosophy University of Western Sydney 2008 Acknowledgements I would like to thank my principal supervisor Dr Chris Fleming for his generosity, guidance, good humour and invaluable assistance in researching and writing this thesis (and also for his willingness to participate in productive digressions on just about any subject). I would also like to thank the other members of my supervisory panel - Dr Caleb Kelly and Professor Julian Knowles - for all of their encouragement and advice. Statement of Authentication The work presented in this thesis is, to the best of my knowledge and belief, original except as acknowledged in the text. I hereby declare that I have not submitted this material, either in full or in part, for a degree at this or any other institution. .......................................................... (Signature) Table of Contents Abstract..................................................................................................................iii Introduction: Simple sounds, simple shapes, complex notions.............................1 Signs of sines....................................................................................................................4 Acoustics, aesthetics, and transduction........................................................................6 The acoustic and the auditory......................................................................................10 -
Sound to Sense, Sense to Sound a State of the Art in Sound and Music Computing
Sound to Sense, Sense to Sound A State of the Art in Sound and Music Computing Pietro Polotti and Davide Rocchesso, editors Pietro Polotti and Davide Rocchesso (Editors) Dipartimento delle Arti e del Disegno Industriale Universita` IUAV di Venezia Dorsoduro 2206 30123 Venezia, Italia This book has been developed within the Coordination Action S2S2 (Sound to Sense, Sense to Sound) of the 6th Framework Programme - IST Future and Emerging Technologies: http://www.soundandmusiccomputing.org/ The Deutsche Nationalbibliothek lists this publication in the Deutsche Nationalbibliografie; detailed bibliographic data are available in the Internet at http://dnb.d-nb.de. ©Copyright Logos Verlag Berlin GmbH 2008 All rights reserved. ISBN 978-3-8325-1600-0 Logos Verlag Berlin GmbH Comeniushof, Gubener Str. 47, 10243 Berlin Tel.: +49 (0)30 42 85 10 90 Fax: +49 (0)30 42 85 10 92 INTERNET: http://www.logos-verlag.de Contents Introduction 11 1 Sound, Sense and Music Mediation 15 1.1 Introduction .............................. 16 1.2 From music philosophy to music science .............. 16 1.3 The cognitive approach ........................ 20 1.3.1 Psychoacoustics ........................ 20 1.3.2 Gestalt psychology ...................... 21 1.3.3 Information theory ...................... 21 1.3.4 Phenomenology ........................ 22 1.3.5 Symbol-based modelling of cognition ........... 23 1.3.6 Subsymbol-based modelling of cognition ......... 23 1.4 Beyond cognition ........................... 24 1.4.1 Subjectivism and postmodern musicology ........ 24 1.4.2 Embodied music cognition ................. 25 1.4.3 Music and emotions ..................... 28 1.4.4 Gesture modelling ...................... 29 4 CONTENTS 1.4.5 Physical modelling ...................... 30 1.4.6 Motor theory of perception ................ -
Parody As a Borrowing Practice in American Music, 1965–2015
Parody as a Borrowing Practice in American Music, 1965–2015 A dissertation submitted to the Graduate School of the University of Cincinnati in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Division of Composition, Musicology, and Theory of the College-Conservatory of Music by John P. Thomerson BM, State University of New York at Fredonia, 2008 MM, University of Louisville, 2010 Committee Chair: bruce d. mcclung, PhD ABSTRACT Parody is the most commonly used structural borrowing technique in contemporary American vernacular music. This study investigates parody as a borrowing practice, as a type of humor, as an expression of ethnic identity, and as a response to intellectual trends during the final portion of the twentieth century. This interdisciplinary study blends musicology with humor studies, ethnic studies, and intellectual history, touching on issues ranging from reception history to musical meaning and cultural memory. As a structural borrowing technique, parody often creates incongruity—whether lyrical, stylistic, thematic, evocative, aesthetic, or functional—within a recognized musical style. Parodists combine these musical incongruities with other comic techniques and social conventions to create humor. Parodists also rely on pre-existing music to create, reinforce, and police ethnic boundaries, which function within a racialized discourse through which parodists often negotiate ethnic identities along a white-black binary. Despite parody’s ubiquity in vernacular music and notwithstanding the genre’s resonance with several key themes from the age of fracture, cultivated musicians have generally parody. The genre’s structural borrowing technique limited the identities musicians could perform through parodic borrowings. This study suggests several areas of musicological inquiry that could be enriched through engagement with parody, a genre that offers a vast and largely unexplored repertoire indicating how musical, racial, and cultural ideas can circulate in popular discourse. -
The Lullaby As Art Song: Engaging Repertoire for Study and Performance
University of Northern Colorado Scholarship & Creative Works @ Digital UNC Dissertations Student Research 5-2021 The Lullaby as Art Song: Engaging Repertoire For Study and Performance Carissa Scroggins Follow this and additional works at: https://digscholarship.unco.edu/dissertations © 2021 CARISSA SCROGGINS ALL RIGHTS RESERVED UNIVERSITY OF NORTHERN COLORADO Greeley, Colorado The Graduate School THE LULLABY AS ART SONG: ENGAGING REPERTOIRE FOR STUDY AND PERFORMANCE A Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Arts Carissa Scroggins College of Performing and Visual Arts School of Music Vocal Performance May 2021 This Dissertation by: Carissa Scroggins Entitled: The Lullaby as Art Song: Engaging Repertoire for Study and Performance has been approved as meeting the requirement for the Degree of Doctor of Arts in College of Performing and Visual Arts in School of Music, Program of Voice. Accepted by the Doctoral Committee ___________________________________________________ Dr. Melissa Malde, D.M.A., Research Advisor ______________________________________________________ Dr. Mary Kathryn Brewer, D.A., Co-Research Advisor _______________________________________________________ Dr. Carissa Reddick, PhD., Committee Member _______________________________________________________ Dr. Connie Stewart, PhD., Faculty Representative Date of Dissertation Defense: March 22, 2021 Accepted by the Graduate School _________________________________________________________ Jeri-Anne Lyons, Ph.D. Dean of the Graduate School Associate Vice President for Research ABSTRACT Scroggins, Carissa. The Lullaby as Art Song: Engaging Repertoire for Study and Performance. Published Doctor of Arts dissertation, University of Northern Colorado, 2021. When selecting repertoire, teachers of singing do not often turn to lullabies. The consensus is they are too simple in melody, texture, and harmony to warrant attention. However, this commonly held view should be reconsidered because lullabies can offer dramatic text settings. -
The Clouds Economy
Foreknowledge (London). The Clouds Economy. Mayevsky, Matt. Cita: Mayevsky, Matt (2013). The Clouds Economy. London: Foreknowledge. Dirección estable: https://www.aacademica.org/matt.mayevsky/3 Esta obra está bajo una licencia de Creative Commons. Para ver una copia de esta licencia, visite http://creativecommons.org/licenses/by-nc-nd/4.0/deed.es. Acta Académica es un proyecto académico sin fines de lucro enmarcado en la iniciativa de acceso abierto. Acta Académica fue creado para facilitar a investigadores de todo el mundo el compartir su producción académica. Para crear un perfil gratuitamente o acceder a otros trabajos visite: http://www.aacademica.org. Matt Mayevsky, a transformation futurist and author, particularly involved in the field of strategic foresight at the micro (enterprise architecture) and macro (reshaping of the market, the transformation of the system) level. The aim of his research is to discover the formulas of shaping the change, as well as the diagnosis of the importance and power of influence of probable events in the scenario analysis. In his works, he also deals with the identification of multi- dimensional effects caused by planned, strategic decisions in the 4P dimension (plausible, probable, preferable, possible). The author of several books of non-fiction, including "Cyfrowa przestrzeń biznesowa" (Polish Scientific Publishers PWN). In 1998-2010 the serial entrepreneur carrying out authorial marketing, publishing and Internet projects. Visit author's website Follow on Twitter Join Circles Google+ Become Fan on Facebook MATT MAYEVSKY THECLOUDS ECONOMY Foreknowledge Ltd London Copyrighted Material The Clouds Economy by Matt Mayevsky Second Edition, 2015 Graphic design of the publication, including: the covers, title pages, infographics, drawings and tables Anna Ziółkowska The author thanks Krzysztof Siepriński for his support along the editorial elaborations of the vast work.