DOCSLIB.ORG

A Telematic Conduction Experiment

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
A Telematic Conduction Experiment MAD SCIENTIST MACHINE: A TELEMATIC CONDUCTION EXPERIMENT by Stefan Smulovitz B.S. – Biochemistry, University of Washington 1994 PROJECT SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF FINE ARTS In the School for the Contemporary Arts © Stefan Smulovitz 2010 SIMON FRASER UNIVERSITY Summer 2010 All rights reserved. However, in accordance with the Copyright Act of Canada, this work may be reproduced, without authorization, under the conditions for Fair Dealing. Therefore, limited reproduction of this work for the purposes of private study, research, criticism, review and news reporting is likely to be in accordance with the law, particularly if cited appropriately. APPROVAL Name: Stefan Smulovitz Degree: Master of Fine Arts Title of Thesis: Mad Scientist Machine: a telematic conduction experiment Examining Committee: Chair: Steven Hill Assistant Professor School for the Contemporary Arts ______________________________________ Owen Underhill Senior Supervisor Professor School for the Contemporary Arts ______________________________________ Barry Truax Supervisor Professor School of Communication ______________________________________ Martin Gotfrit Supervisor Professor School for the Contemporary Arts ______________________________________ Kenneth Newby External Examiner Adjunct Professor – Creative Studies University of British Columbia Kelowna, BC Canada Date Defended/Approved: June 22, 2010 ii Declaration of Partial Copyright Licence The author, whose copyright is declared on the title page of this work, has granted to Simon Fraser University the right to lend this thesis, project or extended essay to users of the Simon Fraser University Library, and to make partial or single copies only for such users or in response to a request from the library of any other university, or other educational institution, on its own behalf or for one of its users. The author has further granted permission to Simon Fraser University to keep or make a digital copy for use in its circulating collection (currently available to the public at the “Institutional Repository” link of the SFU Library website <www.lib.sfu.ca> at: <http://ir.lib.sfu.ca/handle/1892/112>) and, without changing the content, to translate the thesis/project or extended essays, if technically possible, to any medium or format for the purpose of preservation of the digital work. The author has further agreed that permission for multiple copying of this work for scholarly purposes may be granted by either the author or the Dean of Graduate Studies. It is understood that copying or publication of this work for financial gain shall not be allowed without the author’s written permission. Permission for public performance, or limited permission for private scholarly use, of any multimedia materials forming part of this work, may have been granted by the author. This information may be found on the separately catalogued multimedia material and in the signed Partial Copyright Licence. While licensing SFU to permit the above uses, the author retains copyright in the thesis, project or extended essays, including the right to change the work for subsequent purposes, including editing and publishing the work in whole or in part, and licensing other parties, as the author may desire. The original Partial Copyright Licence attesting to these terms, and signed by this author, may be found in the original bound copy of this work, retained in the Simon Fraser University Archive. Simon Fraser University Library Burnaby, BC, Canada Last revision: Spring 09 ABSTRACT The Mad Scientist Machine is a software/hardware system allowing a user (conductor/composer) to organize a group of players in a structured improvised performance. A local or remote user can utilize the software to control an LED light that is placed in front of each performer. Each colour indicates a different performance instruction. For instance, white signals long tones, whereas green indicates to play noise. The Mad Scientist Machine is an experiment at creating a balance between freedom and structure and at the same time creates a window for the audience into the process of improvisation in music. Transforming a composer’s ideas into specific light cues for an ensemble of players, the Mad Scientist Machine is a combination of a game structure and compositional system. Keywords: Improvisation, Interactive, Telematic Performance, Game Structure, Compositional System iii DEDICATION The Mad Scientist Machine is dedicated to all the teachers in my life — to those that taught me violin, viola, and bass, to those that opened the door to improvisation, to the conductors I had in middle school and high school, to the record shop owners who exposed me to all kinds of music, to the teachers that taught me computer programming, to all the amazing musicians I have played with through the years, to the faculty at SFU who have inspired me to think in new ways, to the donors that have supported me, to all the amazing creative folk I have worked with in dance, theatre and art, and to my parents who supported and instilled in me such a desire to see the world in a unique way. Most importantly I’d like to dedicate this project to my wife Viviane Houle, who is continually teaching me to see things in a new light. iv ACKNOWLEDGEMENTS Thank you to Owen Underhill, Barry Truax, Martin Gotfrit, Laura Marks, Judy Radul, Jin-me Yoon, Henry Daniel, Colin Browne, and D.D. Kugler for their continual feedback and intellectual stimulation during my MFA program. Thanks to visiting lecturers, John Crawford and Mark Coniglio, who provided many interesting insights. Thank you to Arlene Sullivan, Laura Sparrow, and Noni Fidler for helping me through the administrative jungle. Thank you to Pauline Oliveros, John Oswald, Paul Cram, and Lisle Ellis for being the first set of conductors and for their feedback on the Mad Scientist Machine. Thanks to Pessi Parviainen in Finland for helping me test the system. Thank you to Coat Cooke and Orkestra Futura for believing in the project and performing with such vibrancy and skill. Thank you to the Elsie Jang Award for financial support. Thank you to my parents for their support. Thank you to Viviane Houle for believing in the Mad Scientist in me. v TABLE OF CONTENTS Approval ...............................................................................................................ii Abstract ...............................................................................................................iii Dedication ...........................................................................................................iv Acknowledgements.............................................................................................v Table of Contents ...............................................................................................vi List of Figures...................................................................................................viii Chapter 1: Direction, Content, and structure in improvised music................1 Introduction.........................................................................................................1 Improvised Music ...............................................................................................1 Direction ............................................................................................................3 Content ............................................................................................................7 Structure ..........................................................................................................10 Instant Composition..........................................................................................13 Better Music? ...................................................................................................16 Concluding Comments .....................................................................................19 Chapter 2: Technology, Improvisation, and Conduction...............................23 Introduction.......................................................................................................23 Technology and Improvisation .........................................................................23 Pauline Oliveros – I of IV (1966) ......................................................................24 Max Mathews – GROOVE system (1967) & Radio Baton (1987) ...................25 Joel Chadabe – Solo (1978).............................................................................28 Stefan Smulovitz – Kenaxis (2000 – present) ..................................................30 Conduction .......................................................................................................33 Earle Brown – Available Forms 1 & 2 (1961 – 1962) .......................................33 John Zorn – Cobra (1984) ................................................................................35 Butch Morris – Conduction (1985 – present)....................................................36 Walter Thompson – Soundpainting ..................................................................38 Concluding Comments .....................................................................................39 Chapter 3: The Mad Scientist Machine............................................................40 Introduction.......................................................................................................40 The Performance..............................................................................................41
Load more

Recommended publications
  • An Approach to the Pedagogy of Beginning Music Composition: Teaching Understanding and Realization of the First Steps in Composing Music
    AN APPROACH TO THE PEDAGOGY OF BEGINNING MUSIC COMPOSITION: TEACHING UNDERSTANDING AND REALIZATION OF THE FIRST STEPS IN COMPOSING MUSIC DOCUMENT Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts in the Graduate School of The Ohio State University By Vera D. Stanojevic, Graduate Diploma, Tchaikovsky Conservatory ***** The Ohio State University 2004 Dissertation Committee: Approved By Professor Donald Harris, Adviser __________________________ Professor Patricia Flowers Adviser Professor Edward Adelson School of Music Copyright by Vera D. Stanojevic 2004 ABSTRACT Conducting a first course in music composition in a classroom setting is one of the most difficult tasks a composer/teacher faces. Such a course is much more effective when the basic elements of compositional technique are shown, as much as possible, to be universally applicable, regardless of style. When students begin to see these topics in a broader perspective and understand the roots, dynamic behaviors, and the general nature of the different elements and functions in music, they begin to treat them as open models for individual interpretation, and become much more free in dealing with them expressively. This document is not designed as a textbook, but rather as a resource for the teacher of a beginning college undergraduate course in composition. The Introduction offers some perspectives on teaching composition in the contemporary musical setting influenced by fast access to information, popular culture, and globalization. In terms of breadth, the text reflects the author’s general methodology in leading students from basic exercises in which they learn to think compositionally, to the writing of a first composition for solo instrument.
    [Show full text]
  • Lesbian and Gay Music
    Revista Eletrônica de Musicologia Volume VII – Dezembro de 2002 Lesbian and Gay Music by Philip Brett and Elizabeth Wood the unexpurgated full-length original of the New Grove II article, edited by Carlos Palombini A record, in both historical documentation and biographical reclamation, of the struggles and sensi- bilities of homosexual people of the West that came out in their music, and of the [undoubted but unacknowledged] contribution of homosexual men and women to the music profession. In broader terms, a special perspective from which Western music of all kinds can be heard and critiqued. I. INTRODUCTION TO THE ORIGINAL VERSION 1 II. (HOMO)SEXUALIT Y AND MUSICALIT Y 2 III. MUSIC AND THE LESBIAN AND GAY MOVEMENT 7 IV. MUSICAL THEATRE, JAZZ AND POPULAR MUSIC 10 V. MUSIC AND THE AIDS/HIV CRISIS 13 VI. DEVELOPMENTS IN THE 1990S 14 VII. DIVAS AND DISCOS 16 VIII. ANTHROPOLOGY AND HISTORY 19 IX. ACKNOWLEDGEMENTS 24 X. EDITOR’S NOTES 24 XI. DISCOGRAPHY 25 XII. BIBLIOGRAPHY 25 I. INTRODUCTION TO THE ORIGINAL VERSION 1 What Grove printed under ‘Gay and Lesbian Music’ was not entirely what we intended, from the title on. Since we were allotted only two 2500 words and wrote almost five times as much, we inevitably expected cuts. These came not as we feared in the more theoretical sections, but in certain other tar- geted areas: names, popular music, and the role of women. Though some living musicians were allowed in, all those thought to be uncomfortable about their sexual orientation’s being known were excised, beginning with Boulez.
    [Show full text]
  • Music and the English Lyric Poem: Explorations in Conceptual Blending Qualification: Mmus
    Access to Electronic Thesis Author: Dr Keith Green Thesis title: Music and the English Lyric Poem: Explorations in Conceptual Blending Qualification: MMus This electronic thesis is protected by the Copyright, Designs and Patents Act 1988. No reproduction is permitted without consent of the author. It is also protected by the Creative Commons Licence allowing Attributions-Non-commercial-No derivatives. If this electronic thesis has been edited by the author it will be indicated as such on the title page and in the text. Music and the English Lyric Poem: Explorations in Conceptual Blending Keith Michael Charles Green Thesis submitted for the award of Master of Music Department of Music May 2011 Music and the English Lyric Poem: Explorations in Conceptual Blending CONTENTS Chapter One: Preliminaries and Theory 1. The Nature of The Problem 1 2. Research on Poetry and Music 4 3. Saussure’s Contribution 9 4. The Nature of Poetry and Jacobson’s Theory 21 Chapter Two: The Music of Poetry and the Poetry of Music 1. Prosody of English 33 2. The Musicality of Poetry 36 3. The English Lyric Poem 39 4. English Song and the Problem of Irony 41 Chapter Three: Songs, Settings and Blended Spaces 1. Semantics and Syntax of Music 49 2. Music, Poetry and Conceptual Blending 55 3. Conceptual Blending in Butterworth’s Setting of ‘Loveliest of Trees’ 61 Bibliography 69 Chapter One: Preliminaries and Theory Of one thing we can be certain; what Hanslick called ‘the morganatic marriage of words and music’ is the least destructible of all musical elements (Gerald Finzi, Crees Lecture, 1954).
    [Show full text]
  • Lawrence D. “Butch” Morris
    Lawrence D. “Butch” Morris American Cornetist, Composer & Conductor (February 10, 1947 – January 22, 2013) 1 Track listing 1. title: Conduction #1: Current Trends in Racism in Modern America (Part 1 (cont.)) personnel: Butch Morris (conductor), Frank Lowe (saxophone), John Zorn (saxophone, game calls), Christian Marclay (turntables), Thurman Barker (marimba), Curtis Clark (piano), Brandon Ross (guitar), Zeena Parkins (harp), Eli Fountain (vibraphone), Tom Cora (cello), Yasunao Tone (vocal) album title (format): Current Trends in Racism in Modern America (lp) label (country) (catalog number): Sound Aspects Records (Germany) (SAS 4010) recording location and date: New York, USA, February 1st, 1985 release date: 1986 duration: 12:12 2. title: Ozone – Burning Blue personnel: Butch Morris (cornet), Lê Quan Ninh (percussion), J.A. Deane (trombone, flute, electronics) album title (format): Burning Cloud label (country) (catalog number): Free Music Productions (Germany) (FMP CD 77 ) recording location and date: Berlin, Germany, October 29, 1993 release date: 1996 duration: 18:27 3. title: Conduction #26, E personnel: Butch Morris (conductor), Hasan Esen (kemence), Mehmet Emin Bitmez (ud), Göskel Baktagir (kanun), Süleyman Erguner (ney), Lê Quan Ninh (percussion), Bryan Carrott (vibraphone), J.A. Deane (trombone, electronics, drum machine), Elizabeth Panzer (harp), Brandon Ross (acoustic guitar), Steve Colson (piano), Hugh Ragin (pocket trumpet) album title (format): Testament: A Conduction Collection Disc 5 (cdx10+book+box) label (country) (catalog
    [Show full text]
  • Drums • Bobby Bradford - Trumpet • James Newton - Flute • David Murray - Tenor Sax • Roberto Miranda - Bass
    1975 May 17 - Stanley Crouch Black Music Infinity Outdoors, afternoon, color snapshots. • Stanley Crouch - drums • Bobby Bradford - trumpet • James Newton - flute • David Murray - tenor sax • Roberto Miranda - bass June or July - John Carter Ensemble at Rudolph's Fine Arts Center (owner Rudolph Porter)Rudolph's Fine Art Center, 3320 West 50th Street (50th at Crenshaw) • John Carter — soprano sax & clarinet • Stanley Carter — bass • William Jeffrey — drums 1976 June 1 - John Fahey at The Lighthouse December 15 - WARNE MARSH PHOTO Shoot in his studio (a detached garage converted to a music studio) 1490 N. Mar Vista, Pasadena CA afternoon December 23 - Dexter Gordon at The Lighthouse 1976 June 21 – John Carter Ensemble at the Speakeasy, Santa Monica Blvd (just west of LaCienega) (first jazz photos with my new Fujica ST701 SLR camera) • John Carter — clarinet & soprano sax • Roberto Miranda — bass • Stanley Carter — bass • William Jeffrey — drums • Melba Joyce — vocals (Bobby Bradford's first wife) June 26 - Art Ensemble of Chicago Studio Z, on Slauson in South Central L.A. (in those days we called the area Watts) 2nd-floor artists studio. AEC + John Carter, clarinet sat in (I recorded this on cassette) Rassul Siddik, trumpet June 24 - AEC played 3 nights June 24-26 artist David Hammond's Studio Z shots of visitors (didn't play) Bobby Bradford, Tylon Barea (drummer, graphic artist), Rudolph Porter July 2 - Frank Lowe Quartet Century City Playhouse. • Frank Lowe — tenor sax • Butch Morris - drums; bass? • James Newton — cornet, violin; • Tylon Barea -- flute, sitting in (guest) July 7 - John Lee Hooker Calif State University Fullerton • w/Ron Thompson, guitar August 7 - James Newton Quartet w/guest John Carter Century City Playhouse September 5 - opening show at The Little Big Horn, 34 N.
    [Show full text]
  • When We Listen to a Piece of Music Performed by an Orchestra We
    hen we listen to a piece of music performed by an orchestra we hear the melody, accompaniment, countermelodies and a whole W range of sounds that add richness and depth to the piece. But to understand the essence of a musical composition, we would start with the SING TO THE melody. The melody is the starting point for understanding the entire com- position. LORD: This article is like the melody line of a musical piece. In this case the full musical composition is the document, Sing to the Lord: Music in Divine MUSIC IN Worship. This document, which is a revision of the 1972 document, Music in Catholic Worship, was approved by the United States Conference of Catholic Bishops on November 14, 2007. It provides current guidelines for DMNE those who prepare the liturgy. Sing to the Lord: Music in Divine Worship should be read in its entirety to WORSHIP be fully appreciated. Yet how many liturgical documents, books, magazines, and other publications sit on desks and coffee tables waiting to be read by A SUMMARY OF THE USCCB people with good intentions but with little time? DOCUMENT ON MUSIC This article is a summary of what is contained in Sing to the Lord: Music in Divine Worship. It is hoped that "hearing" the melody will give the reader the basic information found in the full composition. The numbers refer- Rev. ThomasB. lwanowski enced and the headings in this article correspond to the actual document. Capitalizations follow the style used in the document. Pastor I. WHY WE SING Our Lady of Czestochowa Liturgy uses words, gestures, signs, and symbols to proclaim the action of Jersey City, New Jersey God in our life and to give worship and praise to God.
    [Show full text]
  • Benjamin Britten: Art Song, a Synthesis of Words and Music — Issues and Approaches to Text-Setting
    Benjamin Britten: art song, a synthesis of words and music — issues and approaches to text-setting Paul Higgins The clarity of verbal expression evident throughout Benjamin Britten’s (1913-1976) art songs serves to highlight the central role which the setting of pre-existing written poetic texts occupies in his compositional process and in the aesthetic appreciation of his interpretation. For Britten, text acts initially as a source of musical imagination, but it also provides the composer with a framework with which to express musically his selected, literary-based ideas. To place Britten’s contribution against the backdrop of an important musicological debate, it is necessary to clarify a number of key issues. Firstly, text-setting is often loosely perceived as the composition of music of a pre-existing written text, yet in Britten this approach has been expanded to incorporate the process whereby music and text are simultaneously generated. A good example of this is Britten’s close collaboration with W.H. Auden in the song cycle Our Hunting Fathers op.8 (1936),1 in which Auden not only wrote two poems but also selected and modernised three other poems, specifically for Britten to set to music. Secondly, that text-setting is a broader concern than the activity of mere text underlay and is significant to all text-based vocal music: its study also involves syntactic and semantic considerations. Syntactic concerns make reference to the musical response of the work to the structure of the source text, at both the level of overall form, and sentence and word patterns.
    [Show full text]
  • TWIST by JODIE BLACKSHAW
    About the composer: Jodie Blackshaw grew up in the Riverina, NSW and after completing high school, studied a Bachelor of Music in Composition with Professor Larry Sitsky at the Australian National University, School of Music. Since then, she has worked teaching music to students of all ages and conducting a variety of ensembles in several different settings, from remote country centres to the inner city. The influence of Orff-Schulwerk methodology is a significant influence of Jodie’s teaching practice and composition. In December 2012, Jodie presented the clinic ‘Get off the Podium’ alongside Dr. Mark Fonder of Ithaca College and conductor Professor Craig Kirchhoff at the Midwest Clinic in Chicago, Illinois. This clinic, advocating her unique compositional style and inclusive teaching approach to ensemble, offered directors opportunities to explore musical elements other than melody and harmony. Jodie is passionate about inspiring teachers and musicians to be active in the music making process. Jodie won the inaugural Frank Ticheli Composition Contest earning her publication of a Grade 1 piece Whirlwind. Whirlwind was premièred at the Midwest clinic in 2006 and now appears on several state band lists. A second work, Terpsichorean Dances was awarded 2nd place in ‘Category 2’ of the same competition. Jodie resides in the Blue Mountains, New South Wales, Australia with her husband David and daughter Matilda and works full-time as a composer and appears as a guest clinician and adjudicator for band festivals throughout Australia. Jodie is fanatical about producing quality, meaningful works for band. She desires that her music not just be "another piece, but an educational and spiritual journey for both the players and the director".
    [Show full text]
  • The Singing Guitar
    August 2011 | No. 112 Your FREE Guide to the NYC Jazz Scene nycjazzrecord.com Mike Stern The Singing Guitar Billy Martin • JD Allen • SoLyd Records • Event Calendar Part of what has kept jazz vital over the past several decades despite its commercial decline is the constant influx of new talent and ideas. Jazz is one of the last renewable resources the country and the world has left. Each graduating class of New York@Night musicians, each child who attends an outdoor festival (what’s cuter than a toddler 4 gyrating to “Giant Steps”?), each parent who plays an album for their progeny is Interview: Billy Martin another bulwark against the prematurely-declared demise of jazz. And each generation molds the music to their own image, making it far more than just a 6 by Anders Griffen dusty museum piece. Artist Feature: JD Allen Our features this month are just three examples of dozens, if not hundreds, of individuals who have contributed a swatch to the ever-expanding quilt of jazz. by Martin Longley 7 Guitarist Mike Stern (On The Cover) has fused the innovations of his heroes Miles On The Cover: Mike Stern Davis and Jimi Hendrix. He plays at his home away from home 55Bar several by Laurel Gross times this month. Drummer Billy Martin (Interview) is best known as one-third of 9 Medeski Martin and Wood, themselves a fusion of many styles, but has also Encore: Lest We Forget: worked with many different artists and advanced the language of modern 10 percussion. He will be at the Whitney Museum four times this month as part of Dickie Landry Ray Bryant different groups, including MMW.
    [Show full text]
  • TITLE Secondary Music (8-12): a Guide/Resource Book for Teachers
    DOCUMENT RESUME ED 221 408 SO 013 861 TITLE Secondary Music (8-12): A Guide/Resource Book for Teachers. INSTITUTION British Columbia Dept. of Education, Victoria. Curriculum Development Branch. PUB DATE 80 NOTE 248p. EDRS PRICE MF01/PC10 Plus Postage. DESCRIPTORS Bands (Music); Choral Music; Course Content; *Curriculum Development; Curriculum Guides; Educational Objectives; Evaluation Methods; Jazz; Music Activities; Musical.Composition; *Music Education; Orchestras; Resource Materials; Secondary Education; Singing IDENTIFIERS Stringed Instruments ABSTRACT Goals and objectives, lesson ideas, evaluation techniques, and other resources to help secondary musicteachers in British Columbia organize and develop musicprograms are provided in this resource book. An introductory section briefly discussesthe secondary music program, presenting a scope andsequence and outlining goals and leatnieg outcomes. Following this, thebook is divided into four major sections,one for each of the major areas of music: band; choral music; strings; and music composition.Learning outcomes and related content are outlined for eacharea. Sample outlines and units, suggested seating plans, glossaries, and bibliographies of reierence materialsare also provided for each music area. The appendices containan outline of fine arts goals for secondary school programs, evaluation suggestions and plans,a sample student practice report form, tips for planning field trips,a listing of professional music associations and journals,suggestions for class projects, and listings of
    [Show full text]
  • 2019 JUNO Award Nominees
    2019 JUNO Award Nominees JUNO FAN CHOICE AWARD (PRESENTED BY TD) Alessia Cara Universal ​ ​ Avril Lavigne BMG*ADA ​ bülow Universal ​ ​ Elijah Woods x Jamie Fine Big Machine*Universal ​ KILLY Secret Sound Club*Independent ​ Loud Luxury Armada Music B.V.*Sony ​ NAV XO*Universal ​ Shawn Mendes Universal ​ The Weeknd The Weeknd XO*Universal ​ Tory Lanez Interscope*Universal ​ SINGLE OF THE YEAR Growing Pains Alessia Cara Universal ​ ​ ​ Not A Love Song bülow Universal ​ ​ Body Loud Luxury Armada Music B.V.*Sony ​ ​ In My Blood Shawn Mendes Universal ​ ​ Pray For Me The Weeknd, Kendrick Lamar Top Dawg Ent*Universal ​ ​ INTERNATIONAL ALBUM OF THE YEAR Camila Camila Cabello Sony ​ ​ Invasion of Privacy Cardi B Atlantic*Warner ​ ​ ​ Red Pill Blues Maroon 5 Universal ​ ​ beerbongs & bentleys Post Malone Universal ​ ​ ASTROWORLD Travis Scott Sony ​ ​ ALBUM OF THE YEAR (SPONSORED BY MUSIC CANADA) Darlène Hubert Lenoir Simone*​ Select ​ ​ These Are The Days Jann Arden Universal ​ ​ Shawn Mendes Shawn Mendes Universal ​ ​ My Dear Melancholy, The Weeknd The Weeknd XO*Universal ​ ​ Outsider Three Days Grace RCA*Sony ​ ​ ARTIST OF THE YEAR (PRESENTED WITH APPLE MUSIC) Alessia Cara Universal ​ ​ Michael Bublé Warner ​ Shawn Mendes Universal ​ The Weeknd The Weeknd XO*Universal ​ Tory Lanez Interscope*Universal ​ ​ GROUP OF THE YEAR (PRESENTED WITH APPLE MUSIC) ​ Arkells Arkells*Universal ​ ​ Chromeo Last Gang*eOne ​ Metric Metric Music*Universal ​ The Sheepdogs Warner ​ Three Days Grace RCA*Sony ​ January 29, 2019 Page 1 of 9 2019 JUNO Award Nominees
    [Show full text]
  • UC San Diego UC San Diego Electronic Theses and Dissertations
    UC San Diego UC San Diego Electronic Theses and Dissertations Title Experimental Music: Redefining Authenticity Permalink https://escholarship.org/uc/item/3xw7m355 Author Tavolacci, Christine Publication Date 2017 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA, SAN DIEGO Experimental Music: Redefining Authenticity A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Musical Arts in Contemporary Music Performance by Christine E. Tavolacci Committee in charge: Professor John Fonville, Chair Professor Anthony Burr Professor Lisa Porter Professor William Propp Professor Katharina Rosenberger 2017 Copyright Christine E. Tavolacci, 2017 All Rights Reserved The Dissertation of Christine E. Tavolacci is approved, and is acceptable in quality and form for publication on microfilm and electronically: Chair University of California, San Diego 2017 iii DEDICATION This dissertation is dedicated to my parents, Frank J. and Christine M. Tavolacci, whose love and support are with me always. iv TABLE OF CONTENTS Signature Page.……………………………………………………………………. iii Dedication………………………..…………………………………………………. iv Table of Contents………………………..…………………………………………. v List of Figures….……………………..…………………………………………….. vi AcknoWledgments….………………..…………………………...………….…….. vii Vita…………………………………………………..………………………….……. viii Abstract of Dissertation…………..………………..………………………............ ix Introduction: A Brief History and Definition of Experimental Music
    [Show full text]