Dissertationen zum Thema „Expanded music“

This project presents a model of expanded musical form. Arguing that music’s expanded field is a field of experiences, rather than of discrete things, it sets out an approach to composition that centres not on the creation of aesthetic works, but on supporting an aesthetic attitude. Integrating theory and practice, this research endeavours to give definition to an attitude that apprehends music as experience. Under this attitude, the perceiver assumes no distance from the perceived as she produces the content of her musical experience in and through her dynamic bodily interactivity. This project comprises a thesis and four ephemeral performance sound installations. The thesis sets out the terms of music’s expanded condition, drawing upon a range of disciplines – artistic, aesthetic, philosophical – to chart the pluralistic, indeterminate, open-ended structure of the expanded field. The performance sound installations explored the operations of expanded artistic practice, critiquing conceptual, ideological, and institutional terms of music and sound installation to foreground the productivity of the perceiver. In both theory and practice, this research contests the concept of “sound art” as a distinct category. It makes the case that expanded musical form is not a break with the musical past, but its background made focal. It proposes that the presence, physicality, and place in which expanded musical form consists are music’s always presupposed foundation.

Afro-Brazilian guitarist-composer Baden Powell de Aquino (1937-2000), one of Brazil's earliest and most successful international musicians, is renowned for his inexplicable rhythmic style. This is especially true in the context of instrumental samba, or samba-jazz, which emerged in the late-night music clubs of 1950s-60s Rio de Janeiro. Samba-jazz engages a set of normative expectations: (1) a theme-and-variations performance involving a (2) cyclic scheme of regular and even chord changes comprising (3) a form of often 16 or 32 bars traditionally conceived of as being in duple meter (e.g. 2/4), where (4) improvised variations track the chord changes of the form. Against this recursively even, duple-meter background, Baden's chord-melodic improvisations frequently foreground dotted or asymmetrical rhythms that, in their interaction with the duple frame, suggest uneven periodicities. This study argues that such uneven regularities can, under certain conditions, be defined as metric and as such can be treated as participating in generalized hemiolas of the background form's meter. This two-fold expansion of meter and hemiola leads to the discovery of a much larger and more variegated abstract space constituted by the even and uneven metric possibilities for a given span of musical time.

This dissertation consists in two complementary projects. The theoretical project expands current theories of meter, hemiola, and metric space, as most recently defined by Richard Cohn (2018), to incorporate Justin London's (2012) theory of non-isochronous meters. The analytical project explores the richness of Baden's rhythmic art–it's metric implications and relationship to tropes of samba-jazz.

Through an exploratory analysis of "É de lei," Chapter 1 shows why we should and how we can expand current meter theory, while introducing the reader to Baden Powell and his musical context of Brazilian samba and samba-jazz. Chapter 2 is a formal exposition of the expanded theory of meter, hemiola, and metric space. Using the language and representations of mathematical set and graph theories, it builds analogous (to Cohn 2001) analytical models of hemiola and metric space from the ground up upon an expanded and revised definition of meter that allows for both isochrony and well-formed non-isochrony. Through a series of shorter examples, including passages from "Tristeza," "A lenda do Abaeté," and "Canto de Xangô," Chapter 3 defines, contextualizes, and analyzes four of the most prevalent rhythmic tropes of samba-jazz, while building some basic familiarity with the method of the analytical model. Chapter 4 considers larger examples organized around the idea of harmonic quantization, including extended improvisations from "Samba triste," "Conversa de poeta," and "O barquinho." It seeks to understand the metric implications of how Baden in theme-and-variations form can simultaneously support the 2/4 bar-to-bar chord changes required by the harmonic form of the theme while soloing with long extensions of dotted chord-melodies. Chapters 3 and 4 gradually increase the tempo and scope of analysis–from a few bars to entire form variations. Chapter 5 analyzes an entire recording, the afro-samba "Candomblé," principally asking how metric change and hemiola influence our perception of musical form, especially in the absence of more traditional form-defining parameters.

This thesis is comprised of a portfolio of musical compositions with accompanying media and a written commentary. In each of the seven compositions, the timbral palettes of musical instruments have been expanded through unconventional physical manipulation. The written commentary presents, in detail, specific examples of how this has been achieved. Alongside descriptions of the work in question, select aspects of other composers' music that approach a similar aesthetic are also referred to. In addition, the fundamental role technology has played in the creation or realisation of certain pieces is addressed. Also included are descriptions of the various customised notational systems used throughout the portfolio. It is outlined how each of these systems has been constructed in a clear and practical manner and, where possible, has incorporated elements derived from the lingua franca in order to communicate the required information as efficiently as possible to the performers.

This research is an inquiry into how architecture can inform the practice of composition. As an architect and composer, I try to find strategies for musical composition In architectural practice and thought, by reframing and confronting concepts from both disciplines. My research aims at an expanded practice (and analysis) of musical creation that transverses different conceptions of space-from the score based pitch space to the social and political spaces of music's production, performance and reception. This practice based PhD research consists of a portfolio of nine works that were developed in a dialectical relation to these ideas. The works are presented in a framework composed of five conceptual tools used to articulate music and architecture. These are; Material, Site. Drawing, Programme and Use. With the notion of Material. I explore how the acoustic behaviour of a performance space, or of a performatlve device' affects the musical work. Architectural materials become musical ones as they are implicated in the listening experience. The discussion about Site brings to music the notions of place. the local, and everyday life, embracing soundscapes so many times excluded from musical discourse. Musical sites are also architectural sites, always related to their present environment, and their everyday contlngenclt;ls. Drawing Is a tool for developing ideas, but also the main mediator between architect and builder. or composer and performer. Programme exposes the constraints and conditions of the creation process, while also revealing the sociopolitical relations between musicians and audiences, institutions and composers, composers and performers. Programming as framing can be a platform to expand what the work concerns. Through a consideration of Use, the work becomes dispersed in a pJurality of agents that converge in a useful event. Thus composition. as architecture, moves from being about conditioning design to designing conditions where musical events may happen.

In Australia, higher music education faces challenging times— university reform has ushered in an era of public accountability and budget cuts; the sector has become portfolio career-focussed and a university education must prepare students for uncertain futures. Within higher music education, collaborative learning has been identified as one way to address these types of challenges. There has recently been increased interest in the use of collaborative learning in a variety of higher music education contexts. To date, however, collaborative learning for music practice or performance in higher music education remains little used and under-researched. Situated within a practitioner inquiry framework, this study employed narrative approaches to discover participants’ experiences of collaborative learning in first year music practice courses at the University of Southern Queensland, a regional Australian university. The participants in this study were students who completed the first year music practice courses in 2014 and the teacher/researcher. Preliminary research during 2012 and a pilot study in 2013 shaped the focus and design of the study. Data were collected from students’ essays, journals and short answer questionnaires. Teacher’s data took the form of a teacher/researcher diary. Thematic analysis of students’ essays and journals established the ways in which collaborative learning built students’ individual and collective agency. Narrative analysis of the entire data set was undertaken to develop a robust picture of the value created through learning music practice collaboratively.
Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
Queensland Conservatorium of Music
Arts, Education and Law
Full Text

This study surveys and interrogates key conceptual frameworks and artistic practises that flow through the distinct but interconnected traditions of non-narrative film and experimental music, and examines how these are articulated in my own creative sound practise.

O objetivo dessa pesquisa é uma investigação sobre o tempo e suas diferentes possibilidades de percepção, sob ponto de vista do intérprete, durante a performance de obras eletroacústicas mistas, sejam compostas com difusão em tempo diferido ou com processamento em tempo real. Foram estabelecidas as definições de tempo diferido e de tempo real e suas implicações. Apontamos aspectos da evolução da música eletroacústica e da inserção do repertório para flauta nesse contexto. Aspectos de duas obras de referência, Musica su due Dimensioni de Bruno Maderna e Jupiter de Phillippe Manoury, foram analisados sob o enfoque da questão do tempo diferido ou do tempo real. Tendo em vista as particularidades dos aspectos interpretativos da música eletroacústica, escolhemos para estudar alguns parâmetros de interpretação que incluem a produção das técnicas expandidas e suas peculiaridades de amplificação. Realizamos três análises voltadas para a performance de obras em tempo diferido, Flautatualf de Jorge Antunes, Durações de Rodolfo Coelho de Souza e Parcours de L\'Entité de Flo Menezes e duas outras com processamento em tempo real, Lizamander de Russell Pinkston e Dawnligth de Jérôme Combier
The aim of this dissertation is a research about certain categories of musical time and their different possibilities of perception, from the point of view of the performer, during the performance of electroacustics music composed with pre-recorded tape or live electronics computer processing. We propose definitions about fixed time and real time and also their demands. We point out aspects of the evolution of electronic music and of the insertion of the flute repertoire in this context. Aspects of two referencial works, Musica su due Dimensioni by Bruno Maderna and Jupiter by Phillippe Manoury, were analyzed regarding the question of fixed or real time. Concerning the particular interpretative aspects of electroacoustic music we selected to study some parameters of performance that include the prodution of extended techniques and their amplification peculiarities. Regarding performance aspects, we have analysed three works that use pre-recorded tapes: Flautatualf by Jorge Antunes, Durações by Rodolfo Coelho de Souza e Parcours de L\'Entité by Flo Menezes. And two others with live-electronics: Lizamander by Russell Pinkston and Dawnligth by Jérôme Combier.

This is a qualitative study aiming to find out how and why teachers work with art, music and movement in the English subject in the early years. In this study we have conducted a background study of previous research and as a starting point and as a point for reference we have relied on education policy documents like The Common European Framework of Reference for Languages and the Swedish curriculum for the English school subject. Our research has consisted of interviews with six teachers and ten observation occasions in a total of three different primary schools. Our result show that there seems to be a consensus in both theory and praxis when it comes to integrating art, music and movement in learning and teaching of English in the early school years. The use of methods including art, music and movement in early language learning seems to promote the language development for all students but especially for young learners that require extra support for their language development.

Die in der Geschichte der Künste als Neoavantgarde der frühen 1960er Jahre bezeichneten Entwicklungen der Grenzüberschreitung und Prozessorientierung bilden in exemplarischen Analysen das Zentrum des Gegenstandsbereichs dieser Arbeit. Sie umfassen sowohl die grundlegenden Innovationen, die - von John Cages Ideen und Konzeptionen angestoßen – die Arbeit der Komponisten/Performer der Live Electronic Music prägten, wie die Erweiterung der künstlerischen Materialien und Veränderung der Verfahren der Bildenden Kunst seit Happening und Fluxus. Sie umfassen die minimalistischen Verschiebungen des Verständnisses von Körper-Bewegung und Objekten in der Tanz/Performance vor allem der New Yorker Judson Dance Group und die performative Erforschung der Grundlagen von Kino/Film-Wahrnehmung im Expanded Cinema. An diesen drei Bereichen wird eine doppelte historische Bewegung aufgezeigt: zum einen die des Durchstreichens, Verschiebens, Ersetzens konventionalisierter Parameter und Wert-Hierarchien; zum anderen eine durch den Entwicklungsschub technischer Medien und deren Auswirkungen auf Gesellschaft und Wahrnehmung angestoßenes Interesse an der Verbindung von Kunst und Medien. Eine wichtige Schnittstelle dieser Entwicklungen manifestiert sich in den Aufführungen der inzwischen legendären Nine Evenings: Theatre and Engineering, die 1966 in New York stattfanden. Die Analyse dieses Ereignisses, des Arbeitsprozesses, der ihm vorausging und an dem in gleicher Weise Künstler und Ingenieure beteiligt waren, wie der einzelnen Performances bildet einen Ausgangspunkt dieser Untersuchung. Dass Systemtheorie und Kybernetik als Denkmodelle für die Kunstproduktion erschlossen werden sollten, lässt sich nicht nur anhand der Manifestationen dieses Ereignisses zeigen, sondern auch anhand der Analyse zeitgenössischer Diskurse im Kunstfeld nachweisen. Live Electronic Arts heißt in diesem Zusammenhang: das unmittelbar (aktuell) vorgeführte Handeln mit technischen Medien in einer performativen Anordnung. Diese Verbindung wird von den Künstlern selbst als Mensch/Maschine-Kopplung verstanden – der Konstruktionsprozess wird zu einem wesentlichen Bestandteil künstlerischer Strategie. Der Einbezug zeitgenössischer Technologien wird so nicht als Frage nach der Neuartigkeit von Darstellungsmodi relevant, sondern als eine Frage nach Prozessen des Regelns, Steuerns und der Signalübertragung (control&communication) – also nach den Prozessen, die das Agieren mit ihnen strukturieren. Ausgehend von den Nine Evenings und der an ihnen beteiligten Künstler – Musiker, Tänzer und Choreographen sowie Bildende Künstler und Filmemacher – widmet sich die Arbeit in detaillierter Untersuchung den Versuchsreihen der einzelnen Künstler, denen die experimentellen Performances zugerechnet werden können. Sie zeigt für alle drei Bereiche – Live Electronic Music, die performativen Praktiken der Judson Dance Group und Expanded Cinema – unter welchen Bedingungen, ein Interesse und die Arbeit an der Kopplung von Körper-Bewegung und technischen Systemen entstand
The developments of transgression and process-orientation, which in art history are designated as the Neo-Avantgarde of the early 1960s, form the central subject of this text with its exemplary analyses. They involve the fundamental innovations, which - initiated by John Cage's ideas and concepts - characterised the work of the composers/performers of Live Electronic Music, as well as the expansion of artistic materials and the modification of art's techniques since Happening and Fluxus. They also cover the minimalistic shifts in the understanding of bodily movement and objects above all in the dance/performance of the New York based Judson Dance Group and the performative investigation of the foundations of cinema/film perception in the Expanded Cinema. A twofold historical movement is illustrated in these three areas: on the one hand, the movement of cancellation, postponement, substitution of conventional parameters and value hierarchies; on the other, one of interest in the connection between art and the media triggered by the thrust of development in the technological media and their effects on society and perception. An important point of intersection of these developments manifests itself in the performances of the since legendary Nine Evenings: Theatre and Engineering, which took place in New York in 1966. The analysis of this event, of the process of work that preceded it and which involved artists and engineers in equal measure, as well as of the individual performances forms the basis of this investigation. That system theory and cybernetics should be developed as a working hypothesis for art production can be demonstrated not only through manifestations of this event, but also through contemporary discourses in the field of art. In this context, Live Electronic Arts means the immediately (currently) performed action in a perfomative configuration using technological media. The artists themselves understand this relation as an interconnection of human being and machine. The process of construction becomes an essential component of the artistic strategy. The inclusion of contemporary technologies becomes relevant not as a question about the novelty of the modes of representation, but as a question about the processes of structuring, regulating and the transmission of signals (control & communication), thus about processes that structure the performance with these technologies. Beginning with the Nine Evenings and the participating artists (musicians, dancers, choreographers, as well as visual artists and film makers), this text provides a detailed investigation into the series of experiments of the individual artists, to which the experimental performances can be attributed. It demonstrates for all three areas (Live Electronic Music, the perfomative practices of the Judson Dance Group, and Expanded Cinema) under what circumstances interest in and work on the interconnection of bodily movement and technological systems arose

Orientador: Denise Hortência Lopes Garcia
Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: O trabalho investiga as obras para violão dos compositores Edino Krieger (1928) (Ritmata, 1974 para violão solo), Chico Mello (1958) (Do Lado Do Dedo, 1987 para violão solo e Dança para quatro violões, 1986) e Arthur Kampela (1960) (Percussion Study 1,1991-93, para violão solo) visando criar um guia de interpretação e escrita da técnica expandida no Brasil. As obras perpassam um âmbito produtivo que se estende de 1974 a 1994 e investigaram-se conceitos e tendências em visão panorâmica da técnica expandida de maneira histórica nacional e internacional. Tal investigação teve como objetivo a abordagem das características complexas do ponto de vista rítmico-percussivo e timbrístico. Procedimentos articulatórios variáveis da execução do violonista implicam aprimoramento e enriquecimento da qualidade estética do repertório. Esses procedimentos consistem em processos criativos de viabilização acústica e adequação mecânica, suportes instrumentais e materiais para melhor clareza e exequibilidade nas obras. Elencou-se e categorizou-se cada possibilidade sonora expandida encontrada nessas obras
Abstract: The thesis investigates the works of composers Edino Krieger (1928) (Ritmata 1974 for solo guitar ), Chico Mello (1958) ( Do Lado do Dedo, 1987 for solo guitar and Dança for Guitar Quartet, 1986) and Arthur Kampela (1960) ( Percussion Study 1.1991-93 , for solo guitar) aiming to create a guide to interpreting and writing extended technique in Brazil. The works permeate the productive one that extends from 1974 to 1994 and investigated concepts and trends in technical overview of the expanded national and international historical way. Such investigation was aimed at addressing the complex features in terms of timbre and rhythmic- percussive procedures. Articulatory variables procedures (diversified plucking, tapping and percussive procedures) implementing by the guitarists imply improvement and enrichment of the quality of the aesthetic repertoire. These procedures consist of creative processes viability acoustic and mechanical fit, instrumental support and materials for clarity and feasibility in the works. Every extended sound found in these works was listed and categorized
Doutorado
Processos Criativos
Doutor em Música

The purpose of this study is to investigate whether listening to music as an out-of-school activity, and English songs in particular, motivated a group of Swedish upper-secondary students to learn extramural English. One aspect that comes into focus is whether the students perceived that there were particular aspects of second language acquisition (SLA) that improved as a result of listening to music. The study focuses on the correlation between the needs of the listeners and the nature of their motivation for learning. This is a qualitative study based on the analysis of semi-structured interviews. The results show that all of the students perceived listening to music as an aid in their extramural English acquisition. A majority of the students had the intrinsic motivation for learning as they exhibited curiosity, emotions and internal needs as the primary factors that empowered them to expand their extramural English. The minority of the interviewees showed signs of extrinsic motivation to learn the vocabulary of the lyrics of the songs they listened to. The learning they experienced was linked to the expectancy in improving their academic performances. They may, however, have had a combination of the extrinsic and intrinsic forms of motivation where the former had a dominant position. In both cases the respondents showed awareness of the correlation between their extramural English acquisition and listening to vocal music. It is suggested that vocabulary acquisition was the primary aspect of language learning that benefited from listening to songs, followed by listening skills. The possibility to make their own choice to listen to music is linked to deep language learning, vocabulary learning in context and mastering listening skills.

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A survey about the work written by the composer Marcílio Onofre (1982), this research discusses the collaborative process between the composer and the performer in Caminho Anacoluto II – quasi-Vanitas for violin and piano. We will discuss about the process of technical expansion that occurs in contemporary music and the results in the music of this period. We will also introduce a brief presentation of the composer, the Laboratory of Musical Composition, Onofre’s participation on it and the collaborations that occurred. Finally, an approach to the work Caminho Anacoluto II – quasi-Vanitas, its structural aspects and a reflection on the collaborative process.
Uma pesquisa realizada acerca da obra escrita pelo compositor Marcílio Onofre (1982), o presente trabalho visa oferecer algumas reflexões sobre o processo de colaboração entre compositor e intérprete na música Caminho Anacoluto II – quasi-Vanitas para violino e piano. Trataremos do processo de expansão técnica que ocorre na música contemporânea e os resultados nas músicas deste período. Também será oferecida uma breve apresentação do compositor, do Laboratório de Composição Musical, a participação de Onofre no laboratório e as colaborações ocorridas. Por fim, será feita uma abordagem à obra Caminho Anacoluto II – quasi-Vanitas, seus aspectos estruturais e uma reflexão sobre a participação deste pesquisador no processo de colaboração com o compositor.

This diploma thesis deals with design and implementation of complex software system for post-production of popular music. The system was implemented as a plug-in module in C++ language using JUCE application framework. The emphasis was on creating a well arranged and intuitive graphic user interface. The plug-in provides a set of audio effects and processors that can be connected into the desired graph structure. For less experienced users, there is a database of preset configurations usable for a variety of input signals.

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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior
This dissertation looks at the results of an investigation of piano performance (the author's, who is also the research subject) under the light of a dialogue between performance and Ergonomics, applied to the practice of pieces asking for extended techniques. In order to optimize musical and instrumental performance, the dissertation intends to investigate the applicability of ergonomical axioms to the performer's postural behavior in three specific situations during extended techniquepractice. The piano repertoire chosen for study was: Twin Suns, from the set Makrokosmos II, by George Crumb (b. 1929); Aeolian Harp by Henry Cowell (1987- 1965); and Profiles to A, from Vox Victimae, by Didier Guigue (b. 1954), and the practice procedure utilized by the author for these pieces was described. From the same repertoire, three specific situations of instrumental performance containing extended technique were chosen, more specifically string piano technique, in order to discuss them from an ergonomical perspective. Different possibilities for technical and postural situations, as found during practice in two pianos of different models and brands, were investigated. Ergonomics is an interdisciplinary area which deals with the relationship between work and man; it cherishes, first of all, his health and comfort, in order to optimize a given activity and diminish its damaging effects. This research is the result of theoretical reflections which were originated by practice, and the main focus was on physical Ergonomics, which deals with anatomical and postural aspects. In the discussion of the technical-instrumental procedures, a subjective method for the optimization of work was used. Having applied ergonomical concepts to the practice and performance of extended technique pieces, this research and its results may guide similar piano performance situations and eventually be applied or adapted by other pianists in search of optimal solution to their problems, according to their individual physical particularities
Esta dissertação reflete os resultados de uma investigação sobre a prática pianística, neste caso da autora e sujeito da pesquisa, realizada sob a perspectiva de pressupostos da técnica pianística em diálogo com abordagens da ergonomia aplicadas ao estudo de obras com técnicas expandidas. Visando a otimização do desempenho músico-instrumental, objetiva investigar sobre a aplicabilidade de pressupostos ergonômicos a partir do comportamento postural em três situações específicas de estudo envolvendo técnicas expandidas. As peças do repertório pianístico selecionadas para o estudo foram: Twin Suns do caderno Makrokosmos II de George Crumb (1929), Aeolian Harp de Henry Cowell (1897- 1965) e Profiles to A de Vox Victimae- de Didier Guigue (1954), sobre a quais foi realizada uma descrição dos processos de estudo utilizados pela autora. Do mesmo repertório foram selecionadas três situações específicas de execução instrumental contendo técnicas expandidas, mais especificamente string piano, para serem discutidas sob o ponto de vista da ergonomia. Foram investigadas possíveis variedades de situações técnicas e posturais encontradas durante a prática pianística quando da utilização de dois pianos de marca e modelos diferentes. A ergonomia é uma área interdisciplinar que trata da relação entre o trabalho e o homem; preza, em primeiro lugar, pela sua saúde e conforto, visando a diminuição de efeitos nocivos e a otimização da atividade realizada. Esta pesquisa é fruto de indagações surgidas em decorrência de uma prática e a ênfase foi pelo domínio da ergonomia que trata, sobretudo, de aspectos anatômico-posturais. Para a discussão de procedimentos técnicopianísticos foi utilizado o método subjetivo de otimização do trabalho. Tendo sido elencadas contribuições da ergonomia ao estudo e desempenho de peças que contêm tais técnicas, os resultados desta pesquisa poderão servir de orientação para a prática de situações de execução pianística equivalentes àquelas apresentadas e, oportunamente, poderão ser aproveitados, ou adaptados, por pianistas, sempre de acordo com suas características físicas individuais, em busca de solução ótima a problemas

University of Technology Sydney. Faculty of Arts and Social Sciences.
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Moving image works made outside of mainstream narrative filmmaking practices engage in a rich variety of processes in realising their final form. Yet there remains a mystique around the artistic process behind this kind of work. This study is an investigation into the creation of a variety of moving image works that arise from processes of musical intuition as opposed to those traditionally associated with film or video production. The research has progressed with the intention of producing actual moving image works via studio experimentation and a variety of creative engagement while also examining and writing about the theories behind them. In doing so my agenda here is to identify and work with specific musical processes and mobilize them for various aspects of moving image creation. Coming from a background in music and morphing over time into a moving image practitioner I have intuitively used musical ideas to assist in all aspects of my work. Work by key scholars such as Bowman, reframe this intuitive process as emerging from a type of bodily knowledge. In producing the creative works for this Masters research project I have sought to interweave just such a corporeal awareness with an expansive understanding of rhythm as being the primary drivers of moving image creation. This combination has enabled me to draw attention to/highlight/uncover a variety of musical processes that have played a role in creating the wide range of moving image styles that are included as examples in the research project. Ultimately the research project contributes to and expands the dialogue around the boundaries of cinema and music with implications for alternative ways of theorising film and cross-art practice while illuminating new (for the author) artistic directions to pursue.

Bart6k's own expanded tonal ("supradiatonic") pronouncements reveal that his music, notwithstanding tonally camouflaging surface details, clearly had a tonal foundation which in many respects is a reaction to the emerging atonalism of Schonberg. Analysis of three piano works (1908 - 1916) reveal that Bart6k's tonal language embraced intuitively the expanded tonal idiom. The harmonic resources Bart6k employed to obscure tonicisation embrace double-degree constructions, quartal formations, chords of addition and omission and other irregular constructions. Diatonic tonal pillars are evident in pedal points, tonic triads and dominant to tonic root movement. Through an application of the Riemann function theory expanded by Hartmann's supposition of fully-chromaticised scales tonal syntax (especially secondphase Strauss cadences or closes) becomes apparent within an expanded tonal product. The analyses conclude that Bart6k's inimitable "sound-world" is a twentieth-century manifestation of traditional tonality's primary tenets.
Musicology
M.Mus.

The thesis deals with personality and contribution of professor L. Daniel for school music education. In the introduction is analyzed Daniel's life and activities, which as a professional in his discipline devoted after all his life. The research part of this thesis provides information on the investigation. The thesis contains findings that were obtained on the basis of qualitative research. The aim of this research was to determine the musical public awareness about Daniel's work and the application of his methods in practice. For qualitative research were elected beginning teachers and teachers from practice in the field of music or graduates of teacher training for primary schools with extended specializing in music education. The results of this research can be an inspiration for further reflection on the application of Daniel's work in practice. Keywords Ladislav Daniel, pedagogy, music education, elementary school with EEME (expanded education of music education).

Die in der Geschichte der Künste als Neoavantgarde der frühen 1960er Jahre bezeichneten Entwicklungen der Grenzüberschreitung und Prozessorientierung bilden in exemplarischen Analysen das Zentrum des Gegenstandsbereichs dieser Arbeit. Sie umfassen sowohl die grundlegenden Innovationen, die - von John Cages Ideen und Konzeptionen angestoßen – die Arbeit der Komponisten/Performer der Live Electronic Music prägten, wie die Erweiterung der künstlerischen Materialien und Veränderung der Verfahren der Bildenden Kunst seit Happening und Fluxus. Sie umfassen die minimalistischen Verschiebungen des Verständnisses von Körper-Bewegung und Objekten in der Tanz/Performance vor allem der New Yorker Judson Dance Group und die performative Erforschung der Grundlagen von Kino/Film-Wahrnehmung im Expanded Cinema. An diesen drei Bereichen wird eine doppelte historische Bewegung aufgezeigt: zum einen die des Durchstreichens, Verschiebens, Ersetzens konventionalisierter Parameter und Wert-Hierarchien; zum anderen eine durch den Entwicklungsschub technischer Medien und deren Auswirkungen auf Gesellschaft und Wahrnehmung angestoßenes Interesse an der Verbindung von Kunst und Medien. Eine wichtige Schnittstelle dieser Entwicklungen manifestiert sich in den Aufführungen der inzwischen legendären Nine Evenings: Theatre and Engineering, die 1966 in New York stattfanden. Die Analyse dieses Ereignisses, des Arbeitsprozesses, der ihm vorausging und an dem in gleicher Weise Künstler und Ingenieure beteiligt waren, wie der einzelnen Performances bildet einen Ausgangspunkt dieser Untersuchung. Dass Systemtheorie und Kybernetik als Denkmodelle für die Kunstproduktion erschlossen werden sollten, lässt sich nicht nur anhand der Manifestationen dieses Ereignisses zeigen, sondern auch anhand der Analyse zeitgenössischer Diskurse im Kunstfeld nachweisen. Live Electronic Arts heißt in diesem Zusammenhang: das unmittelbar (aktuell) vorgeführte Handeln mit technischen Medien in einer performativen Anordnung. Diese Verbindung wird von den Künstlern selbst als Mensch/Maschine-Kopplung verstanden – der Konstruktionsprozess wird zu einem wesentlichen Bestandteil künstlerischer Strategie. Der Einbezug zeitgenössischer Technologien wird so nicht als Frage nach der Neuartigkeit von Darstellungsmodi relevant, sondern als eine Frage nach Prozessen des Regelns, Steuerns und der Signalübertragung (control&communication) – also nach den Prozessen, die das Agieren mit ihnen strukturieren. Ausgehend von den Nine Evenings und der an ihnen beteiligten Künstler – Musiker, Tänzer und Choreographen sowie Bildende Künstler und Filmemacher – widmet sich die Arbeit in detaillierter Untersuchung den Versuchsreihen der einzelnen Künstler, denen die experimentellen Performances zugerechnet werden können. Sie zeigt für alle drei Bereiche – Live Electronic Music, die performativen Praktiken der Judson Dance Group und Expanded Cinema – unter welchen Bedingungen, ein Interesse und die Arbeit an der Kopplung von Körper-Bewegung und technischen Systemen entstand.
The developments of transgression and process-orientation, which in art history are designated as the Neo-Avantgarde of the early 1960s, form the central subject of this text with its exemplary analyses. They involve the fundamental innovations, which - initiated by John Cage''s ideas and concepts - characterised the work of the composers/performers of Live Electronic Music, as well as the expansion of artistic materials and the modification of art''s techniques since Happening and Fluxus. They also cover the minimalistic shifts in the understanding of bodily movement and objects above all in the dance/performance of the New York based Judson Dance Group and the performative investigation of the foundations of cinema/film perception in the Expanded Cinema. A twofold historical movement is illustrated in these three areas: on the one hand, the movement of cancellation, postponement, substitution of conventional parameters and value hierarchies; on the other, one of interest in the connection between art and the media triggered by the thrust of development in the technological media and their effects on society and perception. An important point of intersection of these developments manifests itself in the performances of the since legendary Nine Evenings: Theatre and Engineering, which took place in New York in 1966. The analysis of this event, of the process of work that preceded it and which involved artists and engineers in equal measure, as well as of the individual performances forms the basis of this investigation. That system theory and cybernetics should be developed as a working hypothesis for art production can be demonstrated not only through manifestations of this event, but also through contemporary discourses in the field of art. In this context, Live Electronic Arts means the immediately (currently) performed action in a perfomative configuration using technological media. The artists themselves understand this relation as an interconnection of human being and machine. The process of construction becomes an essential component of the artistic strategy. The inclusion of contemporary technologies becomes relevant not as a question about the novelty of the modes of representation, but as a question about the processes of structuring, regulating and the transmission of signals (control & communication), thus about processes that structure the performance with these technologies. Beginning with the Nine Evenings and the participating artists (musicians, dancers, choreographers, as well as visual artists and film makers), this text provides a detailed investigation into the series of experiments of the individual artists, to which the experimental performances can be attributed. It demonstrates for all three areas (Live Electronic Music, the perfomative practices of the Judson Dance Group, and Expanded Cinema) under what circumstances interest in and work on the interconnection of bodily movement and technological systems arose.

Este projeto, baptizado com o nome Buddy, trata da construção de uma caixa de ritmos robótica, inspirada e baseada no modelo convencional da caixa de ritmos digital. Concretamente, foi concebida uma bateria musical robótica pela implementação de um sistema de solenóides controlados em tempo real por interfaces MIDI. O robot permite desenvolver o mesmo tipo de trabalho que as caixas de ritmos convencionais possibilitam (e.g. interpretar padrões rítmicos pré-compostos), favorecendo contudo uma experiência sonora acústica e, por conseguinte, uma experiência musical e sonora mais estimulante. Além da abordagem convencional que esta bateria robótica possibilita (e.g. tocar padrões rítmicos), este projecto prevê outras abordagens que possibilitam uma exploração artística e musical mais abrangente, por exemplo, pela implementação de ideias que promovam a interactividade (e.g. controlo da performance do robot pela análise áudio da performance do músico, controlo do robot via internet). O desenvolvimento deste projecto teve como base a plataforma open-source Arduino e foi publicado e documentado online com acesso ao código fonte e aos esquemas electrónicos, permitindo assim que artistas e educadores sem formação em engenharia electrotécnica possam construir robots semelhantes para usar em contextos artísticos ou pedagógicos.
This project, named Buddy, deals with the construction of a robotic rhythm box, inspired and based on a conventional model of a digital rhythm box. More specifically, a robotic musical drum set was conceived through the implementation of a real-time automatic system of solenoids controlled via MIDI interfaces. The robot allows the development of the same type of approach that traditional rhythm machines enable (e.g. to interpret pre-composed rhythm patterns), favouring, however, an acoustic sonic experience, and therefore, a more stimulating sound and musical experience. Besides the conventional approach that this robotic drums allows (e.g. to play rhythm patterns), this project foresees other approaches that can enable a wider artistic and musical exploration, for example, by implementing ideas that promote interactivity (e.g. robot performance controled by audio analysis of the musician’s performance, internet robot control). The development of this project was based on the Arduino open-source platform, and it was published and documented online with access to the source code and to the electronic schemes, allowing artists and educators without a formal education in electric and electronics engineering, to be able to build similar robots to use in artistic or pedagogical contexts.

A dissertation submitted to the Faculty of Humanities, University of the Witwatersrand, Johannesburg, in fulfilment of the requirements for a Masters degree with the Faculty of Humanities (Health Communication and Music). Johannesburg, May 2017
This dissertation synthesises the fields of narrative medicine and music composition to address the experience of delirium, and to learn whether music has a role to play in understanding and communicating its nature. My submission takes the form of a written dissertation accompanied by a new musical composition, Delirium Part II. Both written and composed texts are based on interviews and small discussion groups with people who have experienced delirium, their families, and healthcare professionals who are familiar with delirium in people under their care – as well as observation and recording from a hospital intensive care unit (ICU). The composition incorporates both interviews and ambient hospital sounds as audio components, and was performed first on 2 March 2017 at the Music Room, University Corner, University of the Witwatersrand. The study addresses significant gaps in our understanding of delirium, from its definition to the qualities of the experience for all those affected by it. Violence is shown to be inherent to the experience, driven by a cycle that imposes it by turns on HCPs and patients. Delirium is, moreover, characterised by losses of numerous kinds: orientation, dignity, control, and ultimately personhood. This study suggests, however, that it is within our grasp to limit significantly the impacts of these losses through re-evaluating our interactions with patients and families and challenging the dehumanising aspects of care. The music of Delirium Part II, moreover, is shown to have the capacity to contribute to this re-evaluation. There are clear indications here of the potential for music and the arts more broadly to convey complex health experiences, and to be of use in training and education. Music contributes centrally to the development of this research, as a tool both for data analysis and for provoking discussion of a complex, emotive topic. The possibilities for creative practice in narrative medicine are illuminated by this cross-disciplinary study, which demonstrates both that narrative-based musical composition can teach us much about delirium; and that delirium can teach us much about care.
MT2018