Tesi: "Avant-garde (music)"

1

Rievers, Henrique André Christiano. "Physiological Perspectives of Avant-garde Music". Doctoral thesis, Humboldt-Universität zu Berlin, 2021. http://edoc.hu-berlin.de/18452/24062.

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Obwohl die Theatralisierung der Musik ein entscheidender Aspekt der Neuen Musik ist, der im Szenario nach 1945 noch mehr an Bedeutung gewinnt, kann die aber auch als Ausdruck einer musikalischen Wende zum Leib verstanden werden. Um von einer Wende zum Leib in der Musik zu sprechen, muss man auch eine Form des Dualismus zu überwinden. Durch die Werke avantgardistischer Komponisten wird in dieser Arbeit versucht, ein Verständnis der Musikwahrnehmung aufzubauen.
It is our thesis that, even though the theatricalization of music is a crucial aspect of the Neue Musik – one that gain even more prominence on the post-1945 scenario –, it is also an expression of a corporeal turn in music. To speak of a corporeal turn in music also means an attempt to overcome a form of dualism. It is an attempt to unify music making and music perception. This is what will be attempted here. Through the works of avant-garde composers, an attempt to build an understanding of music perception in the context of a corporeal turn in music will be made. From the perception of the body and corporeity to the move from “listening” to “perceiving” and, finally, in the concept of the work of music as a phenomenal field, a physiological perception of the avant-garde will be developed.

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Pitkin, Carissa. "Against Expression?: Avant-garde Aesthetics in Satie's "Parade"". University of Cincinnati / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1595499202615172.

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3

Berman, Nancy. "Primitivism and the Parisian avant-garde, 1910-1925". Thesis, McGill University, 2001. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=38149.

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At the beginning of the twentieth century, the primitive played a crucial role in the emerging European modernist aesthetic. While art historians have been exploring the role of primitivism in modern art for decades, this area of research has received little attention in musicology. In this dissertation I examine how primitivism is constructed in modern French culture as manifest in three of the most important avant-garde stage works of the first part of the century: the Ballets Russes's Le Sacre du printemps (1913) and Les Noces (1923), and the Ballets Suedois's La Creation du monde (1923). Relying on primary sources such as reviews, other historically relevant documents, as well as the art historical literature, I trace the evolution of the cultural role of primitivism in pre- and post-World War 1 French culture.
French critics of Le Sacre viewed the work as a portrayal of Russian "Otherness" against which they could assert or question their own identity. Whereas the primitivism of Le Sacre was understood to be radical, excessive, even prophetic and apocalyptic, the primitivism of Les Noces was perceived as a manifestation of the classicist "call to order" and as an emblem of American-style mechanization. That it was also understood in terms of the post-war avant-garde's emphasis on classical ideals of austerity, dryness, and sobriety reflects the Purists' belief that machines heralded the new classicism.
Jazz was the ultimate symbol of both primitivism and modernity, and was initially hailed by the avant-garde as a revivifying source for the French tradition. In their attempt to neutralize the racial and political threats perceived to be inherent in jazz, the avant-garde emphasized its rationality, precision, and economy. La Creation du monde represents the avant-garde's complete assimilation of jazz and l'art negre into the French classical tradition.

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4

Rievers, Henrique André Christiano [Verfasser]. "Physiological Perspectives of Avant-garde Music / Henrique André Christiano Rievers". Berlin : Humboldt-Universität zu Berlin, 2021. http://nbn-resolving.de/urn:nbn:de:kobv:11-110-18452/24062-8.

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5

Madrid-González, Alejandro Luis. "Writing modernist and avant-garde music in Mexico performativity, transculturation, and identity after the revolution, 1920-1930 /". Connect to this title online, 2003. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1054237342.

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Thesis (Ph. D.)--Ohio State University, 2003.
Title from first page of PDF file. Document formatted into pages; contains xv, 238 p.; also includes music, graphics Includes bibliographical references (p. 218-238). Available online via OhioLINK's ETD Center

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6

Moroncini, Barbara Serena. "Experimental music after Los Angeles site, power, self, sound /". Diss., Restricted to subscribing institutions, 2008. http://proquest.umi.com/pqdweb?did=1706818091&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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7

Sharp, Charles Michael. "Improvisation, identity and tradition experimental music communities in Los Angeles /". Diss., Restricted to subscribing institutions, 2008. http://proquest.umi.com/pqdweb?did=1779690111&sid=13&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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8

Ming, Christina Tio Ee. "The Avant Garde and its 'others' orientalism in contemporary art music /". Thesis, Online version, 2000. http://ethos.bl.uk/OrderDetails.do?did=1&uin=uk.bl.ethos.364724.

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9

Sacau-Ferreira, Enrique. "Performing a political shift : avant-garde music in Cold War Spain". Thesis, University of Oxford, 2011. http://ora.ox.ac.uk/objects/uuid:df601c57-c9f0-4320-9a3a-8493ecf1101a.

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In my thesis, Performing a Political Shift: Avant-Garde Music in Cold War Spain, I argue that towards the end of the 1950s the Spanish ultra-conservative regime of Francisco Franco started to promote avant-garde music. This music contrasted with the aesthetically conservative one that had been promoted since the end of the Civil War (1936-1939). I examine the causes of this shift and reveal for the first time that they are connected to specific trends in Spanish politics and policies. In terms of national politics, the second phase of the Spanish dictatorship, from the late 1950s until Franco’s death in 1975, was dominated by young ministers who wanted to distance themselves from previous cabinets, mostly controlled by ultra-nationalist fascist politicians. These younger politicians styled themselves as part of a ‘technocratic’ regime. Thanks to its supposed ‘objectivity’ and ‘purely musical’ ideology-free concerns, avant-garde music sat well with these technocrats’ views of modern Spain, that is, a country benefitting from ‘objective’, ideology-free progress. On an international level, the defeat in the 1940s of Mussolini and Hitler, Franco’s main allies, had resulted in isolation for Spain. In order to break this isolation, the Spanish regime started to make a sustained effort at the end of the 1950s to establish diplomatic relations with other Western countries. These relations resulted in cultural, economic and military agreements with European democracies and the US. I also consider why recent Spanish musicology has failed to confront the political implications of the promotion of avant-garde music under Franco. I connect this void with the Spanish transition to democracy (1975-1978), which recent historians have called an exercise in amnesia, a discourse of forgiveness meant to promote reconciliation between Spaniards. As a result of this transition, the political implications of the activities of the composers and musicologists during the Franco years have been ignored or forgotten. The results of my thesis challenge the widely accepted view of the European avant-garde as a left-leaning movement. The main contribution of my thesis is precisely its substantial consideration of the cultural and political meanings of the avant garde and its context, using Franco’s Spain as a case in point.

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Maslowiec, Anna. "Sonorism and the Polish Avant-Garde 1958-1966". Phd thesis, Sydney Conservatorium of Music, 2008. http://hdl.handle.net/2123/8205.

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11

Nicholls, Tracey. "It does too matter : aesthetic value(s), avant-garde art, and problems of theory choice". Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=100665.

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My dissertation is concerned with two central issues: analysis of theory-practice gaps in aesthetic theories applied to avant-garde musics, and problems of visibility and respect in theorizing across cultures. In the first chapter, I examine a case study, John Coltrane's successive improvisations on "My Favorite Things," under two different theories in order to show how theories shape our view of the practices we are trying to explain. In the second chapter, I take up Coltrane's practices and their relations to theories once again but, in a reversal of the previous chapter's focus, I show how examining theories through practices can reveal these theory-practice gaps and problematic assumptions. I move, from there, to an analysis, informed by feminist standpoint epistemology, of the extent to which political values influence our theory choices and thus help construct our metaphysical views. Out of this discussion, my third chapter argues that attempts to universalize a culturally-situated notion of 'the musical work' (one drawn from Western classical music) do violence to works and artists situated in other cultural traditions. Thus I construct an alternative view of the musical work that I call 'contextualized nominalism' which has the merit of being sensitive to these issues of cultural situation. The fourth chapter explores connections between avant-garde jazz practices and oppositional politics which can be made visible when performances of works are accorded priority over composition. Here I construct a performative notion of community which, in addition to making the most sense of improvisational musical practices, can also be the ground of an 'ethos of improvisation' extendable into other social contexts. Finally I turn to the need for a pluralistic framework in aesthetic evaluation of polycultural artistic processes and products, through a critical examination of universal notions of aesthetic value. I argue, from this and all of the preceding chapters, that where we cross cultures, or mix them, in aesthetic evaluations, we must do so as respectful pluralists and within a pluralist framework.

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12

Scott, Richard Patrick. "Noises : free music, improvisation and the avant-garde, London 1965 to 1990". Thesis, London School of Economics and Political Science (University of London), 1991. http://etheses.lse.ac.uk/1134/.

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A study of free, improvised music in London and its practitioners. The dissertation is divided into a discussion of different conceptions of the avant-garde with particular reference to critical theory and post-modernism, and transcribed interviews with musicians, making up an oral history of free music. It includes material on the historical development of the avant-garde and the histories of jazz and contemporary composition. There are also considerations of the specific problems of music and language and the problem of methodology and elaborations of the musical/cultural concepts of noise, listening and silence, and also the idea of music as a form of prophecy. The theoretical section outlines the pessimistic cultural/musical theory of Theodor W. Adorno and also discusses the work of Renato Poggioli, Peter Burger, Jacques Attali, Ernst Bloch, Mikhail Bakhtin and Roland Barthes, considering ways in which it is possible to go beyond Adorno. It is proposed that the avant-garde be regarded not as an element of elite or institutionalised culture but of contemporary popular culture and that culture be understood as a source of a polyphonic, dialogic diversity. Contra Adorno, jazz is considered as one form which has historically produced an avant garde and a multiplicity of form. The prehistory and path of development of free music are briefly considered an ideal-theoretical model of its character as an avant-garde cultural activity proposed. The open-ended oral histories and discussions with musicians in the extensive appendices help reflect the multiplistic character of the avant-garde and provide many perspectives and discourses which support, conflict, and counterpoint the arguments developed by the author. Two cassette tapes of recorded musical examples are included.

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Thomas, Helen Christina. "Disturbing times : metaphors of temporality in avant-garde music of the 1960s". Thesis, Lancaster University, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.632545.

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Savage, R. W. H. "Structure and sorcery : The aesthetics of post-war serial composition and indeterminacy". Thesis, University of Sussex, 1987. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.377937.

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15

Madrid-González, Alejandro L. "Writing modernist and avant-garde music in Mexico : performativity, transculturation, and identity after the revolution, 1920-1930 /". Connect to this title online, 2003. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1054237342.

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16

Seward, P. "Toward a hybrid music theatre : exploring avant-garde compositional techniques within a commercial form". Thesis, University of Salford, 2014. http://usir.salford.ac.uk/31993/.

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Toward A Hybrid Music Theatre explores the coming convergence between the English-language musical theatre and contemporary opera. The research focuses specifically on the implementation of avant-garde compositional techniques within a commercial music theatre form. Areas of application include practices in narrative structure, multiplicity of character portrayal, instrumental and vocal characterizations, vocal writing, and soundscape narrative. Works by Italian and American twentieth-century composers have been examined for the use of such techniques including Luigi Dallapiccola, Luigi Nono, Bruno Maderna, Luciano Berio, Leonard Bernstein, and Stephen Sondheim. Works such as Berio’s "Outis" and Sondheim’s "Merrily We Roll Along" have influenced the thinking on narrative structure, while Dallapiccola’s "Volo di notte," Maderna’s "Don Perlimplin," and Sondheim’s "Into The Woods" have contributed to the discussion of instrumental and vocal characterizations. Choral techniques such as those found in the works of György Kurtág and Krzysztof Penderecki influenced the quasi-soundscape effects. Three full works accompany the portfolio, "The Proposal," "The Passion of John" and "The Rose Prologues." The work embodied in these projects represent a significant development to the journey moving toward hybridity. The narrative structure of "The Proposal" addresses two sides of a musical story told simultaneously. The two primary characters are portrayed by seven singers and various instruments. "The Passion of John" explores timbre, time and space as a means of musical storytelling while "The Rose Prologues" explores a single image from multiple perspectives in short-form opera. The direction taken with these works lays out a path for future composers to explore.

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Mirza, Adam. "Action Aesthetics| Arendtian Inversions on Politics and Art in the Music of the Avant-Garde". Thesis, New York University, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10261772.

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This dissertation examines the aesthetics of the mid-20th century musical avant-garde from an Arendtian perspective. I focus on three musical figures: Glenn Gould, Karlheinz Stockhausen, and Helmut Lachenmann. Each of these figures worked through the legacy of musical structuralism by staging various encounters with aspects of musical performance. My reevaluation of these musical figures is oriented by a reading of the contemporaneous political theories of Hannah Arendt, as found in The Human Condition, On Revolution, and Between Past and Future, in particular. In these Cold War era texts, Arendt argues that human cultures are constituted through the exemplary actions of individuals, who risk their lives for the sake of communal principles, thereby imprinting these contestable societal norms upon public consciousness.

Arendt’s account of action, revolution and political judgment have much in common with a broader performative turn that was taking place in avant-garde artistic practices of the same time (c. 1950 – 1970). This turn resituated the ontology of the musical work from the notated page to the physical acts and technologies of sound production. Of deeper provenance, however, is the fact that Arendt’s political theories have an important basis in her appropriation of Kantian aesthetics. I argue that the Kantian inspired elisions of politics and art in her theory justifies re-mapping her political concepts onto art. I refer to these re-mappings as inversions to draw attention to the pivotal role that performance plays in Arendt’s theories, operating as a hinge between political and aesthetic categories. I do so also to ground a material history of the encounters with musical formalism that took place in the creative practices of my musical subjects. Thus my title, Action Aesthetics, refers to this attempt to re-infuse Arendt’s political theory of exemplary action into the modernist musical legacy of Kantian aesthetics.

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Puebla, Ruben Alexander. "The avant-garde tuba| Analysis and comparisons of interpretations of William Kraft's Encounters II for unaccompanied tuba". Thesis, California State University, Long Beach, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=1528027.

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Avant-garde repertoire is a common choice for young tubists looking for more advanced music with which to challenge themselves. However, atonal music, like William Kraft's Encounters II, presents potentially new difficulties to young tubists. An analysis of the piece will be presented in this project report, discussing organization of pitches, rhythmic elements of the piece, and the significant use of extended techniques. Furthermore, recordings available from different performers will be compared, including; comparisons of instruments used, with specific attention to instrument key and set-up; which of the three available editions were used to learn the piece; and how the individual performers decided to interpret the piece in comparison to the original recording by Roger Bobo. By developing a working knowledge of how the piece is organized and what potential difficulties lay ahead, young tubists can make decisions in order to maximize the success of the learning process.

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19

Hottensmith, Benjamin. "The Avant-Garde Horn: A Select Annotated Bibliography with an Analysis and Comparison of Two Representative Works". The Ohio State University, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=osu1587477229322369.

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Whyte, Ross. "Perpetual erosion : impermanence in audio-visual intermedia". Thesis, University of Aberdeen, 2012. http://digitool.abdn.ac.uk:80/webclient/DeliveryManager?pid=196018.

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21

Song, Sun-Ju. "Music Analysis and the Avant-Garde Compositions of Post-World War II: Four Case Studies". Thesis, Griffith University, 2011. http://hdl.handle.net/10072/367570.

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This thesis examines four iconic piano works composed from 1949 to 1952 in relation to the discipline of music analysis: Olivier Messiaen’s Mode de valeurs et d’intensités (1949), Pierre Boulez’s Structures Ia for two pianos (1952), Karlheinz Stockhausen’s Klavierstück III (1952) and John Cage’s Music of Changes (1951). The primary aim is to investigate how music analysis has engaged with these four works over the last fifty years. Investigating the nature and content of earlier analyses reveals various aspects of the discipline: its aims and functions, its governing ideologies and, most importantly, its achievements. This investigation also allows for recent criticism of the discipline of music analysis to be reconsidered. In total, 29 analyses of the four works are closely evaluated. Building on these observations, the author contributes a further perspective on each work by offering her own analytical insights, at times challenging some of the common analytical approaches to them. Rather than applying an analytical system based on a particular theory, concepts from each composer’s own writings and theories are used to provide an appropriate analytical angle. This approach recognises that analysis should be a meaningful dialectic between the conceptual understanding of compositional theory and the perceptual experience of surface musical phenomena.
Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
Queensland Conservatorium
Arts, Education and Law
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22

Neff, Eoghan. "At the vanguard of antiquity : seeking the avant-garde of the Irish Fiddle in C20th performance practices". Thesis, Cardiff University, 2012. http://orca.cf.ac.uk/36644/.

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This thesis examines twentieth-century Irish fiddle performance practices in the search for the avant-garde of Irish traditional music. The central analysis focuses on processes of music structuring, particularly at a macro-structural level. Music structure defines the “terms of tradition” by way of permanent symmetric constructs, whereas it defines the avant-garde by way of transitory asymmetric constructs. If musical individualism is represented exclusively by traditional micro-structural ornaments that are inconsequential to traditional macrostructure, then the musical individual contributes to the permanency of macrostructure under of the terms of tradition. Instead, the avant-garde fiddler seeks musical transitoriness where macrostructure can define and redefine, or be defined and redefined by, both itself and its micro-structural parts throughout the progression of a single musical event. The determining nature of the fiddler’s musical interaction with the fiddle is that both human and artefact follow (thus become influenced by) the procedural dimensions of each other. Therefore, the method of analysis in this thesis has an ergonomic basis, which furthermore benefits from the emic perspective and practical expertise of its author. Accordingly, some of the more demanding performances by a selection of the country’s leading exponents are drawn upon to illustrate distinct aspects of where the fiddle instigates the negation of traditional modes of music structuring. Each example represents a different quarter point of the last century. Ultimately, this thesis not only provides a clearer and more radical conception of the musical past, but it also provokes a traditional music avant-garde that emerges from inside fiddle performance practices of the recent century.

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Freire, Guilherme Araujo 1987. "Vanguarda, experimentalismo e mercado na trajetória artística de Tom Zé". [s.n.], 2015. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285314.

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Orientador: José Roberto Zan
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-27T18:13:44Z (GMT). No. of bitstreams: 1 Freire_GuilhermeAraujo_M.pdf: 3785916 bytes, checksum: 7074b9f4c38144853c89de9e6f856bab (MD5) Previous issue date: 2015
Resumo: Este trabalho aborda e problematiza as diferentes fases da carreira artística do compositor e intérprete Tom Zé, situadas entre o lançamento do seu primeiro LP em 1968 e o final da década de 1990. Estabelecendo como foco central sua produção musical, concebida com uma postura crítica frente a certos cânones e padrões da canção de massa consolidados no mercado e com práticas criativas experimentais análogas às do repertório das vanguardas do pós-guerra, investigamos a relação tensa estabelecida entre o seu projeto estético experimental e a indústria cultural. Nesse sentido, a pesquisa tentou situar os discursos e quatro discos de Tom Zé nos respectivos contextos históricos e configurações da indústria fonográfica, buscando compreender melhor as especificidades de sua inserção no mercado de música popular, suas estratégias de atuação, o sentido de suas opções estéticas, bem como investigar as transformações ocorridas no seu projeto estético ao longo de sua trajetória
Abstract: This work broaches and problematizes the different phases of the artistic career of the composer and performer Tom Zé, located between the release of his first LP in 1968 and the late 1990¿s. Establishing as central focus his music production, conceived with a critical posture towards certain canons and mass song patterns consolidated in the market and with experimental creative practices analogous to the repertoire of the postwar avant-garde, we investigated the tense relationship established between his experimental aesthetic project and the cultural industry. In this sense, the research tried to position the discourses and four discs of Tom Zé in the respective historical contexts and configurations of the phonographic industry, seeking to better understand the specifics of his insertion in the popular music market, his acting strategies, the sense of his aesthetical options, as well to investigate the transformations occurred in his aesthetical project throughout his career
Mestrado
Música, Teoria, Criação e Prática
Mestre em Música

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Vermorel, Fred. "Biography & identity, celebrity & fanhood : researching intersections of avant-garde and popular culture". Thesis, Kingston University, 2011. http://eprints.kingston.ac.uk/22495/.

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This PhD by publication critically reviews the background, context, and reception of work published from 1978-2008. The work surveyed, comprises popular music biography, texts on art school influenced bohemia and counterculture, and on celebrity and fan culture. The social and cultural context of the work is mapped and methodological and stylistic issues addressed. The origins of the punk aesthetic through the Sex Pistols is charted. The turn in celebrity studies towards a "fan culture" based approach is demonstrated by the publication of 'Starlust' in 1985. Subsequent work on "fan culture" is discussed. Issues relating to researching and theorising popular culture and cultural and design history are debated. Extracts from the publications cited are provided.

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Gordon, Wendy A. "The marriage of musical theater and the avant-garde: The musical theater of Tina Landau as experimental theater". Thesis, The University of Arizona, 2004. http://hdl.handle.net/10150/292018.

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Tina Landau's writing and directing work has gained increasing prominence over the last decade. She has made strides in both the experimental and the musical theater arenas, and her accomplishments in each are noteworthy independent of each other. However, her concurrent interest and success in both arenas, which are commonly viewed as quite disparate, make her work particularly interesting. These interests, which might seem incongruent, are actually interrelated; her work in one area influences her work in the other, a fact which is evident both in her rehearsal process and the end products. Her experimental work has a musical sensibility and her work in musical theater is quite experimental. This thesis examines works for which she was both writer and director as representative examples: 1969, Stonewall: Night Variations, Space, Floyd Collins and Dream True. Her amalgamated sensibility results in a directing style which serves contemporary musicals, particularly "smart musicals," well.

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Madrid-Gonzalez, Alejandro Luis. "Writing modernist and avant-garde music in Mexico: performativity, transculturation, and identity after the revolution, 1920-1930". The Ohio State University, 2003. http://rave.ohiolink.edu/etdc/view?acc_num=osu1054237342.

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Ortega, Paredes Juan Carlos. "ECUADORIAN-FOLK AND AVANT-GARDE ELEMENTS IN LUIS HUMBERTO SALGADO’S SONATAS FOR STRING INSTRUMENTS". The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1343738160.

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Silvio, Carl. "The institutional production of literary value studies of African-American popular music lyrics and the avant-garde /". Morgantown, W. Va. : [West Virginia University Libraries], 2001. http://etd.wvu.edu/templates/showETD.cfm?recnum=2061.

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Thesis (Ph. D.)--West Virginia University, 2001.
Title from document title page. Document formatted into pages; contains iii, 310 p. Includes abstract. Includes bibliographical references (p. 301-310).

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29

Hausmann, Christiane. "Zwischen Avantgarde und Kommerz die Kompositionen Ennio Morricones". Hofheim Wolke, 2008. http://d-nb.info/989861376/04.

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30

Fergin, Elias. "Mellan improvisation och komposition : att spela Torsten Nilssons Crucifigatur". Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2664.

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Följande studie handlar om Torsten Nilssons verk Crucifigatur, ett avantgardistiskt musikstycke för orgel komponerat 1968. Det ingår i en svit om sju stycken, kallade ”improvisationer”. Här möts organisten av en varierad notbild ömsom grafiskt ömsom traditionellt noterad. I studien beskriver jag min strategi för att lära mig verket, som innefattar både teoretiska studier samt lektioner och inspelningsanalys, och reflekterar över resultatet. Det ligger i styckets natur att det blir lika många tolkningar som organister, och det finns inga sanningar exakt hur det skall utföras. Ofta finns flera tänkbara och bra lösningar. Jag har i denna studie presenterat mina tankar och förslag på hur stycket kan utformas och instuderas, grundat på efterforskningar, notanalys och samtal med min lärare Nils Larsson. Den musikhistoriska kontexten har även getts stort utrymme. För den som är nyfiken på musiken, tiden eller stycket specifikt hoppas jag denna uppsats kan ge nya perspektiv och infallsvinklar.

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Halfyard, Janet Katherine. "Only connect : European music theatre in the context of Wagner's Gesamtkunstwerk and the early twentieth-century avant-garde". Thesis, University of Birmingham, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.397944.

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32

Lemos, Gabriel Francisco Barboza 1988. "A música de vanguarda serve ao imperialismo (?) : a relação entre música e ideologia na trajetória de Cornelius Cardew entre as décadas de 1960 e 1970 /". São Paulo, 2018. http://hdl.handle.net/11449/157184.

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Orientador(a): Mauricio Funcia De Bonis
Banca: Alberto Tsuyoshi Ikeda
Banca: Gustavo de Moura Valença Motta
Resumo: Na segunda metade do Século XX, em especial nas décadas de 1960 e 1970, artistas e intelectuais discutiram calorosamente acerca da relação entre a atuação poética (criativa) do artista e sua influência no campo político e ideológico social. Nesse contexto, o compositor inglês Cornelius Cardew (1936 - 1981) se destacou por desenvolver um trabalho composicional e teórico contundente, crítico e autocrítico sobre a vanguarda musical e sua dimensão ideológica. Transitou entre duas das mais influentes orientações estéticas da segunda metade do Século XX, a música de vanguarda e a música politicamente engajada, ambas fundamentais na construção de chaves de leitura acerca da relação entre o compositor e a sociedade ocidental capitalista. Cardew se dedicou no decorrer de toda a década de 1960 na criação e divulgação de obras diretamente influenciadas pela escola americana experimental. Compôs obras que trabalhavam com a aleatoriedade, a improvisação (The Great Learning, Schooltime Compositions, etc.) e a notação gráfica, dentre essas, Treatise (1963-7) se destaca. Em 1969, ainda ligado às diretrizes aleatórias e ritualísticas da escola americana, o compositor fundou a orquestra experimental Scratch Orchestra (1969-74). Não obstante, influenciado pelo trabalho de pesquisa feito em conjunto com a orquestra (haja a existência de um núcleo de estudos teóricos chamado de Ideological Group), nos anos seguintes ao encerramento das atividades do grupo, Cardew se engajou na utilização da (Resumo completo, clicar acesso eletrônico abaixo)
Abstract: In the second half of the twentieth century, especially in the 1960s and 1970s, artists and intellectuals intensify argued about the relationship between the poetic (creative) performance of the artist and his influence on the political and ideological social field. In this context, the English composer Cornelius Cardew (1936 - 1981) stood out for developing a compelling, critical and self-critical compositional and theoretical body of work about the musical avant-garde and its ideological dimension. He transited between two of the most influential aesthetic orientations of the second half of the twentieth century, avant-garde music and politically engaged music, both fundamental in the construction of reading about the relationship between the composer and western capitalist society. Throughout the 1960s, Cardew devoted himself in the creation and dissemination of works directly influenced by the experimental American school. He composed works that worked with randomness, improvisation (The Great Learning, Schooltime Compositions, etc.) and the graphic notation - among these, Treatise (1963-7) stands out. In 1969, still attached to the random approach and ritualistic directives of the American school, the composer founded the experimental orchestra Scratch Orchestra (1969-74). Nevertheless, influenced by the research work done in conjunction with the orchestra (strictly related to the theoretical studies group called the Ideological Group), in the years following the closing... (Complete abstract click electronic access below)
Mestre

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33

Harrick, Stephen. "From the Avant-Garde to the Popular: A History of Blue Man Group, 1987-2001". Bowling Green State University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1447855816.

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34

Godoy, Jr Martin. "Flute Music of Cristóbal Halffter: His Roots in Spanish Tradition and Place in the Avant-Garde Generación del 51". Thesis, University of North Texas, 2020. https://digital.library.unt.edu/ark:/67531/metadc1703350/.

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Cristóbal Halffter, born in 1930, established himself as an important figure in Spanish avant-garde composition in the middle of the twentieth-century. As one of the prominent leaders of the Generación del 51, he helped establish modernity in music as a part of Spain's identity. His compositional style mixing tradition with the avant-garde was built on the success and breakthrough of Manuel de Falla, a composer with close ties to Halffter's family and served as a 'father figure' to the Generación del 51. This study begins with a discussion on Falla's work and reception, as he lay the groundwork for modernism in Spanish music. Further, discussion on Halffter's background and compositional periods, from his nationalist approach in the 1950s to his embrace of the avant-garde in the 1960s and beyond exemplifies Halffter's prominent role in shaping Spanish modernity. This research then sheds light on previously unexplored solo flute works Debla [Solo VI] for Flute and Studie II [Solo III] for Flute by Halffter. Provided is insight to their respective influences (the Spanish debla and the Fibonacci sequence), analysis of each work, and a discussion on their similarities and differences. By taking an informative approach prior to analysis and performance suggestions, readers will gain insight to Halffter's Spanish roots as they relate to nationalism and the avant-garde, his affiliation with the Generación del 51, and his compositional style.

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Herzfeld, Gregor. "Zeit als Prozess und Epiphanie in der experimentellen amerikanischen Musik : Charles Ives bis La Monte Young". Stuttgart Steiner, 2007. http://bvbr.bib-bvb.de:8991/F?func=service&docl̲ibrary=BVB01&docn̲umber=015759238&linen̲umber=0001&funcc̲ode=DBR̲ECORDS&servicet̲ype=MEDIA.

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36

Muenz, Harald. "A portfolio of compositions with commentary". Thesis, Brunel University, 2015. http://bura.brunel.ac.uk/handle/2438/11808.

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Pena, Eder Wilker Borges 1993. "Satierik Musique : da natureza da música humorística em Erik Satie /". São Paulo, 2017. http://hdl.handle.net/11449/151159.

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Orientador: Lia Vera Tomás
Banca: Marcos José Cruz Mesquita
Banca: Celso Luiz de Araújo Cintra
Resumo: O seguinte trabalho tem por objetivo abordar a natureza da música humorística em Erik Satie, sua aplicação, função e caráter estético. Para isto, através de sua obra musical, seus escritos, estudos acadêmicos realizados sobre o compositor, relatos e críticas musicais da época, buscou-se, inicialmente, reconstruir a lógica pessoal e composicional do compositor, ambas inerentes. Em seguida, a fim de tornar possível uma análise adequada do humor em suas obras, procurou-se, através da reflexão existente sobre o tema no âmbito da filosofia, atribuir uma definição clara e prática da natureza do humor, do riso, assim como, determinar a gênese de sua má reputação. A partir disto, com base no conceito de humor e em textos musicológicos sobre a música humorística, desenvolvemos um aparato técnico de reconhecimento e aplicabilidade do humor no âmbito da música. Com este referencial teórico em mãos, fez-se possível a análise da aplicação e função do humor em quinze conjuntos de peças humorísticas do compositor: Gnossiennes; Pièces Froides; Troix Morceaux en forme de Poire; Préludes Flasques (Pour un Chien); Véritables Préludes Flasques (Pour un Chien); Descriptions Automatiques; Croquis et Agaceries d'un Gros Bonhomme en Bois; Embryons Desséchés; Chapitres Tournés en Tous Sens; Vieux Sequins et Vieilles Curaisses; Choses Vues à droite et à gauche; Heures Séculaires et Instantanées; Trois Valses distinguées de précieux dégoûté; Avant-dernières Pensées; e Sonatine Bureaucratique. Em seguid... (Resumo completo, clicar acesso eletrônico abaixo)
Abstract: The following work aims to approach the nature of Erik Satie‟s humorous music, its application, role played and aesthetical disposition. In order to do this, we sought, initially, through his musical works, writings, academical studies about the composer, reports and musical criticism at the time, to rebuild his personal and compositional logic, both inherent. Thereafter, for the purpose of making an appropriated analysis of humor in his works, we searched, through the existing reflection on the subject in the field of philosophy, to ascribe a clear and practical definition upon the nature of humor, laughter, as well as to determine the genesis of its bad reputation. Thus, based on the concept of humor and in musicological texts about humorous music, we developed a technical apparatus of recognition and application of humor in the musical‟s scope. With that theoretical referential in hands, it was made possible an analysis of the applicat ion and function of humor in fifteen groups of humorous pieces written by the composer: Gnossiennes; Pièces Froides; Troix Morceaux en forme de Poire; Préludes Flasques (Pour un Chien); Véritables Préludes Flasques (Pour un Chien); Descriptions Automatiques; Croquis et Agaceries d‟un Gros Bonhomme en Bois; Embryons Desséchés; Chapitres Tournés en Tous Sens; Vieux Sequins et Vieilles Curaisses; Choses Vues à droite et à gauche; Heures Séculaires et Instantanées; Trois Valses distinguées de précieux dégoûté; Avant-dernières Pensées; and Sonatine Bureaucratique. Subsequently, through humorous articles published by Satie and critics published on the composer, we made a comparative analysis of the countercriticism role played by Erik Satie‟s humor against the canon and tradition. Thus, we could demystify the superficial and innocuous character and the idea of eccentricity, amateurism and insanity which trespass his humorous practice, (Complete abstract eletronic acess below)
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Heffner, Steven. "An Analysis of Dave Holland's Free Improvisation in "Waterfall" and Its Pedagogical Applications for Bassists in Avant-Garde Performance". Thesis, University of North Texas, 2012. https://digital.library.unt.edu/ark:/67531/metadc1609128/.

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This research investigates a microcosm of the free jazz/free improvisation environment of the 1970s in "Waterfall," from the album Dave Holland/Sam Rivers Vol. 1. This recording features Dave Holland and Sam Rivers exhibiting highly developed improvisational language and effortless interaction. The purpose of this investigation is to create pedagogical material for bassists who are unfamiliar and/or uncomfortable with performing in an improvisational style that exists separately from the rigid, instrumental role hierarchy of common practice jazz. An analysis of musical elements including melody, rhythm, form, and energy through systems of musical contour, musical forces, and form analysis reveal constituent patterns that can be isolated. These patterns are codified and presented as pedagogical suggestions to assist in the practice of free improvisation.

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Fielder, Jonathan. "Ex Nihilo". Bowling Green State University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1330976256.

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40

Gillick, Amy Suzanne. "Experimentation and nationalism in Francisco Mignone's works for basson a performance guide to the IInd wind quintet and Concertino /". Diss., Restricted to subscribing institutions, 2008. http://proquest.umi.com/pqdweb?did=1581435601&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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41

Pinson, Koren Heather. "The music behind the image : a study of the social and cultural identity of jazz /". View abstract, 2007. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:3266067.

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42

Beckman, Seth. "The traditional and the avant-garde in late twentieth-century music : a study of three piano compositions by Frederic Rzewski (1938- )". Virtual Press, 1996. http://liblink.bsu.edu/uhtbin/catkey/1026705.

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Frederic Rzewski (1938- ) is a composer and pianist fluent in the styles of traditional pianism as well as the contemporary avant-garde. His musical breadth is most clearly demonstrated through his piano compositions, which are often large-scale, virtuosic, and tonal. For these reasons, they are frequently compared to works of the Romantic era. Furthermore, his pieces also display experimental, avant-gardistic leanings and thereby demonstrate complexity and eclecticism. The thread of continuity in Rzewski's works may be found through his incorporation of programmatic associations, which embrace controversial and universal socio-political themes.This study examines three of Rzewski's compositions for piano that typify the composer's diverse yet communal approach to composition: 36 Variations on "the People United Will Never Be Defeated!, the North American Ballads, and De Profundis. Through the integration of a predominantly tonal musical language with bold, contemporary techniques, all three pieces represent a melding of the past with the present. Thus, they celebrate the complex nature of the human experience through the realm of musical expression.Frederic Rzewski was interviewed by this author, as was pianist Ursula Oppens (a strong advocate of contemporary works generally and Rzewski's pieces specifically). Their insights appear throughout the document, on topics ranging from the generally relevant to specific items connected to the above-mentioned compositions. Related issues of prominent educational influences, the contemporary avant-garde movement, critical review, extant dissertations, improvisation, neo-tonality, and the trend of political music were researched for their invaluable associations with the above-mentioned pieces.This study contends that, through these works, Frederic Rzewski demonstrates a commanding ability to weave varied musical and programmatic components into compelling, cohesive compositions. Furthermore, these pieces offer keen insights into compositional style and practice for piano in the latter half of the twentieth century and thereby present pianists and pedagogues with the opportunity for the introduction to (and immersion in) essential, idiomatic writing as related to late twentieth-century piano composition.
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Percoco, Bryan A. "Perihelion I". University of Cincinnati / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1337714862.

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Henry, Lucas Aaron. "Freedom Now!: Four Hard Bop and Avant-Garde Jazz Musicians' Musical Commentary on the Civil Rights Movement, 1958-1964". [Johnson City, Tenn. : East Tennessee State University], 2004. http://etd-submit.etsu.edu/etd/theses/available/etd-1110104-224112/unrestricted/HenryL121004f.pdf.

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Thesis (M.A.)--East Tennessee State University, 2004.
Title from electronic submission form. ETSU ETD database URN: etd-1110104-224112 Includes bibliographical references. Also available via Internet at the UMI web site.

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Contreras, Zubillaga Igor. "L'avant-garde musicale espagnole sous le franquisme. Une histoire politique". Thesis, Paris, EHESS, 2017. http://www.theses.fr/2017EHES0058.

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L’historiographie de l’avant-garde musicale sous le franquisme a montré à quel point celle-ci s’était développée dans des structures proches du pouvoir. Selon les études produites sur cette question, les compositeurs se seraient emparés des organismes officiels comme d’espaces dépolitisés dans lesquels ils auraient pu mener une activité artistique autonome. Ce sont ainsi les attitudes de prise de distance et de critique face au gouvernement de Franco qui ont majoritairement suscité l’intérêt des chercheurs, laissant de côté la question de la proximité de ces musiciens avec le pouvoir en place. Notre thèse tente de reconstruire et d’analyser dans toute leur complexité les rapports tissés entre le milieu de l’avant-garde musicale espagnole et le régime franquiste. À cet effet, elle s’intéresse aux éléments – conduites, discours, événements, productions – mettant en évidence la proximité de ses protagonistes avec la sphère politique ainsi qu’au soutien que l’État a pu leur apporter. Située au croisement de l’histoire et de la musicologie, cette enquête cherche d’une part à proposer une nouvelle approche de l’histoire culturelle et politique du franquisme et d’autre part à contribuer à une réflexion plus générale sur les interpénétrations entre musique et politique, en particulier sous les dictatures
As previous research has shown, the Spanish musical avant-garde originated under Franco and then forged long-lasting and close connections with State institutions. According to these studies, composers used official organizations as depoliticized spaces in which they could develop their autonomous artistic activity. Thus, most scholars have focused on critical attitudes towards the regime and ignored issues regarding the proximity of these musicians with Franco’s government. This research aims to reconstruct and analyse the relationship between the Spanish musical avant-garde and the Francoist regime in all its complexity. In order to do so, we will closely examine elements – behaviour, rhetoric, events, productions – which show the proximity of certain composers to the political sphere as well as the support that the State provided for them. Situated at the crossroads between history and musicology, this study offers a new perspective on the cultural and political history of Francoism and, moreover, contributes to a general reflection on the interpenetration of music and politics, particularly under dictatorial regimes

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Blamey, Peter J. "Sine waves and simple acoustic phenomena in experimental music with special reference to the work of La Monte Young and Alvin Lucier /". View thesis, 2008. http://handle.uws.edu.au:8081/1959.7/25659.

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Thesis (Ph.D.)--University of Western Sydney, 2008.
A thesis presented to the University of Western Sydney, College of Arts, School of Humanities and Languages, in fulfilment of the requirements for the degree of Doctor of Philosophy. Includes bibliographies.

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47

Blamey, Peter J. "Sine waves and simple acoustic phenomena in experimental music : with special reference to the work of La Monte Young and Alvin Lucier /". Thesis, View thesis, 2008. http://handle.uws.edu.au:8081/1959.7/25659.

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This thesis explores a series of relationships between music and acoustics in order to develop a basis for discussing and critiquing aesthetics in post-Cagean experimental music. Specifically, it examines the acoustic and aesthetic theories that inform the practice of American composers La Monte Young and Alvin Lucier. One particular theme - the sine wave - emerges, both as a prominent feature in the work of these two composers, and also as a nexus point between music and acoustics. Pursuing this theme, the thesis begins by looking at issues in the science, technology, and ideology of acoustics in relation to the study of musical sound in the late nineteenth century. It then aims to situate the sine wave historically, culturally and technologically within a range of scientific and aesthetic practices in operation in the first half of the twentieth century. Finally, it explores the deployment of concepts from the field of acoustics by artists of the avant-garde, and considers what contribution these factors played in broadening the developing discourse of sound within the arts. These discussions then inform detailed investigations into the work of both Lucier and Young, examining their use of sine waves to explore and produce simple acoustic phenomena.

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Heffner, Steven (Bassist). "An Analysis of Dave Holland's Free Improvisation in "Waterfall" and Its Pedagogical Applications for Bassists in Avant-Garde Performance". Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1609128/.

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Abstract (sommario):

This research investigates a microcosm of the free jazz/free improvisation environment of the 1970s in "Waterfall," from the album Dave Holland/Sam Rivers Vol. 1. This recording features Dave Holland and Sam Rivers exhibiting highly developed improvisational language and effortless interaction. The purpose of this investigation is to create pedagogical material for bassists who are unfamiliar and/or uncomfortable with performing in an improvisational style that exists separately from the rigid, instrumental role hierarchy of common practice jazz. An analysis of musical elements including melody, rhythm, form, and energy through systems of musical contour, musical forces, and form analysis reveal constituent patterns that can be isolated. These patterns are codified and presented as pedagogical suggestions to assist in the practice of free improvisation.

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49

Burt, Warren. "Algorithms, microtonality, performance eleven musical compositions /". Access electronically, 2007. http://www.library.uow.edu.au/adt-NWU/public/adt-NWU20080131.162859/index.html.

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Thesis (Ph.D.)--University of Wollongong, 2007.
Typescript. Includes 2 sound discs and 1 DVD-ROM in back pocket. CD 1: The animation of lists; CD 2: And the archytan transpositions. DVD-ROM contains Part Three - Appendix. Includes bibliographical references: leaf 291-301.

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Khajehzadeh, Iman. "Gradual: A Sound-Based Composition for Tenor Saxophone and Fixed Electronics, with Critical Essay". Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1538746/.

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In the first half of the twentieth century, sporadic attempts of avant-garde composers to include sounds other than pitch in musical composition paved the way for the composers in the second half to embrace the sound of all types in their creative works. The development of technology since the mid-past century has facilitated composers' inclusive use of sound. The recent achievements in electronics and computers have led to cost-effective tools for today's composers to explore new possibilities in sound design and manipulation. Gradual for tenor saxophone and fixed electronics is primarily concerned with noise. Among the infinite possibilities of noise types, metallic sounds significantly contribute to the composition. The title of the piece refers to the compositional process in which the music progressively unfolds itself from the beginning to the end. The methods and strategies used to present the content give rise to a form I call accretion, described as an organic process by which the musical materials grow. Within the process, while established materials are interacting, combining, and forming layers, new materials may be incorporated and take part in the process. Throughout the composition, the interaction between sounds with common properties guides the music toward interactive unity, while the interplay between sounds with different characteristics forms a dialectical communication. The constant push-and-pull between the two states creates a restless tension throughout the composition. In the current version of Gradual, the audio signals from both saxophone and fixed electronics are transmitted to the same speakers, which helps coalesce acoustic and electronic sounds. The future prospect of the piece can involve real-time audio signal processing to manipulate the sound of saxophone. Adding the above feature to the current version will promote the unification of the two media into a single whole.

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Tesi sul tema "Avant-garde (music)"

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