Thesis (Ph. D.)--Ohio State University, 1967. / Includes vita. Includes bibliographical references (leaves 150-157). Available online via OhioLINK's ETD Center.

Thesis--Königsberg i Pr. / "Lebenslauf." "Verzeichnis der Quellen und der benützten Literatur": p. [4-5].

Thesis (Ph. D.)--UCLA, 2009. / Vita. Description based on print version record. Includes bibliographical references (leaves 306-335).

Thesis (Ph. D.)--University of Washington, 2003. / Vita. Includes bibliographical references (leaves 198-203).

<p> This thesis explores holistic approaches to the performing body. Beginning with the inner world of sensation, I discuss Anna Halprin&rsquo;s use of emotional geography and associative scoring in her community rituals. In Lawrence &ldquo;Butch&rdquo; Morris&rsquo; Conductions, I consider the body as score. And in an analysis of Sophia Gubaidulina&rsquo;s symphony Stimmen&hellip; Verstummen&hellip;, I describe the use of gesture as it is functions to frame the body as a symbol of transformation. I then describe the affect of these representative methods of composing for the performing body as they manifest in own work, using specific examples from (de)attachment for saxophone quartet.</p>

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Origin Unknown is a 15-minute, single-movement work for orchestra. The piece maintains an understated, meditative quality throughout, and adheres to the principle of perpetual variation of a very limited amount of material. The form of the work is process-oriented: the music unfolds slowly, according to a consistent, yet flexible, dialectic. Two basic materials—one that is tonally stable, and another that modulates—alternate throughout the piece and form a harmonic backdrop. A type of respiration occurs, as the lengths of the stable sections expand and contract, while the modulatory passages get progressively longer each time they recur. A surface layer of triplet melodies is superimposed onto this background structure, forming a subtle counterpoint. Percussive, bell-like sounds (glockenspiel, vibraphone, celesta, harp, and piano) articulate most of the pitches in the work. As these sounds decay, they often meld into a wind or string timbre which sustains the pitch after its percussive attack has faded. Eventually, these sustained sounds fade out, just as their percussive attack did, but at a slower rate with a long diminuendo. A regular rotation of the percussive timbres produces a kaleidescopic effect, while the wind and string choirs often alternate in an antiphonal fashion. As the alternating wind and string passages expand and contract in length, the orchestration of the piece effects a "respiration" in the timbral domain analogous to that built into the harmonic structure of the piece.

This study explores performance practices used in French choral music of the late Baroque era, using In convertendo (ca. 1713; rev. 1751), a grand motet by Jean-Philippe Rameau (1683-1764), as the exemplar. As the foundation of the project, the author created a new edition of the motet (which is included in an appendix to the document) from primary source material. The document is divided into two major sections. History and Performance Practice. After a brief overview of Rameau's life and career, the first section summarizes the development of the grand motet genre from the early works of Eustache Du Caurroy (1549-1609) through the contributions of Rameau. The second section discusses the following topics: the various agrements and their usage; matters of meter, tempi, and dynamics; conventions of rhythmic alteration; issues of pitch and instrumentation; and the use of the historical French Latin pronunciation for this repertoire. The document concludes with a chapter describing the author's edition of In convertendo and detailing the editorial procedures employed in creating it.

This lecture-recital document evaluates the collaborative process in five American works written for flute and dance. My perspective is that of a musician interpreting and performing music for choreography and dance. This project aims to elevate the significance of collaborative works in general, and in the flutist's repertoire specifically. The second and broader purpose of this study is to identify fundamental elements of the collaborative process. Using five works as a model, I have developed collaborative guidelines that assist musicians, dancers, and choreographers in the performance of these and other works. This study asserts that a shared vision is vital to a successful collaborative experience. An awareness of the differences between musical language and kinesthetic vocabulary is also necessary. In addition, the incorporation of theatrical parameters must be explored. Teamwork, trust, flexibility, and communication must be developed between the performers. Understanding fundamental elements of the collaborative process provides a foundation for bringing music and dance together in performance.

This thesis explores the complex relations between subjective perception and dance movements, mainly exemplified by drawing on two short extracts from Merce Cunningham's choreography BIPED (1999). The central aim of the study is to formulate a performative phenomenological inquiry, which moves beyond an identification of essences, and towards an understanding of the lived experience of a dance performance as being grounded on iterations of the "abstract". The concept of the abstract primarily signifies an alternative mode of understanding Henry Bergson's notion of duration. Considering Gilles Deleuze's reading of Bergson's intuition as a method to divide the experience of a lived present into a temporal difference in kind between the virtual and the actual, this thesis suggests a complementary division of duration into virtual and actual kinds of abstraction. In addition to Bergson's method of intuition, the discussion is phenomenologically rooted in Maurice Merleau-Ponty's concept of the body image and Gaston Bachelards idea of non-causal reverberation. As with the case of intuition, those phenomenological concepts are applied unconventionally. Rather than serving as a pre-objective ontological basis for an analytical and scientific understanding of subjective embodiment, the notion of a reverberating body image is here treated as a form of mimesis, performatively constituted through symbolic and representational practices. Hence, in phenomenological terms, the rationale of the thesis is predominantly sustained by the philosophy of Ernst Cassirer, arguing that reality cannot be approached directly, but only through the concept of the symbol. The viewpoint from where I speak has performative cybernetic characteristics, continuously and dynamically transgressing boundaries and reconstituting itself through iterative and citational practices. Additionally, as I move between the analytical and the intuitive, as well as between the virtual and the actual, the formal structure of the thesis corresponds to a liminal transformation of the speaking subjectivity.