The motivation for this thesis is rooted in the problems arising from the lack of a single theoretical framework within which to assimilate different analytical methods; whether they are applied to an individual work, compositions embracing an underlying common practice or to the study of stylistically remote pieces. By devising a series of logical axioms and definitions, collectively referred to as a metatheory and situating them - as an expression of the neutral level originally proposed by Jean Molino - in the context of the semiological tripartition, it is found that the metatheory can be used to construct aspects of existing music theories. The precise extent to which a specific theory of music can be derived from the metatheory is not considered, but the many examples used to illustrate the application of metatheoretical logic to music analysis clearly demonstrate that meaning can only be ascribed to the structural configurations so determined if the poietic and esthesic dimensions of the tripartition are invoked as a means of distinguishing the actual from the logically possible. It is in this sense that logic is found to be limited. Two important consequences follow from this conceptual framework. Firstly, the involvement of the poietic and esthesic dimensions in the final analysis potentially enables many diverse theories to be derived from the metatheory, thereby preserving the important differences that exist between analytical methods. Secondly, the whole notion of a text-centred theory of music is challenged since the importance of the poietic and esthesic dimensions to the provision of meaning is such that these dimensions can theoretically overwhelm the configurations established within the text by the application of logic.

Generative music, manifesting a perpetually new music which transcends the temporal limitations of both live and recorded music, presents us with continuously new possibilities and perspectives which in turn enable new modes of being. As specific compositional choices are automated, the sonic possibility space thus becomes the operative creative field. The new concern with structural possibilities as they come to presence yields a new listening ontology. Brian Eno’s specific manifestation of generative music has evolved along a distinctly technological trajectory of creativity. Through his own liminal position between popular and avant garde musical cultures, his ambient aesthetic has found a new mode of expression and materialization. The music is environmentally utilized as an absent presence rather than as an object of focus, and this position is preserved and mirrored textually in this inquiry; the music is not directly treated as an object of scrutiny but rather informs the text as a background, ambient presence. The experience of listening to generative music carries with it the possibility of transcending the duality of the subject–object relationship and its impedance of the transformative power of the aesthetic experience in its traditional aesthetic conception. Generative music thus inherently evades both traditional methods of analysis and traditional modes of aesthetic commentary. As the music foregrounds the moment in which reception occurs, while simultaneously existing as a background presence, it elicits a transformation in the way in which we perceive and conceptually order the sound, the environment, and our subsequent relation between the two. Generative music itself becomes a structure through which one can engage with a new way of being through listening, one in which we apprehend our creative capacity through being receptive to alterity. In this way, listening itself has an ontology, one which can only be revealed through new forms of textual engagement. Ontologically, Heidegger provides the language to explore a music that reorients us at the level of being. Phenomenologically, he examines and reveals the structures of being which manifest our earth and world, our very possibilities of and for being, and these structures are precisely those which are technologically represented in generative music. Aesthetically, Heidegger views the artwork as almost a generative system in itself—one which sets truth to work as it manifests a dynamic between revealing and concealing. Art and technology, and thus poiesis and techne respectively, are examined as orientations of being which have an ideal configuration for Heidegger that manifests at the level of thought. Thus, Heidegger’s specific philosophic configuration which is pre-eminently concerned with ontological structures and coming to presence provides a structure through which generative music can emerge and find resonance. Heidegger’s philosophy evolves and unfolds in new generative iterations through his student Hans Georg Gadamer, who extends the hermeneutic nature of being to include the process of mediation. This enables an exploration of the temporality of the moment of the aesthetic encounter—a point of convergence at which the perceiver or listener undergoes self-transcendence through entering the unifying and structuring force of play. Play manifests sonically in generative music, during which the preexisting temporal and subjective structures are reconfigured and transformed through technological mediation. Similarly, Emmanuel Levinas reveals new variations on Heidegger’s ontology as he explores notions of alterity and the ways in which these are formative of our subjectivity. As he delineates the moment of encounter with the Other, we recognize its constitutive elements as they play out technologically within the generative music listening encounter. As the notion of infinity is played out sonically through each passing generative iteration, it manifests a constant overflowing of itself in both thought and presence. This process arises through a dynamic movement between interiority and exteriority, in which an internal desire for the Other is ignited and perpetuated by the external, radical Other. This simultaneously internal and external encounter with alterity situates a fundamentally radical passivity, one which reflects our ontological situation which comes to be mirrored in the technological, generative manifestation of the same structural relations. The philosophical approach of the present inquiry is not a commentary on generative music; it is a demonstration of its genesis—embodying the generative motion between being and becoming which comprises generative music, rather than engaging with traditional textual commentary about music. Between the textual presence and musical absence, a space arises in which music can emerge not as an object but as a way of being into which we enter. In this way, the subject–object structure of traditional aesthetics is transcended in a move toward a new aesthetic which encompasses the larger truth at issue—that the process of configuration, combination, juxtaposition and subsequent emergence is the very point of the genesis of meaning, or the origin of truth. Thus, generative music embodies not only a technological but also a textual path to this moment in which we engage with the origins of our own ontological possibilities.

No description available.

The notational treatises of Johannes Tinctoris are among the most studied music theory texts of their age. The level of meticulous detail and apparent rigour, twinned with a fairly comprehensive survey of most aspects of practical music that the fifteenth-century musician would need to know, make his treatises invaluable to understanding musical practices and pedagogy of the later part of the Middle Ages. Although not conceived as a set as such, his twelve music treatises contain some significant interdependencies, particularly those focussing on specific areas of mensuration and notation practice. Despite much scholarly attention being directed towards his texts, particularly his De arte contrapuncti and Proportionale musices, the use of musical examples in his notational treatises has remained largely underexplored. Indeed, the broader field of musical examples in music theory treatises has been much neglected, both in modern scholarship and in critical editions, something that this thesis begins to address. This study sets out, for the first time, a methodology for interpreting the exemplary content found in music theory treatises of the manuscript tradition, particularly those of the late fifteenth century. It synthesises Tinctoris’s strategies of exemplification into three distinct models: instantiation; citation; extrapolation. In examining musical examples, it is clear that this relatively little explored resource can be used to better understand the readership(s) for music theory and the ways in which musical notation could be read in the fifteenth century. Indeed, the methodology established through this study opens up new avenues for exploration in scholarly research. Due to the variety of musical examples found in Tinctoris’s works, his treatises make an ideal test case for this methodology, showing it to be sufficiently rigorous to be applied to a variety of other texts in the future. Thus, this thesis contends that musical examples, which are often treated poorly in modern scholarly editions, can reveal great insights into the intended function of particular texts, and yield new findings to inform our study of the period.

Despite the scholarly attention that has rightly been paid to Universitat de València, Biblioteca Històrica, MS 835, and Bologna, Biblioteca Universitaria, MS 2573, as crucially important textual sources for Tinctoris’s music theory, insufficient regard has so far been given to these two Neapolitan presentation manuscripts as historical artefacts that encode information about the priorities and concerns of those who brought them into existence. This thesis presents the first complete physical descriptions of these manuscripts, and employs detailed palaeographical, iconographical, and historical analysis to establish the likely circumstances of, and reasons for, their production. In the course of proposing identifications of the scribes and artists involved, analysing in fine detail their sequences of preparation, considering the organisational structure articulated by the decorated initials, interpreting the iconography of the portrait miniature on the frontispiece of Valencia 835, and marshalling complex heraldic evidence, many other Neapolitan manuscripts are brought into discussion. By analysing and contextualising Valencia 835 and Bologna 2573, therefore, the thesis functions also as a significant contribution to anglophone scholarship on the wider output of the Neapolitan scriptorium in the late fifteenth century. A newly enriched account is proposed of Tinctoris’s arrival and period of employment in Naples, and of his and the wider court’s involvement in the preparation of music theory manuscripts as instruments of political expression. This thesis, therefore, offers a re-appraisal of the genesis and later history of these two high-value music theory manuscripts. By presenting detailed codicological analysis and using it to construct and reshape historical narratives, it also provides a firm basis for future scholarly investigation into Tinctoris and music theory within the intellectual, cultural, and political climate of late fifteenth-century Italy.

This thesis attempts to identify the philosophical and aesthetic concepts of pipa music. The discussion is approached from a performer's point of view and is supported by the author's demonstrations on the pipa, in conjunction with the discussion of artistic theories of other Chinese traditional arts. The introductory chapter involves an examination of thehistorical perspective of the pipa, a discussion of the problems of pipa notation and an explanation of the approach of this thesis. Part I (Chapters 1-6) concentrates on the discussion of theoretical matters. An investigation of the various meanings and the evolution of the concepts qi and yun is the first step to approaching Chinese philosophy and aesthetics. The “three levels of qi” involve playing technique, aesthetic and philosophical considerations. The capturing of “qi of intentional effort” is determined by “combined technique” and breathing methods. The articulation of timbre and “slide” are the essence of “yun”. The manipulation of “qi-yun” deals with the art of performance, interpretation and re-creation, as well as major aesthetic concepts and philosophical ideas of other traditional arts. The final approach of Part I (Chapter 6) probes in to the relationship of poetry and music. Pipa music shares a similar artistic appreciation of consummate beauty to that of Chinese poetry. The focus of Part II (Chapters 7 & 8) attempts to present a detailed analytical study of pipa right-hand “combined technique” and left-hand “slide” skills, accompanied by the study of their historical context. Apart from these matters, Part II acts as a support for the aesthetic and philosophical concepts of Part I.

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Theodor Adorno's depiction of Stravinsky and Schoenberg in the 'Philosophy of Modern Music' has been a source of much controversy. Many have criticised the Frankfurt Scholar for his biased portrayals. A common tendency shared among commentators has been to interpret Adorno's text literally. Yet upon closer examination, one sees that Adorno's intention was to write not only a literal text, but also a poetic text. Following in the tradition of Karl Kraus, and Walter Benjamin, Adorno's text is laden with symbols, metaphors, allusions and allegories that encircle socio-cultural and historical issues. Stravinsky and Schoenberg are often caricatures, and their works a means to discuss kitsch and avant-garde art during the rise of fascism in Germany. Even Adorno's portrayal of art in Germany is symbolic; his insights into state capitalist culture during World-War Two are meant to act as an acidic and prophetic analysis of monopoly capitalist culture in the post- World-War II era. Adorno's 'Philosophy of Modern Music' was meant to be a Flaschenpost, a 'message in a bottle', designed to remain rebarbative through time. This thesis suggests that when one applies his insights to late capitalist society, they seem more relevant than ever.

Within the field of audience studies it has been acknowledged that audience experience is altered by the presence of other listeners (Pitts 2005) and this can form audience communities (Pitts & Spencer 2008; Benzecry 2009, 2011). However, the notion of audience community is not fully accepted, with Phillip Auslander suggesting live audiences partake in no more than ‘common consumption’ (2008: 64). Previous authors have called for more understanding of classical music communities and how effectively a newcomer may integrate with them (Pitts & Spencer 2008: 237). Currently, there has been little research investigating the nature of listening communities formed around a concert series and particularly from its origins in a new venue. Through the findings of two case studies, this thesis explores the formation of a community within a concert audience at new venue in Doncaster and investigates the experiences of attenders under the age of 25, underrepresented in the regular makeup of classical music audiences in Sheffield. These two case studies build up an understanding of the different perspectives and needs of regular and new audiences for live chamber music. Also investigated through both case studies are the relationships between audience member and performance space. Moreover, the thesis considers how cultural buildings, in this case concert halls, may influence the way in which people feel about the place they live. Central to all the research questions in this thesis is an interrogation of the current methodological toolkit used to understand audience experience, and the research includes a trial of new visual methodologies that aim to increase understanding of both regular and new audiences’ experiences. The core audience for classical music concert series show their support by being loyal to the arts organisation that provides the series, to the resident musicians and by showing knowledge of the art form and of the concert culture at a particular venue (Pitts & Spencer 2008). In my first case study, I am interested in placing the ‘aficionados’ of such an audience community into a populist sphere by analysing their behaviours in line with popular culture and viewing them as ‘fans’. By understanding classical music audiences in this way, comparisons can be made with other musical communities in popular culture, which becomes particularly interesting when considering people that are choosing not to associate with this community. The critical lens of popular fan culture is used in this thesis to explore the inner workings of a classical music listening community and the fan-like behaviours the aficionados often perform. Conversely, by understanding a classical music audience as a working ‘listening community’, I question what impact their ‘fan’ behaviours may have for those demographic groups that are underrepresented in the regular audience. For my second case study, the particular group chosen is younger people under the age of 25 (referred to as U25s), who are typically far away from this culture in their musical tastes and experiences but who often have a strong musical identity themselves. Through arts-informed research methods, this case study investigates the views of U25s who have differing levels of musical and cultural knowledge but do not regularly attend classical concerts. I am interested in the perceptions these U25s have about classical music concert culture and the pre-existing community of listeners and when exposed to the culture of classical concert going, how well they can integrate. With increasing cuts to funding in the arts it is possible that arts organisations will become more reliant upon private donations and the financial security of its core ‘fan’ base, so a greater understanding of these people and their relationship with concert culture is important. In contrast, with a large demographic group currently absent from regular audiences, it is also necessary to consider how the relevance of classical music may be grown for younger people and the live presentation of this art form preserved. In order to most accurately answer both of these audience development questions, the best possible understanding of audience experience is necessary through the application of new methods to this enquiry.

This thesis is about music, meaning and listening. It attempts to address the question of how music means to listeners by situating listeners at the centre of music analysis, examining the meanings that they construct when they experience musical situations. In its first chapter, the concept of meaning is interrogated and a model for understanding meaning, and how it is generated, is developed. My meaning-relations model proposes a conception of meaning as fundamentally subjective, relational and context-dependant, whilst arguing that shared human experiences can give rise to intersubjective meanings within communities. Using this model, I then analyse three musical situations, and the listening communities that experienced them, for the shared meanings that may have been generated therein. Each of these three analytical case studies focuses on a different community from different historical periods, but they are linked by the theme of the Passion of Christ, which is central to each of the musical situations in question. The first examines the Passions of J.S. Bach and the eighteenth-century Lutheran congregation that first experienced them as part of the Good Friday Vespers service, performed in the principal churches of Leipzig. The second explores the Anglo-Saxon monastic community in mid-eleventh- century Worcester, and the music and liturgy of the Veneration of the Cross ceremony practised there annually, also on Good Friday. The third focuses on the English National Opera's 2014 production of John Adams and Peter Sellars's The Gospel according to the Other Mary and its audience. The purpose of these case studies is to test whether the methodological exigencies of the meaning-relations model can be fruitfully applied to music analysis, in order to establish a style of analysis that focuses on listeners and the meanings they might construct from real-life experiences of music.