This thesis explores the recent phenomenon of music concert goers filming these concerts and uploading the footage to YouTube. This contemporary practice poses several questions of the nature of contemporary music culture. The status of the concert as live event is problematised by this mediation of the experience. The videos create producers of fans and allow these fans to make a substantive contribution to music culture as authors of music texts consumed through a major distribution network. The fact that these fans are not paid for their efforts begs the question as to what they gain from this enterprise; particularly as it serves as a distraction for filmers from the immersive concert experience. This thesis will use the work of Walter Benjamin on the ‘aura' as a yardstick against which to judge current attitudes amongst music fans as to the status of live music alongside other ways of experiencing music. The thesis will also offer a contemporary reappraisal of Pierre Bourdieu's concept of ‘cultural capital' that accounts for the recognition that filmers receive from other music fans for their efforts in filming concerts. Concerts are restricted spaces in which music is simultaneously produced and consumed. Broadcasting videos of these events on YouTube provides recognition for filmers both for having attended and managed to capture footage to be shared with those unable to attend for various reasons. Filmers are not paid for their efforts and so this recognition serves as a form of cultural capital in lieu of financial reward. The thesis is based upon interviews with a global sample of music fans who either film concerts or watch these films on YouTube.

The French composers Tristan Murail (b.1947) and Gerard Grisey (1946-98) are the two chief originators of “Spectral Music”, an approach to composition that developed in France from the mid-1970s, and which is characterised by the ‘spectrum’, a conception and codification of sound as a collection of individual, related partials, realised by orchestral synthesis. While the composers’ exploitation of the physical characteristics of sound, based on technological analysis, is well documented, Murail has drawn analogies throughout his mature work with other phenomena, including those associated with electroacoustic means of sound treatment and production, morphologies found in the earth’s surface (both land and water) and recently developed scientific paradigms (chaos theory and fractal geometry). In Murail’s most recent works, the complex properties of sound samples are used as compositional models. The application of these analogies is diverse, ranging from the use of relatively simple algorithms to the formation of elaborate structures that possess a highly evocative and metaphorical mode of communication. The use of inharmonic sounds, or “noise”, in particular, evokes nature and places the work in a particular relationship with the world. The thesis investigates the appropriation of phenomena by analogy through analysis of key compositions. While research focuses on Murail, the work will be contextualised alongside that of Grisey, and within Spectral Music in general, in order to gain a greater critical understanding of the music

To what degree is it possible to score an artistic event for which the impetus is a social, rather than aesthetic, effect - and indeed, to what degree are these effects separable? How, in short, can the composer or artist create a blueprint for a relational practice that is fundamentally concerned more with actions within the community than it is with any outcomes or objects presented to the community? This thesis seeks to explore the role of the Other through the composition of a set of participatory scores for social activity. Devised from the perspective of a composer and sound-artist, this practice-led research investigates three strands of social engagement: collaboration, interpretation, and intervention. These strands each revolve around the problems inherent to performing and scoring socially-engaged, site-specific sound works, as well as the reality of their dissemination in the public domain. Each of the methods employed not only feeds back into the score-making process, but also serves to critique existing methods and hierarchies within artistic participation, ultimately arguing for an open-ended and non-linear relationship between the act of sensing, and the (community-influenced) construction of the sensible. Exploring post-structural, ethical, and ontological notions of what it means to share and construct community with Other, this research examines the role of art as a creative movement between self-constructs that are at once individual and indivisible from the community. This work argues that such creativity extends not only to the realisation of artworks, but across the whole gamut of activity within the social event. By undertaking practice-based research into the role of Other within the event of an artwork, this thesis interrogates the socio-political hierarchies inherent to both the specific art-event, and the pre-existing community in which such events unfold. As such, the art-event points not only to the specific creative act of its making, but equally the latent creativity within the community in which the art is disseminated. The spectator, no less than the artist, defines the terms of the community by which such acts are made available to perception as an ontological reading that is not only sensed, but sensible.

Šiame darbe nagrinėjama problema: kokių muzikinių gebėjimų ir žinių reikia šokio pedagogikos studentams studijų metu ir šokio pedagogams jų praktinėje, profesinėje veikloje. Tyrimo objektas – šokio mokytojų muzikinis ugdymas. Siekiamas darbo tikslas – analizuoti šokio mokytojų muzikinio ugdymo ypatumus per pasirinktą kokybinio aprašomojo tyrimo strategiją. Siekiant atskleisti tiriamąjį reiškinį, atlikta šokio pedagogikos studentų ir absolventų apklausa raštu, vykdyti giluminiai interviu, analizuoti šokio pedagogų ugdymo ir darbo gaires reglamentuojantys dokumentai, atliktos keturių tiriamųjų įstaigų studijų programų analizės. / The object of this research thesis is the musical education of dance teachers, i.e. which musical skills and knowledge are necessary for students of dance pedagogy as well as for dance teachers in their activities. The main purpose of this qualitative descriptive study was to investigate specific aspects pertaining to the musical education of dance teachers, including regulatory documents, curricula, needs analyses, and also the congruity of these aspects. Data were collected through a written survey of dance pedagogy students and graduates, in-depth interviews, document analysis of study programs at the four institutions of higher learning that offer dance education in Lithuania, and a review of documents, which regulate the work and education of dance teachers.

This thesis examines the music of the Subanen people of the Zamboanga Peninsula in western Mindanao, the Philippines through an investigation of their most important ceremony, the Buklog. Esteemed as the most elaborate and expensive socio-religious festival of the Subanen, the Buklog derives its name from a wooden structure holding the dancing platform called buklog. The Buklog is generally celebrated to propitiate the gods in some specific event in which the entire Subanen community participates. The occasion may be a thanksgiving for a bountiful harvest, for healing, or for prestige for a new leader or a home comer. A Buklog may also be held as a memorial for the recent dead to reinstate their souls to heaven or as a fulfilment of a ritual vow or debt to restore order and salvation to creation after natural disasters, calamities and epidemics. (For complete abstract open the document)

I am concerned with the performance of subversive ... narratives ... the performance of possibilities aims to create ... a ... space where unjust systems and processes are identified and interrogated. (Madison 280). If a woman cannot feel comfortable in her own body, she has no home. (Winterson, J; The Guardian 29.03.2013). Black metal is beyond music. It exceeds its function of musical genre. It radiates with its sepulchral fire on every side of culture [...] Black metal is the suffering body that illustrates, in the same spring, all the human darkness as much as its vital impetus. (Lesourd 41-42). Representation matters. Growing up there were only two women in famous metal bands that I would have considered role models; Jo Bench from Bolt Thrower (UK) and Sean Ysseult from White Zombie (US). This lack or under-representation of women in metal was always obvious to me and has stayed with me as I have developed as a metal musician. Women fans that see women musicians on stage, creates a paradigm of connection; that representation means something. Judith Butler states ‘on the one hand, representation serves as the operative term within a political process that seeks to extend visibility and legitimacy to women as political subjects; on the other hand, representation is the normative function of language which is said either to reveal or distort what is assumed to be true about the category of women’ (1). Butler references de Beauvoir, Kristeva, Irigaray, Foucault and Wittig regarding the lack of category of women, that ‘woman does not have a sex’ (Irigaray qtd. in Butler 1) and that ‘strictly speaking, “women” cannot be said to exist’ (Kristeva qtd. in Butler 1). If this is to be understood in relation to my research, my embodied subjectivity as performative text, regardless of its reception suggests that my autoethnographic position acts as a counter to women’s lack of category. If there is a lack of category, then there is something important happening to ‘woman as subject’. This research seeks to analyse ‘woman as subject’ in female black metal performance by using interpretive performance autoethnography and psychoanalysis. As the guitarist and front woman with the black metal band Denigrata, my involvement has meant that the journey to find my home rests within the blackened heart of musical performance. Interpretive performance autoethnography provides the analytical frame that helps identify the ways in which patriarchal modes of address and engagement inform and frame ‘woman as subject’ in female black metal performance.

This study is concerned with the role of sound in the presentation and representation of bodies in performance art that incorporates digital technologies. It consists of a written thesis accompanied by a portfolio with documentation of original artwork. Since the 1960s, performance artists have explored the use of sensor technologies to register signals generated by the body and synthesize or control sound. However, both practical and theoretical approaches to biosignal sonification in this field have almost entirely focused on musical (formalist) perspectives, technological innovation, or heightening the performer's and spectator's awareness of their body's physiology. Little attention has been paid to the usually conspicuous interaction between body and technological equipment and the role of the generated sound in the context of cultural critical debates regarding the performing body. The present study responds to this observation in two ways: Firstly, the written part of the study examines existing biosignal performance practices. It seeks to demonstrate that artists' decisions on the design of sensor technology and sound synthesis or manipulation methods are often complicit in the representation of normative body types and behaviour. Drawing from a concept of the sonified body as a transgressive or ‘freak' body, three critical perspectives on biosignal sonification in digital performance are proposed: A reading of body sonification methods from a gender-critical perspective, an inquiry in the context of Mikhail Bakhtin's concepts of the grotesque and the classical body, and a conceptualization of the sonified body as a posthuman prosthetisized body. This part of the study serves as a framework for its second objective: the development of practical performance strategies to address and challenge cultural conventions concerning ‘the' body's form and role in society. This aspect of the thesis is developed in conjunction with, and further explored in, the artwork documented in the portfolio. The practical part of the study consists of three digital performance works. ELECTRODE (2011) involves an anal electrode that registers the activity of my sphincter muscle and uses this data to synthesize sound. For this work, I modified a commercially available muscle tension sensor device designed for people with faecal incontinence problems. Feedback (2010) encompasses components of a commercially available fetal Doppler sensor intended to listen to the heartbeat of unborn babies. SUIT (2009-2010) encompasses several performances that feature a PVC overall equipped with a loudspeaker, sensor interface and Doppler and humidity sensors.

No description available.