"It’s very difficult for us to listen to something, or to look at something, outside of its style,” Morton Feldman told an audience in 1986. “We don’t know the skills that went into it… Until we’re reeducated not to think of art in terms of aesthetics or style, we really don’t know what it is.” The three chapters of this thesis attempt to capture Morton Feldman’s thought and music in three different ways: addressing, processes of thinking, feeling, and doing (or, analogously, the subjects of historical context, experiential aesthetics, and material practices). The first chapter provides an intellectual history of modern music, c.1950 through a comparative study of writings and interviews with Pierre Boulez, John Cage, and Feldman. Drawing analogies between specific aural and visual sensations, in the second chapter I use the work of abstract painters and sculptors including Jules Olitski, Donald Judd, and Morris Louis to illuminate the effects of silence, surface, space, and saturation in Feldman’s music. In the third chapter, I bear down on Feldman’s last decade, highlighting a shift in the composer’s late style, around 1985. I look at certain aspects of his late compositions relative to the composer’s interest in nineteenth-century nomadic Turkish carpets, emphasizing aspects of patterning and asymmetry in each. Finally, I discuss the radical compositions of Feldman’s last years, using Jules Olitski’s 1970s paintings, in their relation to earlier gestural abstraction, to illuminate issues of scale and naturalism. / text

Thesis (M.M.) -- Florida State University, 2004. / Advisor: Evan Jones, Florida State University, School of Music. Title and description from thesis home page (viewed 10-6-04). Document formatted into pages; contains 66 pages. Includes biographical sketch. Includes bibliographical references.

Thesis (M.A.)--Ohio State University, 2006. / Includes bibliographical references (leaves 100-104). Available online via OhioLINK's ETD Center

Thesis (Ph.D.)--University of Illinois at Urbana-Champaign, 2006. / Source: Dissertation Abstracts International, Volume: 67-11, Section: A, page: 4028. Adviser: David W. Patterson. Vita. Includes bibliographical references (leaves 270-284) Available on microfilm from Pro Quest Information and Learning.

Thesis (Ph. D.)--Rutgers University, 2009. / "Graduate Program in Music Theory and Composition." Includes bibliographical references (p. 46-47).

Sunken Monadnock is a scripted combination of three modular musical surfaces. The word “surface” is borrowed from Morton Feldman, who compared the aural surface of music to the canvases of the action painters of the American Abstract Expressionists, and contrasted it with the work’s subject, or organizational structure. Composers’ transition toward a focus on surface through indeterminate compositional techniques, according to Feldman, parallels the development of modernist abstract art. “Sunken Monadnock: Composing with Visual Metaphors” is a companion critical essay that takes the surface/subject metaphor as a starting point for analyzing Sunken Monadnock.Other visual metaphors that inspired Sunken Monadnock, and are discussed in the essay, include Shakir Hassan Al Said’s mystical semiotics, Jasper Johns’s crosshatch prints, and Wassily Kandinsky’s theory of abstraction. The circle and spiral, especially, play influential roles in Sunken Monadnock as reflected by musical applications of repetition, rotation, compression/rarefaction, and endlessness. The void in the circle’s center also comes into play. The nature of the work’s formal counterpoint requires an innovative approach to the score, which consists of five sections, each of which reflects a different approach to the aural surface (i.e., to the traversal of time). The two outer sections are traditionally scored, but the three sections in the middle—labeled “Surfaces” are played simultaneously by three subsets of the ensemble. The piece is approximately 22 minutes long.

Dissertation (D.M.A.)--The University of North Carolina at Greensboro, 2009. / Directed by John Salmon; submitted to the School of Music. Title from PDF t.p. (viewed May 17, 2010). Includes bibliographical references (p. 47-48).

Submitted by JOÃO PAULO COSTA DO NASCIMENTO null (jpcn@yahoo.com.br) on 2018-02-05T18:02:25Z No. of bitstreams: 1 NASCIMENTO JoaoPauloCosta DOUTORADO.pdf: 10002723 bytes, checksum: 0980dc4d7701ec421cc9535cd6563768 (MD5) / Approved for entry into archive by Laura Mariane de Andrade null (laura.andrade@ia.unesp.br) on 2018-02-07T17:00:13Z (GMT) No. of bitstreams: 1 nascimento_jpc_dr_ia.pdf: 9990136 bytes, checksum: 46e34977933b901dfbcfb29d7403a9f7 (MD5) / Made available in DSpace on 2018-02-07T17:00:13Z (GMT). No. of bitstreams: 1 nascimento_jpc_dr_ia.pdf: 9990136 bytes, checksum: 46e34977933b901dfbcfb29d7403a9f7 (MD5) Previous issue date: 2017-12-05 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / O filósofo francês Jean-François Lyotard (1924-1998) desenvolve uma estética calcada no conceito de sublime a partir de seus escritos sobre arte pertencentes às décadas de 1980 e 1990. Tais formulações são pertencentes ao seu período filosófico caracterizado como virada kantiana, embasado na leitura da filosofia crítica de Kant, porém, com nuances de influência burkeana. O presente trabalho tem por objetivo investigar os conceitos descritores desta estética do sublime de Lyotard, bem como a maneira como eles são utilizados no comentário de questões da música, em especial, das vanguardas musicais do século XX. Pretende-se problematizar o papel da música na constituição da estética de Lyotard, bem como o alcance e adequação dos compositores elencados pelo filósofo como exemplos de autores comprometidos com os valores do sublime. Apresenta-se por hipótese principal a afirmação de que o sublime de Lyotard encontra uma adequação privilegiada e singular na obra do compositor norte-americano Morton Feldman (1926-1987), devido à busca pelo despojamento do espírito-sujeito-consciência presente tanto na obra do filósofo quanto na obra ensaística e musical do compositor. Como consequência, conclui-se que uma crítica musical que deseja abordar as presentes questões do sublime demanda uma escrita ensaística que ecoa uma filosofia do acontecimento, evocando a abertura de determinação da linguagem em favor de uma maneira (e não um método) de investigação de tipo reflexiva, nos termos da leitura que Lyotard realiza da Crítica da Faculdade do Juízo de Kant. / The French philosopher Jean-François Lyotard (1924-1998) develops an aesthetic based on the concept of sublime from his writings on art from the decades of 1980 and 1990. Such formulations belong to his philosophical period characterized as Kantian turn, based on the reading of Kant's critical philosophy, but with nuances of Burke's influence. The present work aims to investigate the descriptive concepts of Lyotard’s aesthetic of the sublime, as well as the way they are used in the commentary of music issues, especially those of the musical avant-gardes of the twentieth century. It is intended to problematize the role of music in the constitution of Lyotard's aesthetics, as well as the scope and appropriateness of the composers listed by the philosopher as examples of authors committed to the values of the sublime. The main hypothesis is the assertion that Lyotard's sublime finds a privileged and singular fit in the work of the American composer Morton Feldman (1926-1987), due to the search for the divestiture of the spirit-subject-consciousness present both in the work of the philosopher and in the essayist and musical work of the composer. As a consequence, it is concluded that a musical critique that wants to address the present issues of the sublime demands an essayist writing that echoes a philosophy of the event, evoking the opening of language determination toward a manner (and not a method) of reflexive type of investigation, in terms of Lyotard's reading of the Kant’s Critique of the Faculty of Judgment.

In my dissertation, I’m trying to establish a theoretical model for better understanding of processes that occur in Morton Feldman’s late works (e.g. Piano and String Quartet, For Bunita Marcus etc.). These compositions are extremely long and not climax-oriented, we can observe „repetition“ of limited amount of musical material, there is no „general“ compositional system, musical sections can be freely interchanged or combined, acoustical qualities of tone material are emphasized. These attributes are interconnected, they are creating a specific type of „musical assemblage“ that I define as rhizomatic form (in reference to Deleuzo-Guattarian concept of the rhizome). First of all, I’m elaborating Feldman’s own texts and current studies about his music. Subsequently, I’m discussing Feldman’s compositional procedures in the context of post-war musical avantgard (The New York School, Anton Webern, Pierre Boulez and Karlheinz Stockhausen, musique informelle). Main part of my dissertation is dedicated to rhizomatic form; before the discussion of this term, I’m focusing on related topics: compositional and acoustic reality, difference and repetition, speed and intensity. I’m constantly trying to confront my findings with Feldman’s early works (e.g. Intermission 5 and 6). I’m also comparing composer’s overall attitude towards musical structure with methods and techniques of abstract expressionists (e.g. Mark Rothko, Jackson Pollock) and novelists like Samuel Beckett and Franz Kafka. Following the concept of rhizomatic form, I’m trying to analyze Feldman’s composition Patterns in a Chromatic Field for violoncello and piano.

Made available in DSpace on 2015-11-23T13:35:22Z (GMT). No. of bitstreams: 2 license.txt: 1748 bytes, checksum: 8a4605be74aa9ea9d79846c1fba20a33 (MD5) 70638.pdf: 4860305 bytes, checksum: 86e1f343cc1f97105619c72d5cfbcae3 (MD5) / Made available in DSpace on 2015-12-07T13:25:46Z (GMT). No. of bitstreams: 2 juliana_encarnação_icict_dout_2015.pdf : 4860305 bytes, checksum: 86e1f343cc1f97105619c72d5cfbcae3 (MD5) license.txt: 1748 bytes, checksum: 8a4605be74aa9ea9d79846c1fba20a33 (MD5) Previous issue date: 2015-11-23 / Fundação Oswaldo Cruz. Instituto de Comunicação e Informação Científica e Tecnológica em Saúde. Rio de Janeiro, RJ, Brasil / As práticas de comunicação, que compreendem diálogo, participação, produção, circulação e apropriação de informações, são observadas nas interações sociais relacionadas às experiências de adoecimento de mulheres no controle do câncer de colo de útero em um contexto da Região Norte do Brasil, onde há alta incidência e mortalidade. A pesquisa enfoca a perspectiva dialógica da comunicação, em que as ideias de vinculação e vínculo surgem como objeto, em um eixo transdisciplinar que possibilita a integração entre teoria e prática, identificando a dialogia como elemento constituinte das relações sociais, culturais, políticas onde ocorrem disputas simbólicas. Como desdobramento, traz reflexões sobre o direito à comunicação e suas implicações no direito humano à saúde. O direito à comunicação tem nos estudos do diálogo a base teórica e referência para um processo bidirecional e democrático, que inclui participação na construção de políticas públicas. As experiências e contextos estão interligados ao tripé de conceitos - diálogo, direito e vínculo \2013 que se configuram como nexos constitutivos e constituintes da integralidade em saúde, cuja aplicabilidade no cotidiano da gestão e dos serviços de saúde está no reconhecimento dos usuários como sujeitos políticos. O diálogo envolve reciprocidade, por meio da qual as pessoas apreendem e reelaboram discursos, direito implica visibilidade para as demandas e o acesso a espaços e meios para exercer a cidadania e o vínculo se materializa pela compreensão das necessidades e respeito aos saberes das pessoas Duas questões orientaram a pesquisa: uma de natureza teórica-epistemológica, visa a compreensão da comunicação em diferentes aspectos e contextos, com costura teórico-prática no campo da comunicação em saúde; outra, metodológica, foi a aposta em uma estratégia para relacionar as práticas de comunicação com o direito à saúde, tanto no cotidiano das mulheres nos serviços de saúde quanto nas ações da política pública. A estratégia metodológica utilizada foram os itinerários terapêuticos, no acompanhamento de relatos sobre a busca por cuidado com 16 usuárias do Sistema Único de Saúde. Também foram realizadas entrevistas com 15 gestores dos âmbitos nacional, estadual e municipal. As usuárias narram experiências em que a dificuldade em serem ouvidas e consideradas \2013 base do direito à comunicação \2013 interfere na garantia do direito à saúde. O uso instrumental da comunicação é naturalizado no cotidiano das unidades e instituições de saúde, não evidenciam aspectos políticos ou interesses que perpassam as práticas, que são baseadas principalmente na transferência de informação sobre normas ou procedimentos para usuários. Embora haja espaços e discursos abertos à participação dos usuários, as políticas públicas e os serviços não costumam incluí-los na construção e avaliação de orientações ou ações. Ressalta-se a responsabilidade do profissional da comunicação em saúde com os cidadãos no cotidiano, na visibilidade de suas necessidades e ampliação de espaços de diálogo, repensando as próprias práticas como lugar de reflexão e transformação / Communication practices, which incl ude dialogue, participation, production, circulation and apropriation of information, are observed in social interactions related to women's experiences of illness in the control of uterine cervix cancer in Northern Brazil, where there is high incidence an d mortality. The research focuses a dialogic approach in communication studies, in which the human link appear as an object. In a transdisciplinary axis that enables integration between theory and practice, dialogy is identifying as a constituent element o f social, cultural, political relations where symbolic disputes occur. This reflects on the communication rights and its implications in human right to health. The right of communication has in dialogue studies the theoretical basis and reference for a bid irectional and democratic process, which includes participation in the construction of public policies. The background and experiences are linked to the tripod concepts - dialogue, law and linkage - which are constituent of health integrality. The applicab ility in management and health services everyday is in recognition of users as political subjects. Th e dialogue involves reciprocity through which people perceive and elaborate discourses, right includes visibility for the demands and access to spaces to e xert citizenship and human link is materialized by understanding the needs and respect for people ́s knowledge. Two questions guided the research: one theoretical and epistemological nature, linking theories and practices in order to understand the communic ation in different aspects and contexts in the field of communication and health; another, methodological, invests on a strategy to relate the communication practices with the right to health, both in the daily lives of women users of health services and i n the public policies. The methodological approach strategy followed therapeutic itineraries, monitoring reports about illness and care with 16 users of the Brazilian Unified Health System. It was interviews with 15 managers of the national, state and muni cipal health systems. Users tell of experiences in which the difficulty in being heard and considered - base of communication rights - interfere with the guarantee of their right to health. The instrumental use of communication is naturalized in the daily units and healthcare institutions, do not show political aspects or interests that underlie the practices, which are mainly based on the transfer of information on standards or procedures for users. Although there are speeches open to user participation, p ublic policies and services tend not to include them in the construction and evaluation guidelines or actions. The responsibility of professional health communicators is emphasized in daily life, in the visibility of needs and expansion of opportunities fo r dialogue, rethinking the practices itself as space for reflection and transformation