"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

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.

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The present dissertation ("Hybridisations between music and painting: the relationship of Morton Feldman and Mark Rothko in Rothko Chapel") has as main objective to examine the technical approach, the stylistic resources and the degree of interdisciplinary relation that establishes between the work of the American composer Morton Feldman (1926 - 1987) Rothko Chapel (1971) and the work of the same painter, also American, Mark Rothko (1903 - 1970), realized in Houston, Texas. By linking the pictorial and architectural work with the musical - due to the "autobiographical character" attributed by the composer to his piece - the research addresses its degree of hybridization, the rhetorical, narrative or imitative processes used and the possibility of classification of This interdisciplinary convergence within the scope of musical ekphrasis. Because of this, the work developed, which has a transdisciplinary character, focuses basically on the study, analysis and comparison - through similarities and / or references - of the musical and pictorial work within the North American artistic and sonorous context of Mid twentieth century. However, while the musical proposal is approached with a technical and systematic criterion of analysis of the score - from a melodic, harmonic, organological, agogical, dynamic and structural point of view, the pictorial intervention is examined not only as a site project -specific - number of paintings or panels, size, shape and technique of the same, arrangement in the architectural space, specific treatment of light - but also as a plastic disc inserted in the artistic and vital trajectory of its author. The comparative study is completed with textual and biographical contributions, especially related to Morton Feldman, given the importance they have in order to locate Rothko Chapel in a context that, beyond strictly musical, reflects the pictorial influence that the work had Of Rothko in the compositional methods of our musician. Finally, the thesis is accompanied by a self-recorded CD on Rothko Chapel, a recording that is also accessible through an online platform. Through the same it is wanted that the interpretation made allows to contrast the proposals, the results and the conclusions obtained during the investigation process. / La presente tesis doctoral ("Hibridaciones entre música y pintura: la relación de Morton Feldman y Mark Rothko en Rothko Chapel") tiene como objetivo principal examinar el planteamiento técnico, los recursos estilísticos y el grado de relación interdisciplinar que se establece entre la obra del compositor estadounidense Morton Feldman (1926 - 1987) Rothko Chapel (1971) y el trabajo homónimo del pintor, también estadounidense, Mark Rothko (1903 - 1970), realizado en Houston, Texas. Al vincular la obra pictórica y arquitectónica con la musical -debido al "carácter autobiográfico" que el mismo compositor le atribuye a su pieza-, la investigación aborda su grado de hibridación, los procesos retóricos, narrativos o imitativos utilizados y la posibilidad de clasificación de esta convergencia interdisciplinar dentro del ámbito de la écfrasis musical. Debido a ello, el trabajo desarrollado, que posee un carácter transdisciplinar, se centra básicamente en el estudio, análisis y comparación -a través de similitudes y/o referencias- de la obra musical y de la pictórica dentro del contexto artístico y sonoro norteamericano de mediados del siglo XX. Ahora bien, mientras que la propuesta musical es abordada con un criterio técnico y sistemático de análisis de la partitura -desde un punto de vista melódico, armónico, organológico, agógico, dinámico y estructural-, la intervención pictórica es examinada no solo como proyecto site-specific -número de cuadros o paneles, tamaño, forma y técnica de los mismos, disposición en el espacio arquitectónico, tratamiento específico de la luz-, sino también como discurso plástico inserto en la trayectoria artística y vital de su autor. El estudio comparativo realizado se completa con aportaciones textuales y biográficas, especialmente vinculadas a Morton Feldman, dada la importancia que estas poseen de cara a ubicar Rothko Chapel en un contexto que, más allá de lo estrictamente musical, recoge la influencia pictórica que tuvo la obra de Rothko en los métodos compositivos de nuestro músico. Finalmente, la tesis se acompaña con una grabación propia en CD de Rothko Chapel, grabación que también es accesible través de una plataforma en línea. A través de la misma se desea que la interpretación efectuada permita contrastar las propuestas, los resultados y las conclusiones obtenidas durante el proceso de investigación. / La present tesi doctoral ("Hibridacions entre música i pintura: la relació de Morton Feldman i Mark Rothko en Rothko Chapel") té com a objectiu principal examinar el plantejament tècnic, els recursos estilístics i el grau de relació interdisciplinària que s'estableix entre l'obra del compositor nord-americà Morton Feldman (1926 - 1987) Rothko Chapel (1971) i el treball homònim del pintor, també nord-americà, Mark Rothko (1903 - 1970), realitzat en Houston, Texas. En vincular l'obra pictòrica i arquitectònica amb la musical -a causa de el "caràcter autobiogràfic" que el mateix compositor li atribueix a la seua peça-, la recerca aborda el seu grau d'hibridació, els processos retòrics, narratius o imitatiUs utilitzats i la possibilitat de classificació d'aquesta convergència interdisciplinària dins de l'àmbit de la écfrasis musical. A causa d'açò, el treball desenvolupat, que posseeix un caràcter transdisciplinar, se centra bàsicament en l'estudi, anàlisi i comparació -a través de similituds i/o referències- de l'obra musical i de la pictòrica dins del context artístic i sonor nord-americà de mitjan el segle XX. Ara bé, mentre que la proposta musical és abordada amb un criteri tècnic i sistemàtic d'anàlisi de la partitura -des d'un punt de vista melòdic, harmònic, organológico, agógico, dinàmic i estructural-, la intervenció pictòrica és examinada no solament com a projecte site-*specific -nombre de quadres o panells, grandària, forma i tècnica dels mateixos, disposició en l'espai arquitectònic, tractament específic de la llum-, sinó també com a discurs plàstic inserit en la trajectòria artística i vital del seu autor. L'estudi comparatiu realitzat es completa amb aportacions textuals i biogràfiques, especialment vinculades a Morton Feldman, donada la importància que aquestes posseeixen de cara a situar Rothko Chapel en un context que, més enllà de l'estrictament musical, arreplega la influència pictòrica que va tenir l'obra de Rothko en els mètodes compositius del nostre músic. Finalment, la tesi s'acompanya amb un enregistrament propi en CD de Rothko Chapel, enregistrament que també és accessible través d'una plataforma en línia. A través de la mateixa es desitja que la interpretació efectuada permeta contrastar les propostes, els resultats i les conclusions obtingudes durant el procés de recerca. / Cerveró Beta, JJ. (2017). Hibridaciones entre música y pintura: la relación de Morton Feldman y Mark Rothko en Rothko Chapel [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/90572

Among the Voices Voiceless is a composition for flute (doubling piccolo), clarinet (doubling bass clarinet), viola, cello, percussion, piano, and electronics, based on the poem "What would I do without this world faceless incurious" by Samuel Beckett. The piece is a setting for disembodied voice: the vocal part exists solely in the electronics. Having no physical body, the voice is obscured as the point of empathy for the audience. In addition, instrumental solos compete for focus during the work's twenty minute duration. In passages including a soloist, the soloist functions simultaneously as antagonist and avatar to the disembodied voice. Spoken word recordings and electronic manipulation of instrumental material provides further layers of ambiguity. The companion critical essay "Among the Voices Voiceless": Setting the Words of Samuel Beckett proposes the distillation of Beckett's style into the elements of prosaicness, repetition, fragmentation, ambiguity, and symmetry. Discussions of Beckett's works such as Waiting for Godot and Molloy demonstrate these elements in his practice. This framework informs the examination of two other musical settings of Beckett's poetry: Neither by Morton Feldman and Odyssey by Roger Reynolds. Finally, these elements are used to analyze and elucidate the compositional decisions made in Among the Voices Voiceless.

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