While the groundbreaking insights that contemporary theorists have formulated with regards to space---as a multiplicity without essence, as an active event, and as inseparable from subjectivity, power, Otherness and time---have ostensibly purged it of its traditional understanding as absolute, a specific visuality characteristic of Cartesian perspectivalism remains privileged in its theorization which force it to remain so. While the complexity of space cannot be recovered from an abstract contemplation of its visual geometry in a way that reflects these contemporary concerns, there have unfortunately been relatively few attempts to imagine space away from the visual in a way that challenges its traditional absoluteness. To this end, it is argued that because sound and music contain implicit and explicit spatialities, the sonic represents a rich and unexplored area from which to imagine a radical non-visual space that discursively organizes space according to a different economy through which to challenge its assumed visuality. And yet, even when space has been approached through sound, there is a tendency to exteriorize sound into an object or a set of practices that robs it of its defining quality---its own "soundfulness". By breaking down those factors that are considered salient to how space is conceived today along sonic rather than visual lines, the argument is made that the "soundfulness" of sound's physical properties gives it a complex texture of excess that is corporealized within the body and forwards the philosophical possibility of unfolding the spatiality of sound according to vectors beyond the visible in a way that, while reflecting contemporary concerns, prevents its return to absoluteness. To take seriously this "soundfulness" thus allows us to recuperate the sonic as a philosophical and political way of experiencing and knowing the world, including that of space. The arguments, as well as being drawn from the insights of contemporary spatial theory, the physics of sound, the phenomenology of listening, rhizomatic and feminist theory, quantum mechanics and musicology, will be explained through an understanding of space as sound and exemplified in The Disintegration Loops, a post-minimalist musical piece by sonic artist William Basinski.

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Thesis (Ph. D.)--Universität Oldenburg, (2006?). / Includes bibliographical references (p. 311-315).

Thesis (Ph. D.)--University of California, San Diego, 2008. / Title from first page of PDF file (viewed May 14, 2008). Available via ProQuest Digital Dissertations. Vita. Includes bibliographical references P. 359-373.

Thesis (Ph. D.)--University of California, San Diego, 2007. / Vita. Discusses the composer's use of the metaphors of space and perspective in his works, IN and Headspaces, the scores for which are included in the dissertation.

The purpose of this study was to explore the artistic experience of music teaching artists in two contexts, performing and teaching. This study explored musical artistry through flow dimensions as an operational tool and phenomenology as an analytical lens on the four coordinates of musical experiences: time, space, play, and feeling. Through these processes, I sought to gain new insights into the experiences of teaching artists in ways that have not been previously explored. Using a newly modified flow state scale, interviews, and focus group meetings as data collection, the artistic experiences of teaching artists were represented through nine flow dimensions. Individual flow portraits were crafted to present nuances, complexity, and anecdotes about teaching artists’ experiences. The study found flow characteristics and conditions meaningful in representing the individual experiences. Each teaching artist described a complex interaction of self, subject, and others through themes of self-discovery, self-dialogues, and self-actualization. Findings revealed multiple relationships between flow dimensions and diverse perceptions of the experience of flow. These findings help to paint a broader picture of artistry and define the artistic experience as it pertains to teaching and performing. Multiple factors and new investigative questions arising from the study are discussed as well. In essence, this study brings a new critical perspective on music education by illuminating the role of a teaching artist and sharing artistic experiences as a positive and transformative tool for learning.

This paper explores the compositional method of “temporal plane shifting” used to evoke states of suspended time in two of my compositions, Something Like Your Lagrangian Point (2019), for two pianists and two percussionists, and Nothing Never Always Sometimes Changes (2021) for alto flute/piccolo, tenor saxophone, violin, cello, and piano. Temporal plane shifting involves overlaying musical material of unrelated tempi—what I call “temporal planes”—to create an experience of time that parallels being in two different locations or states at once. I argue that this creates the feeling of “suspended time.” This paper begins with an overarching theory that, because our conceptions of time are bound with our conceptions of motion, states of entrainment are thus felt as locations in space. This argument is then expanded to explain the reasoning behind suspended time as the sensation of being in two locations at once. The rest of the paper uses the aforementioned pieces to explore how temporal planes are composed by way of instrumental juxtaposition, rhythmic juxtaposition, material limitation, and gestural repetition, and ends with a discussion of future considerations for the expansion of temporal plane composition.