Thesis (M.M.)--University of North Texas, 2002. / A two-week event in four parts: invitation, installation, reception, and thank-you card. Installation for 2 hosts, 2 ushers, photographer, 4 posers, exerciser, sound persons, and blindfolded guests, with a mix of live and recorded sounds. Includes instructions for performance. Includes bibliographical references (p. 66-67).

This paper discusses several compositions that use the computer screen to present music notation to performers. Three of these compositions, Law of Fives (2015), Polytera II (2016), and Terraformation (2016–17), employ strategies that allow the notation to change during the performance of the work as the product of composer-regulated algorithmic generation and performer interaction. New methodologies, implemented using Cycling74's Max software, facilitate performance of these works by allowing effective control of generation and on-screen display of notation; these include an application called VizScore, which delivers notation and conducts through it in real-time, and a development environment for real-time notation using the Bach extensions and graphical overlays around them. These tools support a concept of cartographic composition, in which a composer maps a range of potential behaviors that are mediated by human or algorithmic systems or some combination of the two. Notational variation in performance relies on computer algorithms that can both generate novel ideas and be subject to formal plans designed by the composer. This requires a broader discussion of the underlying algorithms and control mechanisms in the context of algorithmic art in general. Terraformation, for viola and computer, uses a model of the performer's physical actions to constrain the algorithmic generation of musical material displayed in on-screen notation. The resulting action-based on-screen notation system combines common practice notation with fingerboard tablature, color gradients, and abstract graphics. This hybrid model of dynamic notation puts unconventional demands on the performer; implications of this new performance practice are addressed, including behaviors, challenges, and freedoms of real-time notation.

When John Cage invented the prepared piano in 1940, he created a sound world and body of music unlike anything heard before. The innovative music he wrote for prepared piano requires a completely new approach to performance, and expands our understanding of the piano's capabilities. This study will examine the main prepared piano works by John Cage, with a detailed analysis of the Sonatas and Interludes. Cage's Table of Preparations will be examined to establish an aesthetic rationale for this preparation. Different modes of listening will be explored through a selection of the Sonatas and Interludes recorded in three different technological systems - conventional AB 2.0, surround 5.1, and Disk Jecklin. The latter allows for a true "surround sound" experience as Cage himself might have heard his own pieces. Included is a compact disc of selections from Sonatas and Interludes recorded in each of the three technological systems. / by Inara Ferreira. / Thesis (M.A.)--Florida Atlantic University, 2010. / Includes bibliography. / Electronic reproduction. Boca Raton, Fla., 2010. Mode of access: World Wide Web.

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.

This document contains a synopsis of Toshi Ichiyanagi’s compositional style, a discussion of his musical philosophy, and an analysis of Trio Webster. Ichiyanagi is a renowned Japanese composer who studied in New York under John Cage’s mentorship. He is also the first composer to introduce Cage’s concept of chance operation to Japanese society. Trio Webster realizes the true exchange of Western and Eastern cultures, and it is accomplished because of Ichiyanagi’s unique experience and philosophy as an international composer. The concept of Japanese classical music and Japanese aesthetics are observed in Trio Webster which is the basis for the depth of the work. Eastern concepts, especially Japanese, can be ambiguous and may be difficult for Westerners to fully appreciate. This study shows the cosmos beyond the practical analysis of Trio Webster and is meant to serve as a guide for those who will perform the works of Ichiyanagi, especially Trio Webster, in the future. This study was facilitated through research and interviews with Ichiyanagi and members of the Webster Trio. Ichiyanagi’s interview is included as an appendix to this document.

Orientador: Aci Taveira Meyer / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-17T21:14:33Z (GMT). No. of bitstreams: 1 Rosa_LiliadeOliveira_D.pdf: 4441858 bytes, checksum: 53564442162a3cc196ba783dfe47aadc (MD5) Previous issue date: 2011 / Resumo: O objetivo principal desta pesquisa é estudar três peças aleatórias do compositor pelotense Luiz Carlos Lessa Vinholes - Instrução 61, para quatro instrumentos quaisquer (1961); Instrução 62, para instrumentos de teclado (1962); e Peça/Pessa para fazer Psiu/Xi, para bocas (1979) - e, a partir da análise deste material, criar atividades pedagógicas para o uso em salas de musicalização com crianças na faixa-etária de seis a dez anos de idade. O trabalho desenvolveu-se a partir das seguintes questões: Como estimular a imaginação e a criatividade da criança? Quais tipos de músicas ou obras contemporâneas seriam adequados para tal propósito? As peças de Vinholes apresentam-se como possível resposta para estas questões, justamente por serem aleatórias e não exigirem dos usuários qualquer conhecimento musical tradicional ou, ainda, por utilizarem novos códigos ou notações de fácil leitura ou entendimento. Para a comprovação da hipótese, a pesquisadora utilizou-se da abordagem qualitativa, privilegiando a obtenção de dados descritivos mediante contato direto e interativo com a situação objeto de estudo. Na fundamentação, as principais abordagens pedagógicas da segunda metade do século XX foram discutidas, no intuito de compreender os pressupostos educacionais de pedagogos contemporâneos e contextualizar as peças de Vinholes no âmbito educacional. O trabalho propõe, ainda, a criação de um site para a preservação e divulgação da vida e obra de Vinholes, bem como da presente pesquisa. A autora acredita que este trabalho possa contribuir para o surgimento de novas reflexões, hipóteses, estudos e pesquisas no âmbito da pedagogia musical e do repertório contemporâneo e, principalmente, na formação e postura didática de futuros professores de música e musicalização / Abstract: The main objective of this research is to study three aleatory pieces by the composer from Pelotas/RS Luiz Carlos Lessa Vinholes: Instrução 61, for any four instruments (1961); Instrução 62, for keyboard instruments (1962); and Peça/Pessa para fazer Psiu/Xi, for mouthes (1979) and, from the analysis of this material, create pedagogical activities for use in musicalization classes with children from six to ten years old. This work has been developed from the following questions: How to stimulate the child's imagination and creativity? What kind of music or contemporary works would be appropriate for such purpose? The pieces by L. C. Vinholes are presented as possible answers to these questions, precisely because they are aleatory, do not require any knowledge of traditional music and, better yet, for using new codes and notation of easy reading and understanding. To prove this hypothesis, the researcher used the qualitative approach focusing on obtaining descriptive data through direct and interactive contact with the object of study situation. In the grounds, the main pedagogical approaches of the second half of the twentieth century were discussed in order to understand the educational assumptions of contemporary educators and contextualize the pieces by Vinholes in the educational scope. The paper also proposes the creation of a site for the preservation and dissemination of some aspects of the activities and work of L. C. Vinholes, as well as to make available the present research. The author believes that this work can contribute to the rise of a new thinking, assumptions, studies and researches in the field of music pedagogy and contemporary repertoire, especially in training and didactic/pedagogical attitude of teachers of music and musicalization / Doutorado / Doutor em Música

This thesis explores an experimental music approach to writing autobiography. As a composition, Pilgrim Carnival took place as a travelling series of events. The central event was a sound installation for a blindfolded audience. This essay is a description of that series of events as well as a discussion of similar precedents in interdisciplinary art. Beginning with Luigi Russolo and Marcel Duchamp, aspects of autobiography are examined in both noise music and the concept of the ready-made artwork. Body Art of the 1970s, particularly the work of Marina Abramovic, is also tied into the idea of the ready-made artwork as an explicitly autobiographical example. The hybrid form of Pilgrim Carnival and the concept of ready-made autobiographical music create ongoing potential for new work.

Discusses the creation and performance at a concert on Feb. 12, 1990, in the Merrill Ellis Intermedia Theater at the University of North Texas of three computer music-intermedia compositions: Shakespeare quartet for 4 acoustic guitars; A noite, porem, rangeu e quebrou, for instrument of low pitch range, tape and computer; and Help me remember, for performer, Synclavier, interactive MIDI computer music system and slides.

Leo Brouwer's Sonata Mitología de las Aguas No. I for flute and guitar, first published in 2017, has taken its place as an important twenty-first-century addition to the flute and guitar duo repertory. I provide a brief historical context for the work, followed by preparation guides for guitar alone and duo passages. My preparation guides include exercises and rehearsal strategies, focusing on those passages of the work that include controlled indeterminacy. The study of indeterminacy in music is unusual in the pedagogy of the classical guitarist; this leaves guitarists unprepared for dealing with pieces, especially chamber works, that use improvisation or aleatoric music as a primary element. I take a multifaceted approach to facilitate the realization of the indeterminate sections of the work; this includes demonstrations of my traditional music notation transcriptions and other rehearsal strategies and the application of music performance study systems by James Thurmond and Marcel Tabuteau. This document aims to provide guidance to creating an organic, natural aesthetic in the actualization of Brouwer's groundbreaking work.