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11	Replenishment: A Musical Narrative Inspired by Sleep Espinel, Miguel Angel 12 1900 (has links) The Replenishment cycle contains five works that allude to the experience of sleep, beginning with awake drowsiness and ending with the piece inspired by rapid eye movement (REM) sleep, titled Conceiving Realities. This last piece is an intermedia work composed for chamber ensemble, live painting with biofeedback, computer, and audiovisual processing. This critical essay describes the composition of Conceiving Realities within the context of the Replenishment cycle, followed by a thorough analysis of the research involved in the technological aspects of the piece, and finally, a description of the instrumentation, notation, intermedia elements, and technology comprising the work. Conceiving Realities uses a system of interactions between painting, biofeedback, music, and video, in which a painter wears brainwave and heartbeat sensors that send data to a computer patch processing the sound of an ensemble as the painter listens and creates the painting while responding to the music. This requires a passive biofeedback system in which the painter is focused on listening and painting. The computer uses the data to process existing sounds, instead of synthesizing new lines. The score blends elements of traditional notation, graphics, and guided improvisation; giving the performers some creative agency. This alludes to the way in which scenarios in dreams occur without voluntary control of the dreamer. Finally, a camera captures the painting and projects three video screens applying individual types of processing to the original video stream, controlled in real time by the amplitude of the ensemble. All these elements create an immersive experience for the audience that is mediated by the interaction of sight and sound. Intermedia Biofeedback Electroencephalography Graphic notation Modern chamber music Composition (Music) Mixed media (Music) Sleep -- Songs and music. Academic theses Chamber music Mixed media works Scores
12	Volume I. The construction of motion graphics scores Volume II. Seven motion graphics scores / Behnen, Severin Hilar. Behnen, Severin Hilar. Behnen, Severin Hilar. Behnen, Severin Hilar. Behnen, Severin Hilar. Behnen, Severin Hilar. Behnen, Severin Hilar. Behnen, Severin Hilar. January 2008 (has links) Thesis (Ph. D.)--University of California, Los Angeles, 2008. / CD-ROM entitled "The motion graphics scores of Severin Behnen" includes the animated scores. Includes bibliographical references (v. 1, leaves 138-142).
13	Addressing Technical and Musical Demands of Contemporary Music for Horn through Newly-Composed Etudes Hessel, Eric 08 1900 (has links) Contemporary music for horn often requires techniques and musical or notational considerations that are unconventional with respect to the standard pedagogy of the instrument. As such, these considerations often represent a level of challenge to which the average-intermediate to advanced-hornist is unprepared to approach or altogether unfamiliar. The most prominent of these demands arising in the last few decades of the twentieth century through today include microtonality (such as extended just intonation and quarter tones), extended techniques in combination or juxtaposition (such as multiphonics and right hand technique), rhythmic complexity (including metric modulation, non-dyadic meters, additive rhythms, and nested tuplets), and unconventional notations (graphic, spatial, and other temporal notations). This document first surveys the challenges of the repertoire in question, which includes works by György Ligeti, Thea Musgrave, Milton Babbitt, Brian Ferneyhough, Iannis Xenakis, Heinz Holliger, and Douglas Hill, among others. After considering the merits and limitations of existing pedagogical materials that work towards these ends, the document then underlines a strategic pedagogical goal for understanding and approaching unconventional contemporary repertoire through newly-composed etudes. This document is written in conjunction with and justification for the author's 24 Unconventional Etudes for Horn, and includes examples therefrom. Horn music Horn pedagogy Contemporary repertoire New music Microtonality Graphic notation Spatial notation Performance practice Academic theses Studies (Music)
14	Bridging the Gap: Introducing Extended Techniques and Contemporary Notation through Newly Composed Etudes for Clarinet Ellard, Luke 05 1900 (has links) This dissertation aims to address the pedagogical gap in introductory material for contemporary clarinet instruction. Through examining the most prominent contemporary methods for the clarinet, the pedagogical gap is highlighted, particularly regarding material aimed at newcomers and early undergraduate students. To address these needs, a new collection of etudes is proposed, introducing extended techniques and contemporary notation for newcomers to modern music. clarinet contemporary music extended techniques music notation etudes modern music clarinet pedagogy quarter tones multiphonics vocalization improvisation articulation graphic notation Clarinet -- Instruction and study. Clarinet -- Studies and exercises. Academic theses Studies (Music)
15	A Set of Compositions Inspired by Selected Performance Practices and Notational Systems of Anthony Braxton (b. 1945) Van Leeuwen, Christopher M. 05 1900 (has links) Multi-instrumentalist, composer, and music philosopher Anthony Braxton (b. 1945) has developed performance practices and notational systems that are frequently disregarded by scholars of music, despite his prolific output and influence. His restructuralist aesthetic blurs the boundaries between philosophy, visual art, and numerous musical genres and stylistic practices to create an amalgam that is often difficult to categorize due to his perpetual quest to avoid confining definitions. The purpose of this dissertation is to draw attention to various facets of Anthony Braxton's notational and performance practices by using them as a springboard for personal creativity. Inspiration for these original works was drawn from a variety of Braxton's methods, particularly from his quartet music of the 1980s and his Ghost Trance Music, and drew heavily from his concepts of "moment time" and "individual presence," which are key themes arising throughout his music and the literature. Specific compositional techniques were either used verbatim or as inspiration for the development of original practices and are accompanied by an analysis and discussion. Anthony Braxton Braxton music composition creative music jazz composition graphic notation alternative notation modular notation modular composition new music jazz pulse tracks individual presence moment time Music Musical Performances
16	The Inconsistent Continuities Green, Julian Roger 05 May 2023 (has links) No description available. Music Hypercube Ensemble Andrea Violet Lodge Erin Rogers Jay Source Christopher Graham Electric Guitar Piano Percussion Saxophone snare drum foot pedals fixed media poem Christopher Brewer Attention Hyperactive Deficit Disorder ADHD ADD Attention Deficit Disorder graphic notation KEAR Klingler ElectroAcoustic Residency vibraphone

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