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1	Presencing absence McMullen, Tracy. January 2003 (has links) Thesis (M.A.)--University of North Texas, 2003. / Includes bibliographical references (p. 49-50).
2	Queer Composition. Subversive Strategies in Western Classical Music Hiendl, Martin Alexander January 2021 (has links) This dissertation engages the question of what a queer aesthetics might look like in the context of contemporary music composition. Starting with a discussion of the problematics of “defining” queer (aesthetic) practices, I look at Pauline Oliveros’ 𝘚𝘰𝘯𝘪𝘤 𝘔𝘦𝘥𝘪𝘵𝘢𝘵𝘪𝘰𝘯𝘴, Julius Eastman’s 𝘎𝘢𝘺 𝘎𝘶𝘦𝘳𝘳𝘪𝘭𝘭𝘢 and Neo Hülcker’s 𝘈 𝘣𝘰𝘥𝘺 𝘦𝘴𝘴𝘢𝘺. 𝘍𝘪𝘤𝘵𝘪𝘰𝘯, 𝘢𝘤𝘵𝘶𝘢𝘭𝘭𝘺 to uncover particular resistant and subversive strategies present in their works. In addition to a close examination of the original score materials, I look into queer theories and writings from fields other than music, such as dance/performance and the visual arts, in order to identify and apply some of the traits that could be called queer aesthetics (or practices/methodologies) to the field of contemporary music composition. Among the topics discussed will be considerations on time/timing, utopia/futurity, professionalism/failure, queer subject matter and form/format. Avoiding the trap of closing in on a canonization of queer music practices, it is the stated goal of this dissertation to expand the framework and contribute to a new understanding of what queer composition within the context of Western classical music might look like. Queer theory Music--Philosophy and aesthetics Arts Oliveros, Pauline, 1932-2016 Eastman, Julius
3	Listening Deeply: Music, Sound, and Deep Ecology in 1980s North America McClaskie, Taylor 27 January 2023 (has links) No description available. Music musicology deep ecology ecocriticism Pauline Oliveros Paul Winter Philip Glass ecomusicologym
4	Upprepa repa upp veckla ut veckla in : Processer för en musikalisk-konstnärlig praktik med lyssning, upprepning och skrivande Gustafsson-Ny, Isabell January 2024 (has links) This thesis is an integrated part of the process-oriented artistic project Upprepa repa upp veckla ut veckla in and involves reflections upon its artistic accretions as well as the process itself. The process gravitated around different nodes of attraction such as listening, attention, improvisation, repetition, slowness and language. These nodes were investigated through improvised piano playing (solo and in groups), writing, reading, listening and discussing, and materialized in three work in progress- concerts, one exam concert and a solo cassette. I approached music playing-listening in a relational way, acknowledging bodily sensations and intuition as well as memory and thought; this in dialogue with thinkers and artists such as Pauline Oliveros and Éliane Radigue. The project also examined how to destabilize the traditional roles between musician and audience, and gave valuable insights in how to create a mutual encounter as well as a collective space of listening, and the political potentials of this. The results points toward a reformulated performative artistic practice centered around listening and shared spaces, and ways of integrating different artistic expressions such as written language, music and sounds. piano improvisation repetition deep listening Pauline Oliveros collective practices language Éliane Radigue Music Musik
5	Pauline Oliveros and the Quest for Musical Utopia McLaughlin, Hannah Christina 01 May 2018 (has links) This thesis discusses music's role in utopian community-building by using a case study of a specific composer, Pauline Oliveros, who believed her work could provide a positive "pathway to the future" resembling other utopian visions. The questions of utopian intent, potential, and method are explored through an analysis of Oliveros's untraditional scores, as well as an exploration of Oliveros's writings and secondary accounts from members of the Deep Listening community. This document explores Oliveros's utopian beliefs and practices and outlines important aspects of her utopian vision as they relate to three major utopian models: the traditional "end-state" model, the anarchical model, and the postmodern "method" utopian model. Oliveros exhibits all three models within her work, although this thesis argues that she is, for the most part, a method utopian. While her ceremonial group improvisations like Link/Bonn Feier resemble anarchical works by John Cage, they exhibit a greater interest in the past and in process than most anarchical models allow. Likewise, while her visions of a future aided by AI and bio-technologies appear end-state, her improvisational works with her Electronic Instrument System (EIS) suggest a more process-based, method utopian approach. Her Deep Listening practice is deeply method-utopian, and her Center for Deep Listening can be viewed as an attempt at bringing these method utopian principles to the real world. Pauline Oliveros utopia postmodernism John Cage utopian novel electronic music Deep Listening improvisation ceremonial music Ray Kurzweil artificial intelligence biotechnology speculative fiction Music
6	Presencing Absence McMullen, Tracy 08 1900 (has links) This thesis is a 'big-picture' look at the course of Western philosophy and its eventual arrival at ideas that look remarkably similar to the revelations of Guatama Buddha 2500 years ago. I look at the roots of how the West has understood itself and understood "being" through the centuries and at the revolutions in thought that took place in the 20th century. I look more closely at 20th century thinkers to demonstrate how their thinking begins to align with the ancient insights of Eastern philosophy, particularly the notions of a prevailing emptiness as "ground" of Being and of the fallacy of the individual subject. I also look at how some 20th century artists have engaged with these new ideas. I see generally two responses to the postmodern (post-subject) position: that of a play of surfaces, such as in the work of Andy Warhol and the philosophy of Jean Baudrillard; and that of an embracing of absence, presented in the philosophy of Martin Heidegger and the works of such artists as John Cage, George Brecht, Pauline Oliveros, Bill Wegman, David Hammons and others. Postmodernism. Cage, John. Oliveros, Pauline, 1932- Nothingness John Cage Jean Baudrillard Jacques Lacan conceptual art Buddhism
7	Mot händelsernas horisont : Att komponera improviserad musik med ljuddesign som metod Jonsäll, Hans Lennart January 2021 (has links) This Bachelor Thesis in composition explores an alternative compositional process for creating improvised music through the approach of sound design. The questions addressed in the thesis are concerned with how the soundscape can be controlled by the composer while still maintaining the expressivity of an improvised performance. Thus, the composer’s role as both sound designer, producer and performer is investigated using live electronics and score design. The theoretical framework for the thesis is to be found in the intersection between Anglo-American experimental music, electronic music, sound design and electroacoustic improvisation. Key influences include indeterminacy as expressed in the music of John Cage, Deep Listening practices pioneered by Pauline Oliveros as well as the aesthetical paradigms of electronic and electroacoustic music. The artistic methods revolved around the following steps: studio workshops with musicians (Fredrik Ekenvi and José Louis Relova Gallego) exploring timbres, playing techniques and music technology in real-time followed by associative discussions about the soundscapes created; composing audio and graphical drafts influenced by the workshops; designing diagrams for the electronics and compiling these to a design document; workshopping and performing the final piece (Towards the Event Horizon). Towards the Event Horizon (for bass clarinet, electric guitar and live electronics) is the final result of the work, comprising a score with accompanying design document as well as a recording of the original performance at Studio Acusticum in Piteå 20th of March 2021. The artefacts and associated documentation are presented in their entirety on the dedicated Research Catalogue exposition. Conclusions include how composition and sound design are tied together and cannot be considered as isolated processes, especially in the context of live electronics; the interrelationship between the improviser, the acoustic soundscape and the artistic associations that inform the improvisation; the importance of form as the defining element of a composition and lastly; how a score for improvised music can be devised in the shape of a blueprint of form and texture, setting certain technical, sonic and gestural conditions while leaving the performer to play freely within this frame. / <p>Konstnärliga artefakter presenteras via Research Catalogue: https://www.researchcatalogue.net/view/1250652/1250651</p> Composition Experimental music Electronic music Electroacoustic music Electroacoustic improvisation Graphical scores Live electronics Sound design Sound art Sound engineering Music production Digital sound processing Real-time sound processing John Cage Pauline Oliveros Deep Listening Indeterminacy Komposition Experimentell musik Elektronisk musik Elektroakustisk musik Elektroakustisk improvisation Grafiska partitur Live-elektronik Ljuddesign Ljudkonst Ljudteknik Musikproduktion Digitalt ljud realtidsprocessning John Cage Pauline Oliveros Deep Listening Indeterminacy Music Musik

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