This study proposes new, interdisciplinary performance practices for music, and critiques reception strategies for existing inter-arts performance. The first section of the study examines the ways in which music performance practice intersects with questions of authorship and adaptation, and formulates methods of interdisciplinary performance practices by drawing on the literature of Critical Theory and post-structuralism. The second part of the study proposes methods of reception that critique the necessity for pure contemplation and conceptualizes how distracted reception offers an important alternative for interdisciplinary, and conceptually polysemic, performance work. The principal motivation behind both of these proposals for the re-contextualization of performance practice and reception is based upon a critique of transparent and monosemic communication. Thus. the study critiques structures of evaluation and presentation that have at their core an objectivist approach that strives for transparency at the cost of acknowledging polysemic complexity and difficulty. The study concludes that several alternatives to the objectivist traditions of criticism. in this study represented by the concepts of interpretive violence, distracted reception and conceptual polysemy, can indeed be used to promote heightened conceptual awareness.
| Identifer | oai:union.ndltd.org:uvic.ca/oai:dspace.library.uvic.ca:1828/2161 |
| Date | 08 February 2010 |
| Creators | Robinson, Dylan |
| Contributors | Gibson, Steve |
| Source Sets | University of Victoria |
| Language | English, English |
| Detected Language | English |
| Type | Thesis |
| Rights | Available to the World Wide Web |
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