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 βdefiningβ queer (aesthetic) practices, I look at Pauline Oliverosβ ππ°π―πͺπ€ ππ¦π₯πͺπ΅π’π΅πͺπ°π―π΄, Julius Eastmanβs ππ’πΊ ππΆπ¦π³π³πͺπππ’ and Neo HΓΌlckerβs π π£π°π₯πΊ π¦π΄π΄π’πΊ. ππͺπ€π΅πͺπ°π―, π’π€π΅πΆπ’πππΊ 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.
| Identifer | oai:union.ndltd.org:columbia.edu/oai:academiccommons.columbia.edu:10.7916/d8-jjd0-6a75 |
| Date | January 2021 |
| Creators | Hiendl, Martin Alexander |
| Source Sets | Columbia University |
| Language | English |
| Detected Language | English |
| Type | Theses |
Page generated in 0.0023 seconds