Files in this item
|(no description provided)|
|Title:||From experimental music to musical experiment, and, Listening to technology: Musical response in the age of digital technique|
|Author(s):||Mauceri, Frank Xavier|
|Doctoral Committee Chair(s):||Tipei, Sever|
|Department / Program:||Music|
|Degree Granting Institution:||University of Illinois at Urbana-Champaign|
|Abstract:||'Experimental' is often used as a qualifier of both 'music' and 'composition' with regard to vanguard concert music. It has been used by critics as a term of derision; by musicologists as an historical and stylistic category; by composers associated with music technology; and by composer John Cage. The effects of these various meanings and the oppositions they create need to be distinguished. In an attempt to avoid the idealizations created by the category 'experimental music,' I propose the use of the noun, 'experiment,' as a marker for the various heuristic practices leading to musical discovery.
The technical mediation of music, especially by computer technology, affects both the production and reception of music. The techniques associated with digital technology have increasingly become the primary means for the production of music regardless of genre. These same techniques are also becoming the primary means of reception. The consequence of this technical hegemony is a transformation in both compositional and listening sensibilities. This transformation is investigated and various strategies for thematizing this transformation in music are addressed in this paper. Emphasis is given to compositional and listening strategies that promote participatory responsiveness.
|Rights Information:||Copyright 1996 Mauceri, Frank Xavier|
|Date Available in IDEALS:||2011-05-07|
|Identifier in Online Catalog:||AAI9702604|
This item appears in the following Collection(s)
Graduate Dissertations and Theses at Illinois
Graduate Theses and Dissertations at Illinois
Dissertations and Theses [Graduate College] - Music