Compositions 2011-2013

Document
Document

<p>The analysis begins by examining Robert Morris ºs reading of Minimalist sculpture. Here, it is found that a phenomenological focus on parts can lead to consideration of not only the whole of an object, but also its environmental conditions. Building on work undertaken prior to Wesleyan, Pierre Schaeffer ºs sound object is investigated as a potential analogue in music-related discourse. Schaeffer ºs original theory, as critiqued by Brian Kane, exposes material and historical issues that have particular resonance for a temporal art-form reliant on mediation. <br /><br />In Susan Sontag ºs argument against interpretive practices in the visual arts, a similar concern with parts and whole is identified. Emerging from her emphasis on formalism over understandings of content, juxtaposition is viewed as a creative technique that has the potential to reveal interpenetrations between different musics, and how these performed.<br /><br />The thesis ends by examining the function of juxtaposition as form of interpretation in the compositions. Ultimately, the works are seen to echo Morris in foregrounding a variety of environmental concerns through a focus on phenomenologically-heard sound. Jonathan Sterne ºs understanding of sonically-defined public and private space demonstrates the relevance of such an approach given the continued influence of repeating and transmission technologies on how we compose, perform and listen.</p>

    Item Description
    Name(s)
    Author: Welsh, John
    Thesis advisor: Braxton, Anthony
    Thesis advisor: Matthusen, Paula
    Thesis advisor: Kuivila, Ron
    Date
    April 29, 2013
    Extent
    95 pages
    Language
    eng
    Genre
    Physical Form
    electronic
    Discipline
    Rights and Use
    In Copyright - Non-Commercial Use Permitted
    Digital Collection
    PID
    ir:2361