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Reverence for uncertainty: Chaos, o...

Borgo, David Richard.

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Reverence for uncertainty: Chaos, order, and the dynamics of musical free improvisation.

紀錄類型:	書目-語言資料,印刷品 : Monograph/item
正題名/作者:	Reverence for uncertainty: Chaos, order, and the dynamics of musical free improvisation./
作者:	Borgo, David Richard.
面頁冊數:	232 p.
附註:	Source: Dissertation Abstracts International, Volume: 60-09, Section: A, page: 3190.
Contained By:	Dissertation Abstracts International60-09A.
標題:	Folklore. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=9947057
ISBN:	9780599492189

Reverence for uncertainty: Chaos, order, and the dynamics of musical free improvisation.
Borgo, David Richard.

Reverence for uncertainty: Chaos, order, and the dynamics of musical free improvisation. - 232 p.

Source: Dissertation Abstracts International, Volume: 60-09, Section: A, page: 3190.

Thesis (Ph.D.)--University of California, Los Angeles, 1999.

This dissertation focuses on the transcultural practice of musical free improvisation the emerging science of chaos theory, and the contemporary paradigm shift that has created a moment in which uncertainty may be revered rather than feared. It argues that the method of modeling the natural world pursued by chaos researchers is compatible with the ways in which artists conceive of the process of formation inherent in musical free improvisation. It suggests that the dynamic understanding of order and disorder emerging in chaos theory may be helpful in the dynamics and aesthetics of free improvisation, just as a better understanding of the workings of free improvisation---how musical techniques, relationships, and interactions are continually refined and negotiated in performance---may offer insight into how we are to understand the dynamics of the "natural" world and our place within it.

ISBN: 9780599492189Subjects--Topical Terms:

528224
Folklore.

Reverence for uncertainty: Chaos, order, and the dynamics of musical free improvisation.
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245 1 0 $a Reverence for uncertainty: Chaos, order, and the dynamics of musical free improvisation.
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500 $a Source: Dissertation Abstracts International, Volume: 60-09, Section: A, page: 3190.
500 $a Chairs: Timothy Rice; Robert Walser.
502 $a Thesis (Ph.D.)--University of California, Los Angeles, 1999.
520 $a This dissertation focuses on the transcultural practice of musical free improvisation the emerging science of chaos theory, and the contemporary paradigm shift that has created a moment in which uncertainty may be revered rather than feared. It argues that the method of modeling the natural world pursued by chaos researchers is compatible with the ways in which artists conceive of the process of formation inherent in musical free improvisation. It suggests that the dynamic understanding of order and disorder emerging in chaos theory may be helpful in the dynamics and aesthetics of free improvisation, just as a better understanding of the workings of free improvisation---how musical techniques, relationships, and interactions are continually refined and negotiated in performance---may offer insight into how we are to understand the dynamics of the "natural" world and our place within it.
520 $a The dissertation begins with an overview of the scholarly work on musical improvisation in general and free improvisation in particular, highlighting several recalcitrant biases in the academy and ways in which the emerging paradigm may offer fresh perspectives on the subject and a more appropriate methodology. It continues with a brief historical exposition of the music's development and related idiom and identity issues, a philosophical look at the often contrasting aesthetics of contemporary improvised and composed musical traditions, and a general discussion of the performance practice and critical values apparent within the free improvisation community.
520 $a Shifting to the scientific realm, the dissertation sketches an outline of the growing interest in nonlinear dynamical systems, focusing special attention on chaos theory, nonequilibrium thermodynamics, information theory, and cognitive science. Contemporary ideas of embodiment and enactive cognition are further explored to illuminate the solo improvisation practice of British saxophonist Evan Parker and the kinesthetic metaphors he favors in describing his performance approach. The work concludes with a self-reflexive discussion of the author's own experiences with the free improvisation group Surrealestate. It provides detailed analysis of the interaction and synergy evidenced in specific recorded performances and suggests, that a free improvisation ensemble may be viewed as an autopoietic or self-producing and self-regulating social system.
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