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The Work of Indeterminacy: Interpret...
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Carithers, Kirsten L. Speyer.
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The Work of Indeterminacy: Interpretive Labor in Experimental Music.
紀錄類型:
書目-電子資源 : Monograph/item
正題名/作者:
The Work of Indeterminacy: Interpretive Labor in Experimental Music./
作者:
Carithers, Kirsten L. Speyer.
出版者:
Ann Arbor : ProQuest Dissertations & Theses, : 2017,
面頁冊數:
327 p.
附註:
Source: Dissertations Abstracts International, Volume: 78-10, Section: A.
Contained By:
Dissertations Abstracts International78-10A.
標題:
American studies. -
電子資源:
http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=10257131
ISBN:
9781369679281
The Work of Indeterminacy: Interpretive Labor in Experimental Music.
Carithers, Kirsten L. Speyer.
The Work of Indeterminacy: Interpretive Labor in Experimental Music.
- Ann Arbor : ProQuest Dissertations & Theses, 2017 - 327 p.
Source: Dissertations Abstracts International, Volume: 78-10, Section: A.
Thesis (Ph.D.)--Northwestern University, 2017.
This item is not available from ProQuest Dissertations & Theses.
This project explores the practices and relationships of performers of experimental music from the 1960s to the present, engaging with issues of labor and recognition. My investigation considers the work of musicians who participate in challenging new genres, using an interdisciplinary framework built up from music studies, critical theory, and media studies. This project introduces the concept of interpretive labor and theorizes the work of musical performance that often remains under-recognized in this repertoire. I furthermore argue for new ways to think about music's connections with other cultural phenomena, from visual arts to capitalist corporations to computer programming. My work on interpretive labor - the creative work of realizing experimental compositions and notational systems - illuminates issues such as creative control, authorship, representation, and access, providing insight into the artistic, cultural, and financial contributions of performers. I theorize that the rise of ambiguously-notated (i.e., indeterminate) compositions coincides with changes in labor more generally, thus reflecting and reinforcing the socio-economic conditions of these works' creators and interpreters. The theory of interpretive labor has four related models: the scientist, the executive, the hacker, and the gamer. From the self-directed work of realizing chance procedures to the potential exploitation of a compositional assistant, and from subversive engagement with notation to the free play of performance art, the musical avant-garde's many modes foster a rich and varied understanding of labor. The dual concerns of experimentalism and labor are vividly present in my chosen case studies: an English-born communist who started his musical career with a hyper-controlling German mentor (Cornelius Cardew), a Czech-born performer-composer who emigrated to the United States and became a leader within the contemporary music scene (Petr Kotik), and a group of Rockefeller-funded postgraduates at the Center of the Creative and Performing Arts in Buffalo, NY, of which both Cardew and Kotik were members. I use these accounts not only to develop my theory of interpretive labor, but also as a corrective to composer-centric narratives. This study presents a historiographical opportunity and obligation to foreground the perspectives of actual working musicians: those performers who labor, often for little or no recognition, to interpret difficult pieces of experimental music. These artists' perspectives are crucial to understanding the social, economic, and cultural stakes within their new-music networks. At the same time, rethinking experimental music in terms of labor also suggests fruitful intersections with contemporary media. The rise of user-generated content mirrors some forms of work undertaken by avant-garde artists. For example, posting photographs on "social" media and making a realization of a graphic-notation score both demand significant investments while simultaneously masking that effort under the guise of entertainment. Interpretive labor, then, provides valuable insight into 21st-century creative industries as well as into the esoteric artistic networks of the 1960s and 1970s.
ISBN: 9781369679281Subjects--Topical Terms:
2122720
American studies.
Subjects--Index Terms:
Avant-garde
The Work of Indeterminacy: Interpretive Labor in Experimental Music.
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This project explores the practices and relationships of performers of experimental music from the 1960s to the present, engaging with issues of labor and recognition. My investigation considers the work of musicians who participate in challenging new genres, using an interdisciplinary framework built up from music studies, critical theory, and media studies. This project introduces the concept of interpretive labor and theorizes the work of musical performance that often remains under-recognized in this repertoire. I furthermore argue for new ways to think about music's connections with other cultural phenomena, from visual arts to capitalist corporations to computer programming. My work on interpretive labor - the creative work of realizing experimental compositions and notational systems - illuminates issues such as creative control, authorship, representation, and access, providing insight into the artistic, cultural, and financial contributions of performers. I theorize that the rise of ambiguously-notated (i.e., indeterminate) compositions coincides with changes in labor more generally, thus reflecting and reinforcing the socio-economic conditions of these works' creators and interpreters. The theory of interpretive labor has four related models: the scientist, the executive, the hacker, and the gamer. From the self-directed work of realizing chance procedures to the potential exploitation of a compositional assistant, and from subversive engagement with notation to the free play of performance art, the musical avant-garde's many modes foster a rich and varied understanding of labor. The dual concerns of experimentalism and labor are vividly present in my chosen case studies: an English-born communist who started his musical career with a hyper-controlling German mentor (Cornelius Cardew), a Czech-born performer-composer who emigrated to the United States and became a leader within the contemporary music scene (Petr Kotik), and a group of Rockefeller-funded postgraduates at the Center of the Creative and Performing Arts in Buffalo, NY, of which both Cardew and Kotik were members. I use these accounts not only to develop my theory of interpretive labor, but also as a corrective to composer-centric narratives. This study presents a historiographical opportunity and obligation to foreground the perspectives of actual working musicians: those performers who labor, often for little or no recognition, to interpret difficult pieces of experimental music. These artists' perspectives are crucial to understanding the social, economic, and cultural stakes within their new-music networks. At the same time, rethinking experimental music in terms of labor also suggests fruitful intersections with contemporary media. The rise of user-generated content mirrors some forms of work undertaken by avant-garde artists. For example, posting photographs on "social" media and making a realization of a graphic-notation score both demand significant investments while simultaneously masking that effort under the guise of entertainment. Interpretive labor, then, provides valuable insight into 21st-century creative industries as well as into the esoteric artistic networks of the 1960s and 1970s.
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http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=10257131
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