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Musical Ecologies of Persons and Things.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Musical Ecologies of Persons and Things./
作者:	Hadley, Christopher.
面頁冊數:	1 online resource (123 pages)
附註:	Source: Dissertations Abstracts International, Volume: 84-07, Section: B.
Contained By:	Dissertations Abstracts International84-07B.
標題:	Music. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=29995390click for full text (PQDT)
ISBN:	9798368431215

Musical Ecologies of Persons and Things.
Hadley, Christopher.

Musical Ecologies of Persons and Things. - 1 online resource (123 pages)

Source: Dissertations Abstracts International, Volume: 84-07, Section: B.

Thesis (Ph.D.)--University of California, Irvine, 2022.

Includes bibliographical references

This dissertation considers the development of musical form in improvised music performances from a perspective based in embodied and ecological theories of cognition. Here, improvised music refers to a wide range of musical practices which utilize "free" improvisation as a foundational process for structuring musical form. As a temporally extended, embodied, and often cooperative creative practice, improvised music composition and performance may be enriched by a perspective informed by theories of cognition which help explain embodied, dynamic, and distributed cognitive tasks. Drawing primarily on the enactive cognition of Thompson, Varela, and Rosch, as well as James J. Gibson's ecological psychology, I develop a perspective on improvised musical forms as contingent on performers interacting with musical possibilities for action afforded by their environment. Such a perspective suggests that improvised music performances are structured ecologically, as a musical ecology. This has implications for pre-performance organizations of musical form, such as in composition, wherein the musical ecology may be manipulated through a variety of interdisciplinary means, a practice I call Systems Composition. Furthermore, improvising performers may adopt the ecological perspective in order to better understand adapting to a musical ecology as improvisational skill, emphasizing openness and attention to musical affordances over physical or technical virtuosity alone. Finally, I explore ways in which I have applied the enactive and ecological perspectives in my own practice as a composer and improviser, discussing musical works from my dissertation concert, Musical Ecologies of Persons and Things.

Electronic reproduction.
Ann Arbor, Mich. :
ProQuest,
2023

Mode of access: World Wide Web

ISBN: 9798368431215Subjects--Topical Terms:

516178
Music.
Subjects--Index Terms:

AffordancesIndex Terms--Genre/Form:

542853
Electronic books.

Musical Ecologies of Persons and Things.
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504 $a Includes bibliographical references
520 $a This dissertation considers the development of musical form in improvised music performances from a perspective based in embodied and ecological theories of cognition. Here, improvised music refers to a wide range of musical practices which utilize "free" improvisation as a foundational process for structuring musical form. As a temporally extended, embodied, and often cooperative creative practice, improvised music composition and performance may be enriched by a perspective informed by theories of cognition which help explain embodied, dynamic, and distributed cognitive tasks. Drawing primarily on the enactive cognition of Thompson, Varela, and Rosch, as well as James J. Gibson's ecological psychology, I develop a perspective on improvised musical forms as contingent on performers interacting with musical possibilities for action afforded by their environment. Such a perspective suggests that improvised music performances are structured ecologically, as a musical ecology. This has implications for pre-performance organizations of musical form, such as in composition, wherein the musical ecology may be manipulated through a variety of interdisciplinary means, a practice I call Systems Composition. Furthermore, improvising performers may adopt the ecological perspective in order to better understand adapting to a musical ecology as improvisational skill, emphasizing openness and attention to musical affordances over physical or technical virtuosity alone. Finally, I explore ways in which I have applied the enactive and ecological perspectives in my own practice as a composer and improviser, discussing musical works from my dissertation concert, Musical Ecologies of Persons and Things.
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